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We don’t often see the release of an Oscar-nominated animated movie released in theaters after the Academy Awards ceremonies had aired (there are, of course, outliers), as most studios want to capitalize on the buzz of a nomination. But “Robot Dreams” is breaking with tradition as the Spanish/French animation pic is heading to the big screen next month.

We love to see a creative keep scaling up. Watching Pamela Adlon evolve and progress over the last few years has been terrific.

Following in the footsteps of the like-minded A24, NEON (“Anatomy Of A Fall” “Infinity Pool”) is quickly becoming the go-to studio for adventurous indie cinema and exciting arthouse fare. The studio pulled off quite the feat in 2020 when their film, “Parasite” directed by Bong Joon-Ho, became the first non-English-language film to win the Academy Award for Best Picture and became their highest-grossing earner ever ($262 million worldwide).

2024 didn’t get off to a great start for Hollywood rising star Sydney Sweeney with the dismal critical response to “Madame Web.” But that’s one lull for the young actress in three straight years of ascendant stardom.

Sydney Sweeney accidentally got fake blood in her eyes while filming one of the most gruesome scenes. “We wanted to do everything practically,” Mohan told Indiwire, revealing that the incident took place on the final day on set.“The biggest challenge was on the last take,” the director told the outlet.

So when is “Euphoria” Season 3 hitting HBO? The network confirmed last November it won’t be until 2025, so in the meantime, fans will need to see their favorite young actors from the show star in other things. Zendaya has a couple of things coming out this calendar year: “Dune: Part Two” and “Challengers,” maybe you’ve heard of them.

Neon is on such a tear this year. After the Oscar-nominated success of “Anatomy Of A Fall,” “Perfect Days,” “Robot Dreams,” and the critically acclaimed “Ferrari,” and new films like “Mother’s Instinct” on the way, the indie company shows no signs of slowing down.

Sometimes, a cinematographer works enough with an actor that when they’re set to do their directorial debut, that actor is in. That seems to be the case with “Mother’s Instinct,” the directorial debut of well-renowned French DP Benoît Delhomme.

Boots Riley is an interesting man. Maybe it’s because of his musical background or just his own clear idea of his creative journey, but he definitely marches to the beat of his own drum.

It’s not every year that an animated feature premieres at the Cannes Film Festival to such universal acclaim. But that was the case with “Robot Dreams,” Pablo Berger‘s latest film about the misadventures of a dog and a robot in 1980s NYC.

Wim Wenders returned to the Croisette at the Cannes Film Festival in a big way this year with “Perfect Days.” The German director’s first film since 2017’s “Submergence” wowed audiences at the festival, with the movie nabbing the Prize Of The Ecumenical Jury and the Best Actor Award for star Kōji Yakusho. Now, after further screenings at Telluride, TIFF, London, and NYFF this Fall, it’s time for US audiences to see “Perfect Days” for themselves.

Where to start with Michael Mann‘s “Ferrari“? It’s a passion project long in the making, with Mann developing it for over two decades. It’s also Mann’s first film with Adam Driver, and with rumors of Mann wanting to cast the actor in “Heat 2,” it may not be the last.

A film or TV series about the rise of an unlikely music star is nothing new. We’ve seen this done a million times.

It’s crazy to think that it’s been nine years since the release of Ava DuVernay’s Oscar-nominated film, “Selma.” And over that time, while she has produced quite a bit and even directed an acclaimed limited series, DuVernay has only released one feature film, the underwhelming “A Wrinkle in Time.” However, it would appear the filmmaker is returning in a big, big way with her new film, “Origin.” READ MORE: ‘Origin’ First Look: Ava DuVernay’s Adaptation Of ‘Caste’ With Aunjanue Ellis, Jon Bernthal & Vera Farmiga Premieres At Venice On September 6 As seen in the new teaser for “Origin,” the film is inspired by the life of Pulitzer Prize-winning author Isabel Wilkerson as she writes the book, “Caste: The Origin of Our Discontents.” The journey to bring that book to life finds Wilkerson traveling all over the world and experiencing various cultures.  Continue reading ‘Origin’ Teaser: Ava DuVernay’s New Drama Is Picked Up By NEON & Will Hit Theaters Later This Year at The Playlist.

Over the past several years, Neon is a distributor that has earned a reputation for consistently releasing some of the best films each year. Last year, Neon released a number of acclaimed features including “All the Beauty and the Bloodshed” and “Triangle of Sadness,” for example.

A man, a woman, and an enclosed space — as any stage director knows, these components can be transformed into anything within the capabilities of the human imagination, a malleability essential to Zachary Wigon’s devious chamber piece “Sanctuary.” DominatrixRebecca (Margaret Qualley) and her number-one client Hal (Christopher Abbott) bring that same spirit of invention to their sessions, such as a face-off between a playboy corporate heir and the no-nonsense lady lawyer who gets him scrubbing the bathroom floor in his underwear with just a handful of demeaning remarks.

With “Oldboy,” Park Chan-wook offers a revenge tale at its most unhinged. And for the 20th anniversary of the film’s release, NEON has a remastered print of the modern masterpiece ready to hit theaters this summer.

With “Oldboy,” Park Chan-wook offers a revenge tale at its most unhinged. And for the 20th anniversary of the film’s release, NEON has a remastered print of the modern masterpiece ready to hit theaters this summer.

Margaret Qualley and Christopher Abbott are two of Hollywood’s fastest-rising stars. But before they reunite onscreen in Yorgos Lanthimos‘ “Poor Things,” their devilish take on the sex comedy hits theaters first.   READ MORE: ‘Sanctuary’ Review: Margaret Qualley & Christopher Abbott Roleplay With Sex & BDSM Kink In A Terrific Two-Hander [TIFF] Fresh off its world premiere at TIFF last September, “Sanctuary” sees Abbott and Qualley play a twisted power game with each other.

Although he is rightly judged as being in the vanguard of British independent cinema, Mark Jenkin nonetheless seems out of place in such company. Unlike his contemporaries—Peter Strickland, Lynne Ramsay, Andrea Arnold, Clio Barnard, and Jonathan Glazer, among others—he is a strict formalist, creating expressions through the rhythms and combinations of images and sounds rather than through conventional narratives or theatrical gestures.

Not yet thirty years old, Mia Goth has already collaborated with several world-renowned filmmakers for her willingness to follow their most demented muses. Her girlish appearance strikes a shocking contrast with the atrocity exhibitions that she gravitates toward: eagerly taking to sexual grooming in Lars Von Trier’s “Nymphomaniac;” undergoing forcible insemination and grisly spaghettification with Claire Denis in “High Life;” becoming an insane asylum’s incestuous princess for Gore Verbinski in “A Cure for Wellness;” witnessing her own disembowelment as part of the orgiastic blood ritual Luca Guadagnino that’s the grand finale to “Suspiria;” manifesting a century of madness for Ti West’s in-progress trio of period pieces of “X,” “Pearl,” and the upcoming “Maxxxine.” And so it’s no surprise that Goth’s latest outing is another twisted affair: Brandon Cronenberg‘s “Infinity Pool,” which takes place at a Mediterranean beach resort that hides a violent and depraved sub-culture.

Having premiered at the Cannes Film Festival, the BFI London Film Festival, and the 60th annual New York Film Festival this year, if we’re going to call out a breakout horror for this year, it probably has to be British filmmaker Mark Jenkin’s “Enys Men.” And arguably, between Jekin, Ben Wheatley, and Peter Strickland, it’s safe to say that the creepy subgenre of freaky folk horror—think “The Wicker Man”—is really going through a renaissance period thanks to English filmmakers.

Many biopics and documentaries have been released over the years, but few have been quite as enthralling as “Moonage Daydream,” Brett Morgen’s ode to the musical legend, David Bowie. Bowie was a genuine talent and artist with accomplishments such as singing, songwriting, and acting but it is hard to really capture his essence.

Was it a shock when Laura Poitras‘ new documentary “All The Beauty And The Bloodshed,” about Nan Goldin and the fall of the Sackler family, won the Golden Lion at Venice in September? Only in that it’s the second documentary ever to win Venice’s top prize. After all, Poitras’s credentials speak for themselves.

Like father, like son?  Brandon Cronenberg‘s work as a director already had a similar tone to his Dad, David Cronenberg. But now that he’s following in his father’s footsteps in another way: his upcoming film “Infinity Pool” has received an NC-17 rating, just like his father’s 1996 film “Crash.” READ MORE: ‘Infinity Pool’: Alexander Skarsgård & Director Brandon Cronenberg Team For NEON’s New Sci-Fi Thriller Bloody-Disgusting reports that the movie received an NC-17 rating from the MPA this week for “some graphic violence and sexual content,” but producer NEON intends to appeal to the C.A.R.A Appeals Board for a less extreme rating.

Some historical figures cannot have their lives reduced to a standard biopic. If the overwhelmingly negative reception to the 2020 biopic “Stardust” is any indication, then David Bowie is one of them.

NEON is one of the great modern film distribution companies. They brought Bong Joon-ho‘s stellar Best Picture winner “Parasite” to domestic theaters, Kristen Stewart‘s acclaimed Princess Diana drama “Spencer,” and will be releasing David Cronenberg‘s body horror film “Crimes of The Future” in early June, and Brandan Cronenberg‘s (“Possessor“) upcoming sci-fi thriller “Infinity Pool“ starring Swedish actor Alexander Skarsgård (“The Northman“).

It’s a bit pointless complaining about ignored or passed-over Oscar-worthy films, but if one were going to do such a thing, a pretty damn valid complaint would be French filmmaker Céline Sciamma’s “Portrait of A Lady On Fire” being looked over by the Academy in the 2019/2020 season. ironically, that’s the same year that NEON, the company behind ‘Portrait,’ defeated the odds, surpassed the giants with more money around then, and won Best Picture for “Parasite.” Perhaps it was a combination of NEON having to put all their eggs in one basket, sacrificing another, and the Academy just seemingly over the moon about Bong Joon-Ho’s masterful film.

Apichatpong Weerasethakul doesn’t create blockbuster films. He doesn’t even really create what you might consider typical narrative features.

On the surface, there are two ways to look at the film “Pleasure.” One, an explicit drama that made waves at the Sundance Film Festival in 2020. Or two, a hot potato so hot, an edgy film studio lost its nerve and passed it on to another edgier studio.

A number of films have been nominated for International Film (previously known as Foreign Film) and Documentary Feature, but none have earned nods in those categories and Animated Feature. That is until today when Jonas Poher Rasmussen pulled off that remarkable feet with “Flee.” Denmark’s submission to the Academy Awards is also the first documentary to earn an Animated Feature nomination in the 20 year history of the award.

If you’ve been following the box office news and the film industry over the past couple of years, you know the big discussion surrounds the idea of an exclusive theatrical window for films. It’s important for theater owners and studios to come to an agreement about how long a film stays exclusive to theaters before hitting streaming, VOD, Blu-ray, or other mediums.

NEON has announced today that Oscar-nominated filmmaker Joshua Oppenheimer (“The Act of Killing”) is moving away from documentaries by tackling a fascinating new musical with some impressive cast members signing on. “The End,” his first dramatic work, will star Oscar-winner Tilda Swinton (“Suspira,” “The French Dispatch”), Stephen Graham (“Boardwalk Empire,” “The Irishman”), and George MacKay (“1917”).

Despite the title, “The Worst Person in the World” isn’t, in fact, about the literal worst person on the planet. There are people in the world way worse than the character of Julie in Joachim Trier’s new film.

When Julia Ducournau‘s last film, 2016’s “Raw,” premiered in the International Critics’ Week section of that year’s Cannes Film Festival, it generated massive amounts of buzz. That translated to a bump up to the main competition for her new film, “Titane,” and in the end, taking home the big best picture prize, aka the Palme d’Or.

When it debuted at the 2018 Berlin Film Festival, critics were raving about the horror-thriller, “Luz.” Apparently, the folks at NEON were particularly impressed, as the studio has announced a new horror film, “Cuckoo,” from “Luz” filmmaker, Tilman Singer. And it appears the studio has already lined up one hell of a cast for the film.