- Cannes 2026: The Man I Love, Orange-Flavoured Wedding (May 21, 2026)
“The Man I Love” brings the director Ira Sachs to competition for the second time, after “Frankie” in 2019. It’s the sort of film that might sound familiar in a description, butit’s made with such detail and care that it feels lived in, not simply dramatized. It’s set in New York in the late 1980s, and there’s a causal confidence to the way the production design re-creates the era of videocassettes, “non-stop go-go bars,” and downtown experimental theater. (The movie was also shot on film, something that can’t be taken for granted these days.)
The story revolves around Jimmy George (Rami Malek), an exuberant theater artist—not performance artist, he insists—who, intentionally or not, has made himself the center of several people’s lives. Those people include Dennis (Tom Sturridge), his longtime partner, who views with him with a mixture of enduring tenderness and concern; Vincent (Luther Ford), a British newcomer to Jimmy’s building who is drawn to his magnetism; and Brenda (Rebecca Hall), Jimmy’s sister, who travels between Jimmy’s countercultural milieu and the more traditional world of their family. Early on, she apologizes to Dennis because her parents didn’t invite him to their anniversary party.
Jimmy’s volatility is on full display as he prepares for a new stage performance inspired by a 1970s French Canadian film. The rehearsal scenes (some other members of the group are played by Stephen Adly Guirgis and Sasha Lane) are depicted at length, and late in the film, Jimmy has something like a “Raging Bull” moment in his dressing room as he runs through lines for his big night.
Offstage, Jimmy bonds with Vincent, helping him carry a mattress up to his apartment. Dennis regards Vincent warily when he brings over a bottle of wine, perhaps because Dennis has seen all this before, but also because he is worried for both men.
Brenda is happy to see Jimmy in high spirits and wants her teenage son to get to know him: “It’s good for him to see his uncle up close, especially now when he’s busy and excited with a new show,” she tells her husband, Gene (Ebon Moss-Bachrach). Gene is more skeptical: Jimmy’s current state isn’t going to last, he says, and that’s going to be tough for the boy. There’s a powerful scene in which the son, Billy (Dennis Courtis), records Jimmy with a camcorder as Jimmy unapologetically delivers a private confession about his wild experiences with sex and drugs, addressed to his parents. There is a sense that it’s one of the last chances he’ll get to put his cards on the table.
Because the film is set in New York, with gay characters, in the 1980s, it should be no surprise that the story involves AIDS. But one of the strengths of “The Man I Love” is that it keeps AIDS in the background until relatively late in the going: The film is not simply an AIDS drama or a gay drama, but a drama about the process of making theater, the thorniness of familial and romantic relations, and caring for a loved one whose love for you isn’t—and maybe can’t be—symmetrical. (In that, it has echoes of Sachs’s “Passages” from three years ago; he wrote both films with Mauricio Zacharias.) The romances are depicted with considerable complexity: Jimmy and Vincent don’t avoid physical touch despite the danger, and there’s a sweatiness in the intimate scenes that is refreshing. The film’s worldview is best summarized by Brenda: “It’s a tough business, living,” she says.
The Cannes regular Christophe Honoré (“Marcello Mio”) is considerably less successful at evoking a past era in “Orange-Flavoured Wedding.” (I’m leaving that British “U” in “flavored,” per the film’s official materials, at least until the inevitable title change.) This unwieldy French ensemble drama, showing in the Cannes Premiere section, centers on a wedding on March 11, 1978—specifically, the day of the French singer Claude François’s death at 39 from electrocution, a bit of breaking news that casts a pall over what’s meant to be a joyous gathering.
If you handed me an “Orange-Flavoured” family tree and gave me a week in advance to study up on the more than dozen major characters, I’m still not sure I could follow everything. Never the most disciplined storyteller, Honoré, who wrote and directed, drops viewers into the dysfunctional family dynamics in medias res and never clarifies much from there. Although the bulk of the movie is set at the wedding party, the narrative abruptly flashes forward three times—once to show a ghost apologizing to his mother, in the sort of stylistic deviation that should have stayed on the page.
An absent father, mental instability, drug abuse, cancer, P.T.S.D. from wartime experiences in Algeria—they’re all mentioned in this film, but none is addressed with any depth. Only Adèle Exarchopoulos, as a troubled sister of the groom, manages to create a character who commands attention from scene to scene.
- Cannes 2026: Table of Contents (May 20, 2026)
The 2026 Cannes Film Festival starts Tuesday, May 12th, running through May 24th. The Ebert team returns this year with coverage of all of the major films in review and video form.
Below is a running index of our reviews, dispatches, and video reports from the festival.
Full Reviews
Teenage Sex and Death at Camp Miasma review: Slasher fans get the homage they deserve by Brian Tallerico
Propeller One-Way Night Coach review: Travolta’s directorial debut never takes flight by Brian Tallerico
Hope review: Bonkers Korean monster movie destroys the hero narrative by Robert Daniels
Her Private Hell review: Refn is back with shallow trip to the underworld by Brian Tallerico
Fjord review: Thorny moral quandary in this icy drama by Brian Tallerico
The Samurai and the Prisoner review: Riveting 16th century epic plays like Samurai Columbo by Brian Tallerico
Video Reports
Cannes 2026 Video #1: The 79th Cannes Film Festival Begins!
Cannes 2026 Video #2: A Look Back at Day One of the Fest
Cannes 2026 Video #3: Nagi Notes, Camp Miasma, Werner Herzog
Cannes 2026 Video #4: Festival Dispatch with Zachary Lee
Cannes 2026 Video #5: Festival Dispatch with Ben Kenigsberg
Cannes 2026 Video #6: Club Kid, Paper Tiger, Clarissa
Festival Dispatches
Cannes 2026: The Electric Kiss by Ben Kenigsberg
Cannes 2026: Fatherland, Parallel Tales by Brian Tallerico
Cannes 2026: Nagi Notes, Ashes by Ben Kenigsberg
Cannes 2026: Ken Russell’s The Devils, Pan’s Labyrinth, Moonlighting by Brian Tallerico
Cannes 2026: All of a Sudden, Think Good by Ben Kenigsberg
Cannes 2026: Clarissa, Atonement, Butterfly Jam by Brian Tallerico
Cannes 2026: The Beloved, A Woman’s Life, Gentle Monster by Robert Daniels
Cannes 2026: Paper Tiger, Sheep in the Box by Brian Tallerico
Cannes 2026: John Lennon: The Last Interview, La Libertad Doble by Ben Kenigsberg
Cannes 2026: The Meltdown, La Frappe, I’ll Be Gone in June by Brian Tallerico
Cannes 2026: Avedon, Visitation by Ben Kenigsberg
Cannes 2026: Club Kid, Marie Madeleine by Robert Daniels
Cannes 2026: The Unknown, Another Day by Ben Kenigsberg
Cannes 2026: Iron Boy, Tangles, Lucy Lost by Brian Tallerico
Cannes 2026: Minotaur, Red Rocks by Ben Kenigsberg
- Cannes 2026: Iron Boy, Tangles, Lucy Lost (May 20, 2026)
Cannes head honcho Thierry Fremaux has been a vocal supporter of the medium of animation this year, noting in most of his intros for animated films that these should in no way be seen as lesser to the live-action entries in this year’s program. And there’s a lot of them. This is the first of two animated dispatches by yours truly from this year’s Cannes, perhaps a sign of a shift in the ethos of this fest enabled by the worldwide success of “Arco” and “Little Amelie or the Character of Rain,” two 2025 Cannes premieres that ended up with Oscar nominations.
The best of the crop so far is Louis Clichy’s sweet “Iron Boy,” a tender film that first feels like a coming-of-age comedy but weaves in themes of faith, family, and fellowship in a manner that’s subtly brilliant. Employing a style that looks more like watercolor paintings than traditional hand-drawn sketches, Clichy reveals how much he learned in the art departments of “WALL-E” and “Up” regarding how to marry image to character and theme. This is a gentle, often beautiful film that could easily take the exact path carved by “Little Amelie” last year to worldwide success. In fact, I think this is a better film.
Christophe is an ordinary student in rural France. Ten years old when the film opens, he’s struck by an inconsistent spine, one that forces him to tilt at inopportune times. He sometimes imagines being able to put the whole world on its side with him, and Clichy sends people and things into the air with “Twister”-esque abandon. The more grounded reality is that Christophe will have to wear an orthopedic brace, right at the age when he’s trying to figure out who he is and who he wants to be. He’s forced to be an iron boy.
While Christophe is going through that awfulness, he’s torn between three things: His family, a first crush, and a growing interest in music. His distant farmer father, struggling with the crops in a down year, pushes Christophe to find a different paternal figure in a church organist, who teaches Christophe the art of the organ.
Clichy layers in some truly beautiful compositions, giving the painterly look of “Iron Boy” an appropriately classical score, but he also lets Christophe have some fun, especially with the cute girl who realizes he’s a shoplifting cheat code because he’s gonna set off all alarms anyway.
“Iron Boy” really snuck up on me, revealing that its early scenes of awkward youth were just the gateway to a confident character study of a boy trying to find his place in a world in which he just keeps falling down.
The animated film at Cannes most likely to really explode with American audiences is Leah Nelson’s undeniably moving “Tangles,” a heartfelt adaptation of Sarah Leavitt’s graphic novel of the same name. The reason for that isn’t just the A-list cast of recognizable names but the relatability of the film’s subject matter: The pain of watching a loved one degrade to the point that they no longer recognize your face. “Tangles” is a story of being cheated by dementia, a personal love letter to a mother taken too soon. Anyone who has lost their mom earlier than they should have will be moved, even if some of it plays a bit shallower and more manipulative than I hoped it would. It’s the kind of film that you’d have to be truly emotionally guarded to leave unmoved, even if you can tell when the heartstrings are being tugged.
Sarah (Abbi Jacobson, doing great voice work) has moved from Maine to San Francisco in 1999, getting a job at a queer alt-weekly where she does great illustrations for the cover. She’s at that age in her early twenties when she’s really carving out her own life, figuring out who she’s going to be, when she’s remind of who she was on a trip home.
Mom Midge (Julia Louis-Dreyfus) doesn’t seem quite right. And why did she get fired from her job? Dad Rob (Bryan Cranston) starts off in full denial, as does sister Hannah (Beanie Feldstein), but it’s not long before the diagnosis is clear: Midge has early on-set dementia. It will move fast. It will be brutal. It will be unfair.
Nelson and her team give “Tangles” a janky style that reflects some of Sarah’s work, although not directly mimicking the character’s aesthetic. The film is mostly black-and-white, sometimes exploding into different styles to make an emotional point. Honestly, I wanted a more adventurous spirit in the visuals of “Tangles”. As is, it’s a surprisingly traditional family drama, right down to two needle drops in the final act designed to turn anyone who might not be crying yet into puddles.
Don’t get me wrong: It’s well-made, and it will be especially moving for anyone who has faced the horror of dementia, or even just people who know that their mother is the reason they were allowed to be who they are. “Tangles” works because it’s more than a eulogy; it’s a thank you.
Finally, there’s the well-meaning but overly familiar “Lucy Lost,” a French film that owes such strong visual and storytelling debts to Studio Ghibli that it made me want to watch “When Marnie Was There” when I get home. Like that underrated fantasy-drama, this is the tale of a girl who sees the impossible. What begins like another story of a girl and her imaginary friend becomes something much more narratively twisted, folding in characters, time, space, and even a notable historical tragedy. There’s a lot to “Lucy Lost,” but I never quite found its emotional register. It’s not a horrible film, just one that is trying to do so much that it slips away.
Oliver Clert’s film is set in World War I, where we meet an 11-year-old girl named Lucy, who has white hair and has been kept hidden from the community when the film begins. We’re not sure why she’s an outcast in this Scilly Isles village, but it could be because she talks to someone who isn’t there, another precocious girl named Milly. She claims to be a girl from the U.S., who is somehow communicating across the Atlantic to Lucy. Why? It takes a while for Clert to get there, leading us to wonder if this is a story about mental illness before it becomes a tale of genuine magic.
The look of “Lucy Lost” is vibrantly colored but a bit forgettable in its character and setting design. It’s a nice enough film aesthetically, but it’s the narrative that spins out of control, becoming more of a fantasy mood piece than the first half implies it will. By the end, the impossible has happened for Lucy and Milly as time, setting, and character have blurred in a way that’s not as emotionally powerful as its creators hoped because we don’t have enough to hold onto. It’s not a total loss, but there are better animated films to find at Cannes this year.
- Cannes 2026: Minotaur, Red Rocks (May 20, 2026)
You’d be forgiven for thinking that Andrey Zvyagintsev’s “Minotaur” is closely related to “Leviathan” (2014), his Oscar-nominated drama about regional corruption in northern Russia. But in fact, this French-German-Latvian production, showing in competition, is a remake of Claude Chabrol’s classic “La Femme Infidèle” (1969), which was already remade as “Unfaithful” (2002) with Diane Lane. Zvyagintsev, with his chilly style (he has a habit of keeping his camera distant, so that even medium close-ups register as mild shocks), is not exactly a filmmaker who brings the heat. And in this case, that’s a compliment.
Now living in Paris and no longer working in Russia, Zvyagintsev, who because of health challenges hadn’t made a film since 2017, begins “Minotaur” with the same attention to landscape and architecture that he brought to “Leviathan.” He introduces us to a glacially modernist home near the water. Every kitchen surface seems meticulously designed; the family members seem more concerned with their cellphone conversations than with one another.
The protagonist, Gleb (Dmitriy Mazurov), is a well-heeled chief executive. The time is near the start of Russia’s invasion of Ukraine. Gleb’s employees are departing in droves or working remotely, and Moscow has given Gleb a military registration quota that he needs to meet. In other words, he must decide which staff members are literally expendable.
At the same time, he and his wife, Galina (Iris Lebedeva), lead stable bourgeois lives, filled with fine dining and, it’s implied, the means to flee should the impact of the war ever come to their doorstep. (Militaristic billboards loom in the background of several shots.) Galina tells Gleb that she has an appointment at the salon, but when he calls to check up on her, he learns that she lied. It turns out she is having an affair with Anton (Yuriy Zavalnyouk), a handsome 33-year-old photographer who has the soft touch that Gleb lacks.
Is a spoiler alert necessary for a second remake? (Consider this your warning.) As events progress, Zvyagintsev masterfully stages a murder-and-cleanup sequence that tips its hat to Hitchcock and unfolds in what feels like real time. There’s a particularly breathtaking shot outside an apartment building that emphasizes the absence of witnesses, while somehow also stressing the possibility that a potential witness could wander into the frame at any moment.
Because the film is set in Putin’s Russia (Latvia stood in for the locations), any murder investigation would have decent odds of being compromised. After all, as Gleb tells two detectives who come calling, it is common for people to go missing from Russia these days; he can’t locate half his staff. And anyone wealthy and connected is in effect untouchable.
The cinematographer, Mikhail Krichman, composes shots so that it appears events are unfolding in almost constant twilight. Zvyagintsev may not have returned to filmmaking with fully original material, but he makes us see an old scenario anew.
As grim as Zvyagintsev’s movies can be, around 20 years ago the French director Bruno Dumont was in the running to be the world’s most self-serious working filmmaker (“Humanité,” “Flanders”). In “Li’l Quinquin” (2014), he finally revealed a sense of humor (and an affinity for Peter Sellers). Since then, he has mostly stuck to his comic mode. “The Empire,” which won a prize at Berlin two years ago, was so unremittingly wacky that Dumont suddenly began to seem like the world’s least serious filmmaker.
His new movie, “Red Rocks,” in Directors’ Fortnight, is a sweet-natured charmer. It involves nothing more or less than watching half a dozen unsupervised children (played by remarkable young actors) joyfully goof around on the shoreline of France’s Var region, which is a bit west of Cannes. They climb the region’s red rocks and dive into the Mediterranean—at least when the marine police aren’t watching. They drive around in what appears to be the French equivalent of Power Wheels. They hang out under an imposingly high and beautifully arched rail bridge.
It was probably a slight faux pas of the Fortnight to include “The Florida Project” in this year’s festival trailer, because “Red Rocks” presents a similar form of free-wheeling mischief. What plot exists involves a bit of playground romance—Géo loves Eve, but she’s seeing B.—and the threat of a violent showdown resulting from it. It’s a showdown that Dumont stages with a nerve that suggests a brief reversion to his old self. (There’s a terrifying shot of the cliffs soon after in which the director, through his use of sound, makes viewers struggle to get their bearings.)
Danger is always present, even if the kids ignore it. There are also hints of class conflict: We learn that Eve lives on a gated estate, in what seem to be much better circumstances than the others’. At one point she and Géo—as usual, sans adults—board the coastal train to Ventimigila, Italy, where Eve’s eccentric grandparents live on another manicured property. Dogs have the run of the tennis court even during matches.
But the film’s strength lies in this cast, whom Dumont has done an extraordinary job of directing. As with Lisandro Alonso’s “La Libertad Doble,” a filmmaker who two decades ago might have seemed punishingly austere has made a virtue of simplicity.
- Tatiana Maslany Goes Full Throttle In Apple TV’s Propulsive “Maximum Pleasure Guaranteed” (May 20, 2026)
When we first meet Paula (Tatiana Maslany), the protagonist of Apple TV+’s new series “Maximum Pleasure Guaranteed,” she’s attempting to arrange her new apartment, with the help of friend Trevor (Brandon Flynn), a handsome young man who currently resides on her laptop screen. She rambles about her struggles co-parenting her daughter, Hazel (Nola Wallace), with her ex-husband Karl (Jake Johnson), before Trevor drops a bomb: they only have six minutes left on their scheduled call. As the two spend the next few minutes furiously and, respectively, rubbing one out, it becomes clear that the person whom Paula has shared all her secrets with is not a longtime friend, but rather, a sex worker.
If Paula didn’t already have enough on her plate as she attempts to get a promotion at her job as a factchecker amidst a nasty custody battle, her plights get even worse when, one night over a shared meal (through a computer screen, of course), she witnesses Trevor being attacked in his apartment. While the police think Trevor has orchestrated a scam, Paula soon receives a phone call from an unknown voice telling her that “they” know everything about her, her job, and her family troubles, and they will destroy her life and kill Trevor if she doesn’t wire them $50,000. Though the whole thing seems fishy, Paula is adamant that what she witnessed was real, and she will stop at nothing to uncover what really happened to Trevor, who, in a time of need, was the only one truly there for her.
While this set-up sounds like it could be the beginning of any other thriller series, “Maximum Pleasure Guaranteed” quickly proves itself to be unlike anything else this overfilled genre has produced as of late. What begins as a potential seedy scam quickly unfolds into a complicated web of lies entwined with other sex workers, university admission committees, and a stoic man connected to Trevor’s past, played by Murray Bartlett. He, paired with Maslany, uses the series’ lunacy to their advantage, harnessing two magnetic performances that make each decision they make feel through the screen, as Paula and the series’ main antagonist play a dangerous game of cat-and-mouse.
The star power in the series is undeniable, but the true hero of the show is its craft, which allows the series to stake its claim as the most fascinating thriller of the year. The scenes in which Paula’s paranoia gets the best of her are shot with a kinetic ferocity, the camera darting back and forth between close-ups of her eyes and long shots of various pieces of evidence that she tries to make sense of.
Accompanying this dizzying camerawork is Wynne Bennett’s score, which kicks into gear with such intensity that it immediately gets your heart racing. The pulsating, club-like bass bleeds in and out of the show’s narrative just as fast as Paula’s life begins to crumble; paired with the audacious title, it’s hard to tell whether you should be thrilled or horrified.
Pumping through the veins of this series is the fearlessness that television’s most popular genre has desperately been missing. Although there are times when it feels like the plot may get ahead of itself, the various leaps creator David J. Rosen takes always manage to land rather than crumble under the weight of its own ambition. With these bold risks come an intensity that never wavers, and it becomes painfully clear that Paula is completely unprepared to exist in the new world she’s found herself consumed by. After she accidentally drops her daughter’s hockey stick at the scene of a crime, and leaves her laptop open at work after looking up various scams on Google, Paula’s naivety puts those she loves at risk, and it’s often her own careless actions that usher in new dilemmas.
With the help of her snooping coworkers Rudy (Charlie Hall) and Geri (Kiarra Hamagami Goldberg), the three band together in an attempt to prove not only that what Paula saw on that last video call with Trevor was real, but that she herself had nothing to do with his disappearance. As the deaths begin to pile up, everyone in her life, from her ex-husband to the detectives assigned to the case, begins to question not only her moves but her potential motives. With each reveal comes a gut-punch, and each episode leaves you wanting more.
In most shows of this vein, plots meander and performances by actors who clearly aren’t passionate about the work they’re creating wane. Thankfully, instead of losing its momentum, “Maximum Pleasure Guaranteed” never takes its foot off the gas.
All episodes were screened for review.
- Trailer for Peculiar Grief Film 'Miss You, Love You' with Allison Janney (May 21, 2026)
"I am his mother!" "Well then fight like one!" HBO has unveiled the trailer for a grief film titled Miss You, Love You, an awkward dark comedy with plenty of emotional drama. This film is releasing for streaming starting at the end of May for anyone to watch on HBO Max if you're curious. Miss You, Love You is written and directed by comedy actor Jim Rash, his latest since directing Downhill a few years ago. A widow plans her husband's funeral. Her estranged son sends assistant instead of coming himself. She ends up bonding with him instead. As they fumble through grief & their strange, darkly funny circumstances, buried secrets & long-held resentments surface, but their partnership becomes an unlikely conduit for connection, laughter, healing for this mom and her new "surrogate son". Starring Allison Janney as Diane Patterson, Andrew Rannells as Jamie Simms, with Bonnie Hunt, Suzy Nakamura, Oscar Nuñez, & Lisa Schurga. This actually looks really good - plenty of heated arguments that ultimately seem necessary despite their veracity. // Continue Reading ›
- Full Trailer for 'Jimmy' Movie with KJ Apa as James Stewart in WWII (May 20, 2026)
"Sir – don't I have the right to serve my country, just like anyone else does?" "America can't afford to lose Jimmy Stewart..." Burns & Co. has debuted the full official trailer for Jimmy, a peculiar new biopic look at the beloved actor James Stewart – aka Jimmy Stewart – and his early years as a pilot during WWII before going on to make It's a Wonderful Life (in 1946). Out in theaters in November this fall. The pitch: it's the untold story of America's most-beloved actor and the iconic role that saved him. KJ Apa stars as Jimmy Stewart in this Jimmy movie, with a cast including Max Casella as Frank Capra, Kara Killmer as Lady Julia, Julian Works, Sarah Drew, Jason Alexander as Louis B. Mayer of MGM, Rob Riggle, and Daniel Fee. An interesting cast for this indie production. "Jimmy Stewart was an American Hero. He was among a certain breed of men who understood the true meaning of sacrifice by fighting for our freedom," KJ Apa states. The story culminates in him taking on It's a Wonderful Life after the horrors of war. There's just something that feels really off about this despite being presented as another biopic. Get a closer look below. // Continue Reading ›
- Fun Trailer for RuPaul's 'Stop! That! Train!' Goofy Disaster Comedy (May 20, 2026)
"You're in the eye of the storm!" "You're telling me it has a face?" Bleecker Street has debuted the wacky & wild official trailer for the new campy comedy called Stop! That! Train!, a flashy and fancy and freaky adventure about a train disaster. This entertaining new creation from director Adam Shankman and creator RuPaul is hitting theaters in June right in the middle of the summer. All aboard! Two train stewardess BFFs switch from a dull railway to the luxurious Glamazonian Express. During a massive storm, they must work with snooty first-class crew and President Gagwell to prevent a disaster in Cali. The train might derail and crash into Los Angeles, so they must join forces with snobby first class attendants to save the day and keep the train on the right track. Or something like that! Everything about this looks like bonkers express service LGBTQ fun & mayhem. Stop! That! Train! stars Ginger Minj and Jujubee, with Symone, Brooke Lynn Hytes, Marcia Marcia Marcia, RuPaul, also Joel McHale, Chris Parnell, Natasha Leggero, and Jesse Tyler Ferguson. Plus Sarah Michelle Gellar and many others. 🚂 Well, don't forget to buckle up. // Continue Reading ›
- First Look Featurette for Michael Sarnoski's 'The Death of Robin Hood' (May 20, 2026)
"Sarnoski is one of the great voices in film today. There's a confidence in his storytelling that I was just blown away by..." A24 has debuted a quick "first look" promo featurette for The Death of Robin Hood, another re-imaginging of this classic legend of the English folk hero. "The legend was a lie," apparently he was just a killer. Grappling with his past after a life of crime and murder, Robin Hood finds himself gravely injured after a battle he thought would be his last. Now in the hands of a mysterious woman on an island, he is offered a chance at salvation. Death of Robin Hood stars Hugh Jackman as old man Robin, with Jodie Comer, Bill Skarsgård, Murray Bartlett, and Noah Jupe. They've been launching numerous trailers for this film, including another promo trailer a few weeks ago. Does it actually look good enough to watch? Is the twist on this Robin Hood tale even that good? This seems like it's watch a watch just to find out - and I trust in Michael Sarnoski (who's also in this promo video below). Out in theaters next month - have a peek. // Continue Reading ›
- Watch: Boots Riley Breaks Down His Filmmaking on 'I Love Boosters' (May 20, 2026)
"We need to make a movie that doesn't play on the little screen. It plays on the big screen." Panavision + neon have revealed a wonderful behind-the-scenes look at the making of Boots Riley's colorful & extra fun new film I Love Boosters. It's hitting theaters soon and looks like a must watch event. Another featurette about the cinematography choices and filmmaking style: "Writer & director Boots Riley invites us inside his mind palace to share how he made I Love Boosters: hand-drawn storyboards, miniature sets, costumes, lighting, anamorphic cinematography, & custom prototype lenses build specifically for the film." Featuring production designer Christopher Glass, cinematographer Natasha Braier ASC, and Panavision's Dan Sasaki, Boots walks through how the team transformed his ideas, textures, color. Ever since Ryan Coogler's Sinners video last year, Hollywood is obsessed with making these featurettes for every major must-see-on-the-big screen new release (the one for Project Hail Mary is also good). I love this because it embraces the colorful, zany, funky style Boots is known for. The film follows a ragtag group of shoplifters who take aim at a cutthroat fashion maven. This stars Keke Palmer, LaKeith Stanfield, Naomi Ackie, Demi Moore, Hannah Alline, Don Cheadle, Eiza González, Will Poulter, Poppy Liu, and Taylour Paige. Enjoy. // Continue Reading ›
