- Cannes 2026: Dua, Flesh and Fuel, Six Months in a Pink and Blue Building (May 21, 2026)
If the response to the competition has been muted thus far, then the immense quality of the sidebars has more than made up for it. Critics’ Week is one such sidebar, and this dispatch includes three works that are among the best films playing at Cannes. These are films from creatives who one can imagine will eventually have pictures in the competition, and in the case of Blerta Basholi, should probably already have one there. So let’s dive into her film first.
A fraught coming-of-age story set in Pristina, Kosovo, in the late 1990s, Blerta Basholli’s “Dua” cleverly navigates the tragedy of watching your country fall apart just as you’re coming into your own. Dua (Pinea Matoshi), a 13-year-old Albanian girl, is at the center of a maelstrom of teenage angst and cultural mourning experienced under Serbian violence.
Basholi, the filmmaker behind Kosovo’s 94th Academy Award submission “Hive,” smartly, however, doesn’t immediately dive into the oncoming turmoil. She opens quite cheekily with a teenage slow dance between Dua and another boy, set to Seal’s “Kiss From a Rose.” That party is broken up by the police, causing these kids to scatter through the streets like punk rockers rebelling against the man. Why are these cops pursuing these young teens so fervently? Basholi doesn’t immediately answer that question. Instead, she allows the world’s discrimination to surface organically.
Dua, we find, lives with an older brother and sister, her unemployed mother and father, in a household that requires odd jobs and government assistance to make ends meet. She has few friends, which makes her vulnerable against a local band of attacking Serbian hooligans and the sexual assault by an older, neighborhood Serbian man, which will eventually cause her to search for tools to defend herself. Her classmate Maki (Vlera Bilalli), a refugee from another country, inspires Dua to take up Judo, a sport that gives her some self-confidence to seek revenge.
From this point on, a lesser director would limit Dua’s perspective, allowing for the possibility that personally defiant acts—such as standing up to bullies—can stop wider horrors. Basholi doesn’t allow for such childlike fantasies to take hold. She’s given us a practical, observant protagonist, one who, even when she closes her eyes so she doesn’t hear cops beating up her father, still takes in the grisly information that surrounds her. Televised news and radio broadcasts further elucidate the precariousness of a people who feel abandoned by the world. Such violence forces many to flee and causes cracks and fissures to show in Dua’s once tight-knit family, putting Dua in a terrible position to absorb blows that are far beyond her age.
Matoshi, a revelation, magnificently oscillates between shrewd stoicism and carefree frivolity, giving equal weight to a cool stare and a beaming smile. Basholi operates with a similar dexterity, opting for immense scale when needed—particularly through her frenetic use of handheld—and for moments of cautious intimacy in character-based joy and sorrow. At every turn, “Dua” remains clear-eyed and honest. Because this film is not solely about the pain of losing control of your family and your country, though that feeling hits with incredible resolve, too. It’s also a film that firmly shows how that loss can be an emotional and psychological heartache of discovering that no amount of self-care can wholly overcome the effects of displacement and bigotry.
A gentle queer romance about two long-haul truckers that recalls “God’s Own Country” and “Je, tu, il, elle,” Pierre le Gall’s “Flesh and Fuel” is a fulfilling drive down a passionate road. The taut 90-minute journey, told with bracing ease, initially follows a quiet Étienne (Alexis Manenti) living a repetitive life: hauling goods to the same cities, cleaning himself with baby wipes in the same rest-stop bathrooms, and continually checking in with his dutiful dispatcher. He’s not married, but does have a sister and a nephew. He’s also deeply professional, chastising a new, young hire when he notices they lack care and precision.
Initially, there doesn’t appear to be much happening under Étienne’s stoic exterior. That is, until he goes cruising through the woods. There, he happens upon the Polish immigrant and fellow long-haul trucker Bartosz (Julian Swiezewski), beginning a relationship whose rapturous intensity is often separated by speed and distance.
“Flesh and Fuel” isn’t concerned with traumatizing audiences by resorting to leaning on emotionally and physically traumatic violence (though, to be clear, the cruising scene does alert viewers that such public sex carries a one-year jail sentence). Nor is it a coming-out story (Étienne and Bartosz’s families are quite open and supportive of their gayness). Instead, the film is merely and refreshingly a simple picture about two men who want to be together despite lacking the emotional tools to fully commit to one another.
“Flesh and Fuel” does deploy Étienne and Bartosz’s fitful romance to explore other subjects. Étienne’s company, for instance, is deemed “too expensive” by many European companies (they pay their drivers properly and allow for requisite time off). Étienne must shift toward hauling goods to England, which will take him further away from Bartosz. Consequently, Bartosz, an immigrant working for an exploitative company that requires him to drive far longer for significantly less pay, must cover more of Europe. The strain in their routes causes their harmonious relationship to buckle.
Moreover, the film doesn’t treat Étienne and Bartosz as outsiders among long-haul truckers; there appears to be a broader practice of queerness within this profession, allowing “Flesh and Fuel” to feel emotionally organic rather than thematically contrived. The only part that doesn’t work, funnily enough, is Étienne’s straight colleague, who feels more like a plot device than a fully fleshed-out person. Nevertheless, between Manenti and Swiezewski’s vulnerable performances, the film’s spirited score, and Gall’s trust in his actors, which culminates in a moving take that allows for a flurry of expressions to envelop Manenti’s face, “Flesh and Fuel” carries one’s heart for the long haul.
One of the more formally adventurous films in Critics’ Week is writer/director Bruno Santamaría Razo’s heartfelt queer coming-of-age story “Six Months in a Pink and Blue Building.” Told in bracing detail and with amusing vibrancy, Razo’s film begins to move intimately, using documentary and narrative as vehicles. It opens with Razo’s mother sitting on her bed recounting the moment when they believed the director’s father was dying. From here, we snap into the fictionalized narrative, wherein an 11-year-old Bruno (Jade Reyes), growing up in Mexico City in 1996, revels in living with his Bohemian parents, Mundo (Lázaro Gabino) and Diana (Sofia Espinosa).
Their home is open and cozy, filled with his father’s illustrations, several paintings, and many knick-knacks. Parents and children navigate freely through one another’s spaces and partake in lively parties. In one early scene, Mundo is doing his makeup while Bruno tries on crop tops. They will proudly parade through their home like a runway, basking in the frivolity of their family and community. Underneath their celebration awaits a heart-stopping diagnosis: Mundo has HIV. That existential news untethers the close bonds between Mundo and Diana, and even between Mundo and Bruno.
Following in the footsteps of “Aftersun” and “Blue Heron,” “Six Months in a Pink and Blue Building” doesn’t treat its autobiographical elements as hermetically sealed moments in time. Instead, there’s a winking artificiality to Razo’s approach that leans into the limitedness of his younger fictional self’s childlike perspective. As such, the strain in Mundo and Diana’s relationship is more acutely felt in the documentary elements than in the narrative, as though the present tense breaks the sheen of the past, in which even family tragedy doesn’t appear to fully upset Bruno’s childhood.
Instead, far greater attention, at least by the fictionalized Bruno, is paid to his queer awakening. At one point, he sneaks onto the set of “Romeo + Juliet,” which is filming in the nearby Templo del Purísimo Corazón de María and causes a constant barrage of helicopter noise in the film’s soundscape. Colorful wardrobes and delicate interpersonal relationships further elucidate Razo’s careful recollection of his queer awakening, as does Reyes’ ebullient performance as his fictional avatar. “Six Months in a Pink and Blue Building,” therefore, isn’t simply a parsing of imperative recollections from a rocky moment in one’s family history, but an eloquent excavation of a quiet personal pain that a child might register but is only fully understood in adulthood.
The contemporary Razo approaches those hard truths with tenderness, making his coming-of-age film as artistically powerful as it is achingly present.
- Cannes 2026 Video #7: Festival Dispatch with Jason Gorber (May 21, 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. In this video dispatch, Jason Gorber reflects on his time at the fest, from his first Cannes to some favorites he’s experienced so far this year.
Watch the video and enjoy an edited transcript below.
Jason Gorber:
It’s amazing to be back here at the Cannes Film Festival. The first time I was here was in 1996. So it’s technically been 30 years since my first attendance, and I’ve never been to a weirder-feeling festival. It’s one thing that Hollywood hasn’t really shown up this year, but even the films themselves, some of them have sort of struggled to gain momentum, and I have a feeling that a lot of the films that people are really holding onto tightly aren’t ones that are going to play super well once the festival actually ends.
One of the films is actually quite lovely, but maybe a little bit forgettable, starring Adèle Exarchopoulos. She’s actually a Palme d’Or winner because she and her co-star, Léa Seydoux, won the award for Best Actress for “Blue Is the Warmest Color.” This is another lesbian romance with Adèle Exarchopoulos. She’s done this several times in the past, but this one has a little bit of a twist that she is an alcoholic, and it’s her struggling through her alcoholism as a young girl, coming up, going to parties, doing all the stuff in queer clubs and stuff like that.
As she finds herself and finds her sort of community, but realizes that one way of getting over her anxiety is to actually consume too much alcohol. So it’s a medical drama. It’s a social drama. It’s a relationship drama. It’s very French, and none of it would work at all, except that Adele is so fantastically charismatic on screen, and you really find her own struggles, as well as the warmth of her character, believable. It’s as simple as that. So the documentary-like elements of this film, I think, work. It’s a very, very French film. It’s, in some ways, a very Cannes film, but it might not be a major one. And I think a lot of times people come, especially when they’re looking at competition films for that big, splashy thing that’s going to come out of it.
This is not a film that a lot of people are championing, but I still think it’s actually one of the strongest ones I’ve seen that’s actually playing here, because it allows an actor who has incredible technical skills to provide emotionality in a way that’s rarely seen, especially, on the course that where they’re sometimes much more worried about what the composition looks like, more than they’re worried about how the actual characters are believable and actually are engaging.
Adèle Exarchopoulos:
I wanted to be part of the adventure. I wanted to take on this part. Also, I felt a little scared. Jeanne’s film, well, I was with a friend a week earlier, and I said, I dream about being in a film made by Jeanne Herry, and then I got the phone call a week later. I love the fact that she was exploring something new.
She puts herself in danger. It’s quite rare to be offered a portrait of a woman today. There’s also a fantastic love story in the middle of the film. There’s something in Jeanne’s cinema that deeply moves me. I think she creates great intensity while being gentle.
Jason Gorber:
So it’s been a couple of years since “Flow” completely dominated so much of the conversation here at Cannes.
Making original animated films is one of the core activities in the program this year. The film that is getting a lot of people talking is called “Tangles.” It’s actually one of the few films that has some A-list stars here. You have people like Seth Rogen and Abbi Jacobson, but it’s Julia Louis-Dreyfus, who, just a couple of weeks ago, was a “Sheep Detective,” who is here in Cannes playing the mom who suffers from Alzheimer’s.
It’s based on a graphic novel, and it tells a really fascinating story of a young girl again struggling with her own sexuality, struggling, finding her community, but then realizing that she has to go back to her sort of small town in Maine and actually take care of her mom, who’s declining mentally. The animation is actually quite stunning. It’s a very specific, sort of hand-drawn look.
The character voices are quite engaging. There’s an emotional too. I think some people will find it a little trite, a little on the nose, especially because of the music selection. But I think there’s an earnestness to this film that will absolutely engage some people completely. I heard a lot of sniffling during my screening.
A lot of people are actually really drawn to its emotionality.
So many people here come to Cannes for the red carpets, the glamour, the exotic costumes as they walk up the red carpet. I come in part for the documentaries. So there have been some amazing documentaries that have played in the past. Some not so good, including this year. But the fact is that nonfiction cinema has found a home at Cannes, particularly in the Classics section.
They make a lot of terrific films about movies. Mark Cousins is here with his ongoing series of chapters on the history of documentaries. Terrific. I saw an excellent David Lean documentary, a much-deserved one, introduced by Cate Blanchett. She does the narration. Sir Kenneth Branagh does the voice of David Lean. It is one of these great films about films that showcases a very complex character, and in so doing, recognizes the humanity behind the lens.
I think it does an extraordinary job of making sure that you can see him for all of his faults. It actually became quite a running joke that the number of women that he was just trading up, or as their ages traded down, the audience, very French, was enjoying that quite a bit. It actually matched very nicely with “Avedon,” Ron Howard’s latest film with the famed photographer Richard Avedon and his journey from, doing fashion photography in the 40s, going to Paris and resuscitating, in part, the glamour of Paris and a bombed out city postwar, all the way through to his more political actions, taking shots of politicians but also going to oil workers, etc.
He had such an incredibly keen eye, and it’s really challenging to make a film about photography that does it justice and actually shows how the sort of immaculate compositions work out. But the way that the filmmakers have actually brought together, I think, it’s incredibly strong. Then, on the other hand, you have stuff like Steven Soderbergh, who absolutely laid an egg with a John Lennon doc, which is one of the most egregious documentaries I’ve seen in many years, made even worse by the fact that it has all this AI nonsense trapped on top of it.
It’s a bad John Lennon documentary, made worse by his use of artificial intelligence. So sometimes you get some glory, sometimes you get some absolute fault. But it wouldn’t be Cannes if we didn’t have the highs and the lows. Sometimes the clouds get a little bit gray, sometimes the sun shines. But it’s incredibly special for me to be here as part of this year’s Cannes and to have my name associated in any way with the Ebert brand, which continues this incredible tradition.
I couldn’t be more and more thrilled to actually be part of it.
Voice over:
On today’s Cannes flashback, we’ll take a look at 2014. When Jason Gorber first arrived in Cannes with a press pass.
Jason Gorber:
This is my first time in Cannes as a member of the press. I was here 18 years ago as a student. I was in Aix-en-Provence just a couple of miles up the road. And I packed my tuxedo, thinking I might make it to the Cannes film festival. I talked my way in, and I had a pass. That’s where I first met Roger Ebert, actually. So I was here, and I promised myself that one day I would come back and work very hard. And here I am, in the press, at the Cannes Film Festival.
Based in Toronto, I’ve been going to TIFF for almost 20 years now.
And so, at TIFF, you have a balance between the public and the industry that sort of works its way out. Here, it’s all industry and all crazy. Between the divides of the red carpet and what tickets you need and the tuxedos and all of that stuff. Just getting your head around all that and the mass of humanity that’s here. It’s unlike any other festival.
Plus, of course, three-quarters of the films are playing to the market, which, as the press, we have no access to. They don’t want us to see these films because they’re not ready for review yet. Sometimes they’re just a poster, some terrible poster of a film that might be sold in some market that maybe we’ll see six years from now that involves the shark fighting a Tyrannosaurus rex.
I mean, this is what Cannes is about. It’s the high and the low. The collision between those with million-dollar cars and those sitting outside at 7:00 in the morning in the hopes of seeing somebody like me walk up the red carpet, and they think, oh, he’s famous. He’s in a tuxedo.
Voice over:
That’s all for now. But keep checking back each day at RogerEbert.com/festivals for more reviews, reports, and reactions.
See you next time.
- Netflix’s “The Boroughs” Offers a Clever Spin on the “Stranger Things” Formula (May 21, 2026)
The easy shorthand for how to describe Netflix’s “The Boroughs” is that it’s like “Stranger Things” with walkers instead of bicycles, and that’s not just because of the foundational similarities in its plotting. The score, the credits font, and even the creature design all share a bit of that Duffer Brothers flavor, which makes sense given their credits as producers, but I would argue that it boasts DNA with the ‘80s creators that inspired the pop culture juggernaut, more than it seeks to copy the formula of the modern-day hit.
And probably only people versed in the sci-fi of the era will come with me when I say this is more Joe Dante or even Robert Zemeckis than it is the Spielberg/King stew that inspired the Duffers. It has that B-movie-meets-suburbia vibe of something like “The Burbs” or “Gremlins,” right down to a cast old enough to remember when those movies were hits (like me). Overall, it’s a fun ride with just enough emotional weight given to it by an excellent ensemble. It suffers from a few common Netflix original issues like a washed-out color palette and awkward length, but these stars from the ‘80s know how to deliver character-driven escapism that would have been right at home in the era when many of them became household names.
The Boroughs. (L to R) Denis O’Hare as Wally, Alfred Molina as Sam, Alfre Woodard as Judy in The Boroughs. Cr. Courtesy of Netflix © 2026
Sam (Alfred Molina, as good as he’s been in years) is facing the commonly intertwined hurdles of grief and aging. His wife, Lilly (Jane Kaczmarek), recently passed away, leaving him alone in The Boroughs, a seemingly perfect retirement community in the middle of the New Mexico desert. With no one around for miles, The Boroughs has everything its residents could need, including a gym and even a mental hospital for when dementia strikes its citizens. It’s almost like its own society, right down to a charismatic community manager named Blaine (Seth Numrich) and his gorgeous wife Anneliese (Alice Krembelberg). With its own medical and security teams, what could go wrong?
As he’s navigating his way out of his grief, Sam is struck by a tragedy that won’t be spoiled, but it leads him to get in touch with the former resident of his Boroughs abode, Edward (Ed Begley Jr.), who has been hospitalized after talking about monsters and things in the wall. Of course, Edward isn’t entirely crazy, but no one believes him when he says there’s a threat out there in the desert. It’s easy to dismiss the concerns of the elderly, especially when they’ve been cut off from the rest of society. And it’s easy to think that their proclamations of monsters in the middle of the night are merely symptoms of dementia. What if they’re not?
Sam joins forces with a Mystery Machine gang of engaging characters: Judy (Alfre Woodard) is struggling through a degrading marriage to her husband Art (Clarke Peters) when tensions rise; Wally (Denis O’Hare) is facing a terminal cancer diagnosis when he’s given what could be a final chance to be a hero; Renee (Geena Davis) is surprised to find herself in a fling with a security guard named Paz (Carlos Miranda), who joins the monster hunters. Other familiar faces fill out the ensemble, like Jena Malone as Sam’s daughter and Bill Pullman as a neighbor who really starts the sci-fi ball rolling.
The Boroughs. Geena Davis as Renee in The Boroughs. Cr. Courtesy of Netflix © 2026
It’s a fantastic cast, in that every single member adds something different to the team. Molina, Woodard, and O’Hare end up being the core of the show, and they all do the work to delineate their characters, giving them back stories and emotional interiority that a lesser version of this show wouldn’t have allowed. We can all picture the generic old-folks variation on this tale, one that diminishes the leads as real people and merely uses them as cogs in a monster-show machine. Molina finds emotional grace by overcoming loss through action; Woodard conveys a defeated anger at a life that robbed her of an unexpected happiness; O’Hare captures a man who was once a potential hero, finding a way to become one again through science. They’re all great.
Not everything about “The Boroughs” works. It has a washed-out, beige color palette that is probably meant to reflect the sandy air of New Mexico but feels almost antithetical to the era that inspired it (Dante loved color!). And the show really peaks in the fifth episode, the best of the season, but then has three more to fill. Instead of racing to the end, the requirements of a Netflix season order demand that the pace slacken a bit.
Still, there’s more than enough to like about “The Boroughs,” a show that will be written off by some who don’t watch it as “Elder Things” but works because its excellent cast takes it more seriously than that.
Whole series screened for review. On Netflix now.
- 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, but it’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 a 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 for her parents not inviting 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 the sweatiness in the intimate scenes 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 a 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 beyond that point. 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
Cannes 2026 Video #7: Festival Dispatch with Jason Gorber
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: Dua, Made of Flesh and Fuel, Six Months in a Pink and Blue Building by Robert Daniels
- 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 ›
