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Jane Morgan, the elegant American singer who dazzled audiences in Paris nightclubs, on just about every TV variety show of her era and at the Oscars and had a hit record with the lovely standard “Fascination,” has died. She was 101.

Morgan was in hospice care and died Monday in her sleep of natural causes in Naples, Florida, her family announced.

A classy performer known for her silky smooth phrasing, Morgan moved from New York to France in the late 1940s to build her career before returning the U.S. and becoming a very popular singer through the mid-1960s.

She recorded about 40 albums around the world and sang in five languages, making her a true international star.

Morgan appeared dozens of times on The Ed Sullivan Show and was a welcomed recurring guest on Johnny Carson’s Tonight Show, Perry Como’s Kraft Music Hall and The Hollywood Palace and...

The Wiz, Spine #1264, is now available on 4K in the Criterion Collection.

My relationship to The Wizard of Oz, like most people, begins in the very early years of my childhood. I don’t remember the first time I saw the 1930s classic, but as far back as I can remember, it was an important part of my upbringing. My relationship to The Wiz is different. I was always aware of its existence, and I recall watching small moments of it on cable television at a young age, but I never sat down and watched it in its entirety until now.

The Wiz plot

Dorothy (Diana Ross) is a teacher in Harlem struggling to find her place and her purpose. When she’s magically transported to the fantastical land of Oz, she must embark on a journey unlike anything she’s ever experienced before. Along the way, she’ll meet...

Exclusive: Iconic French actress Catherine Deneuve has been set to receive a Lifetime Achievement Award at the Taormina Film Festival in Sicily next month. The Oscar nominee will be honored during a gala evening at the Teatro Antico, where she will present her most recent film, Spirit World, from director Erik Khoo.

The star of such films as The Umbrellas of Cherbourg, Les Demoiselles de Rochefort, Belle de Jour, Le Dernier Métro, Indochine, Place Vendôme and 8 Women, Deneuve is next set to star in Asghar Farhadi’s Parallel Tales.

Spirit World, which released in France last year, will be distributed in Italy by Europictures beginning June 26.

Taormina Artistic Director, Tiziana Rocca, commented: “It is an immense honor to welcome Catherine Deneuve to the Taormina Film Festival. Her presence is a gift for our audience and for cinema as a whole. With her grace and talent, she has traversed the history of the seventh art,...

The Umbrellas of Cherbourg, Spine #716, is now available on 4K in the Criterion Collection.

The Umbrellas of Cherbourg is one of those legendary films that every self-respecting cinephile knows about. They’ve either seen it and sing its praises or have it on their watchlist and secretly live in shame for not watching it yet. I was in the latter category, having the musical on my watchlist for decades without pulling the trigger. Perhaps I was unknowingly waiting for this moment to watch it in the beautifully restored 4K addition to the Criterion Collection’s catalog. While I regret waiting until I was in my late thirties to see the movie, it was worth the wait.

The Umbrellas of Cherbourg plot

Geneviève is the young daughter of an umbrella shop owner who falls head-over-heels in love with Guy, a local mechanic. When Guy is drafted and shipped off to war,...

The increased connection between the Cannes Film Festival and the Academy Awards is a hot topic as the 78th festival arrives. You’ll find plenty about it elsewhere in TheWrap’s latest magazine issue, and with good reason: Last year’s festival premiered seven films that received a total of 30 nominations and won nine Oscars, including five for Palme d’Or and Best Picture winner “Anora.”

But let’s back up for a little history. The festival’s top prize was renamed the Palme d’Or in 1955, and its first winner under the new name was Delbert Mann’s romantic drama “Marty,” which went on to win the Oscar for Best Picture. That one-two punch wouldn’t happen again for another 64 years, until 2019’s “Parasite” did it, followed five years later by “Anora.”

Still, there’s always been some overlap between the two bodies, even though these are very different groups of voters.

With America not only spinning out of control but threatening to take the rest of the world with it, the Cannes Film Festival can be a place to play out that tumult, to see it writ large — on the big screen, where over the next two weeks it inevitably will be. It hardly matters that the films showing at Cannes were made before Trump took office. Movies are psychic, and always have been. It’s all but assured that a number of Cannes offerings this year — and, indeed, the very vibe of the festival — will channel the new world disorder.

But there’s another side to Cannes. Each year, the festival presents itself as a sanctuary, a ritzy oasis, a cinematic shelter from the storm. That’s the cozy bourgeois side of Cannes. Just look at the official poster for this year’s festival. You might have expected it to...

Jacques Demy’s The Umbrellas of Cherbourg retains its direct appeal to the eyes, ears, and tear ducts after more than 60 years, with an emotionalism that’s shameless but never crass. A melodrama about first love set in the French port city of the title, it stood as a bold reinvention of the movie musical in 1964, just as the genre was beginning a nosedive in its Hollywood birthplace.

It became an international hit celebrated for Michel Legrand’s sung-through score, a primary-color palette that gave its settings the aura of a fairy tale, and Demy’s success in getting audiences to blubber at the pathos of thwarted romance, decorously adding elements like teen pregnancy and prostitution that were unseen in the Hollywood musical. If the aesthetics of characters bursting into song was starting to meet with resistance as the Beatles prepared to storm the globe, Demy consciously upped the ante...

Physical media culture is alive and thriving thanks to the home video tastemakers hailing everywhere from The Criterion Collection to Kino Lorber and the Warner Archive Collection. Each month, IndieWire highlights the best recent and upcoming Blu-ray, DVD, and 4K releases for cinephiles to own now — and to bring ballast and permanence to your moviegoing at a time when streaming windows on classic movies close just as soon as they open.

The summer movie season is around the corner, though Ryan Coogler’s box-office wonderment “Sinners” has certainly taken a headstart bite out of it. It’s already grossed $168 million worldwide and is still climbing, though “Thunderbolts*” — receiving more praise than usual for recent Marvel titles — looks to dethrone it as the weekend’s top film.

That said, if you’re looking to not leave your sofa this month or are fatigued by scrolling through streaming offerings, there are some...

Caroline Vignal’s It’s Raining Men follows Iris (Laure Calamy), a Parisian dentist whose stagnant marriage propels her into a whirlwind of app-driven dalliances, blending cheeky humor with poignant introspection.

The film’s premise—middle-aged desire clashing with marital complacency—echoes the French tradition of treating infidelity as a nuanced exploration of human complexity rather than a moral failing. Vignal situates this tale within a cultural landscape where Anglo-American audiences might demand judgment, yet here, the focus remains on Iris’s liberation.

The script nods to classics like Breathless in its breezy defiance of narrative rigidity, though Vignal swaps Godard’s frenetic jump cuts for lush, surreal detours, such as a spontaneous musical sequence set to the titular anthem.

This juxtaposition of grounded realism and whimsical escapism mirrors France’s ambivalence toward tradition and modernity—a tension as relevant in today’s #MeToo era as it was in the heyday of the Nouvelle Vague.

Film enthusiasts have much to anticipate in May with a captivating lineup of releases that span various genres and eras for the estimable Criterion Collection.

This bespoke DVD/Blu-Ray label’s eclectic selection for May includes three new films never part of the collection before Charles Burnett’s classic black-slice-of-life street poetry film, “Killer of Sheep,”—often described as very Terry Malick in tone— Abbas Kiarostami’s “The Wind Will Carry Us,” and Richard Lester’s “The Three Musketeers/The Four Musketeers.”

Read More: Criterion’s April Releases Include ‘Anora,’ ‘Chungking Express,’ ‘Some Like It Hot’ & More

Previously released titles either long out of print or upgraded into new editions include Bruce Robinson’s “Withnail and I” and “How to Get Ahead in Advertising,” Jacques Demy’s “The Umbrellas of Cherbourg,” and Norman Jewison’s “In the Heat of the Night.” These films offer a unique glimpse into the artistry...

Marking one of their biggest upgrade months yet, the Criterion Collection is consecrating May 2025 with new 4K editions for The Umbrellas of Cherbourg, In the Heat of the Night, and (reaching well back into the library) Withnail and I, running a gamut from opulent, fantastical color to solid 60s-studio sheen to the outright gnarly.

Meanwhile, Charles Burnett‘s legendary Killer of Sheep is given a major upgrade as Richard Lester’s Three Musketeers / Four Musketeers duet also earns full honors. Which should not distract from Abbas Kiarostami’s epochal The Wind Will Carry Us coming to Blu-ray, nor the same for another Bruce Robinson-Richard E. Grant collaboration, How to Get Ahead in Advertising.

See artwork below and more at Criterion:

The post The Criterion Collection’s May Lineup Features The Umbrellas of Cherbourg on 4K, The Wind Will Carry Us & More first appeared on The Film Stage.

Chiara Mastroianni has carved her own shape in the French film industry, even despite carrying her father Marcello’s name and being the daughter of Catherine Deneuve. She’s worked with Robert Altman, Claire Denis, Raúl Ruiz, Gregg Araki… we could go on. Yes, she’s the daughter of the stars of “La Dolce Vita” and “The Umbrellas of Cherbourg,” but her career is marked by bracingly original work with iconoclastic directors. Her father died in 1996, and she got the chance to work with him in a handful of films, including Altman’s “Pret-a-Porter.” But she mostly had to settle for knowing her parents as a couple onscreen, as they broke up when she was just two years old.

Still, see it in the picture above: Chiara does look like her father. In her new film “Marcello Mio” (Strand Releasing), now in theaters and directed by her friend and frequent collaborator Christophe Honoré,...

French New Wave fans, rejoice. One of Jean-Luc Godard’s most colorful, joyful, and unapologetically playful masterpieces of the 1960s has received a new 4K restoration. And New Yorkers will have the chance to catch it on the big screen this February.

Godard’s 1961 musical romantic comedy “A Woman Is a Woman” will screen at Film Forum in New York City from February 7-20, which will mark the U.S. premiere of the restoration.

Released in 1961, a year after the Cahiers du Cinema veteran secured himself filmmaking immortality with “Breathless,” “A Woman Is a Woman” was Godard’s tribute to Hollywood’s Technicolor musical comedies. Featuring the bright color scheme that he would return to for films like “Contempt” and “Pierrot Le Fou,” the film stars Godard’s then-wife and frequent collaborator Anna Karina as a dancer who, eager to have a child, entertains the romantic pursuits of two men...

There are few movies in recent memory as incomparably high-profile as Barbie (2023). Due to the "Barbenheimer" phenomenon, as well as the involvement of industry darlings such as Margot Robbie, Ryan Gosling, and, of course, the beloved director of "girly movies" Greta Gerwig. It quickly went down as one of history's most significant cinematic moments, becoming the 14th highest-grossing film of all time.

From the onset of the pink-covered press, the Barbie team pushed a moral of female empowerment, synonymous with the Barbie toy brand. However, when it came to the actual content of the movie, many viewers felt that there was plenty left to be desired when it came to Barbie's feminist messaging. While there is plenty to applaud about Barbie, notably its stellar production design and brave comedy, one must consider the impact that such a confused movie with such a distinct social responsibility will have on generations to come.

NYC Weekend Watch is our weekly round-up of repertory offerings.

Museum of the Moving Image

See It Big! Let It Snow brings 35mm prints of All That Heaven Allows, Doctor Zhivago, and Meet Me In St. Louis.

Museum of Modern Art

A dual celebration of Marcello and Chiara Mastroianni continues, this weekend bringing films by Raúl Ruiz and Marco Bellocchio.

Anthology Film Archives

A look at Robert Frank and his influences continues, including Chantal Akerman’s Toute une nuit and Blue Velvet on 35mm, while Scenes from the Streets begins.

Roxy Cinema

The New World and The Magnificent Ambersons shows on 35mm; Hardcore plays Friday and Saturday, the latter day bringing a Paul Schrader Q&a; Eastern Promises and Paul Verhoeven’s Elle also screen.

Metrograph

Lost In Translation, 2046, Phantom Thread, and Brokeback Mountain play on 35mm; The Holidays at Metrograph, It Looks Pretty from a Distance, and This...

The entertainment world is no stranger to speculation and intrigue in the personal lives of celebrities, especially after a celebrity suddenly comes into the spotlight. And so has been going on for the 1/2 of the iconic Wicked pairing, Cynthia Erivo, whose impeccable portrayal of Elphaba has made her a global star overnight. While she was already a household name due to her performances in projects like Harriet, The Color Purple, and more, her involvement in the musical film has renewed fans’ interest in her personal life.

Cynthia Erivo | Credit: Instagram / @cynthiaerivo

As one of Hollywood’s most talented figures who has been constantly garnering praise and acclaim, the actress has managed to keep a relatively private life. Yet, the rumors of her relationship with the actress and screenwriter Lena Waithe have been all over the internet. Although both actresses are open about their sexual identity, they have yet to confirm their relationship publically,...

Joshua Oppenheimer wasn’t planning on making his narrative feature debut about the end of the world — and he certainly didn’t think it would be a musical. And yet, eight years after the idea popped into his head, at last his bold opus has come to the big screen, ready to jolt audiences out of their complacency.

The End (in theaters now) is like no other movie this year. Yes, there are several that feature singing and dancing, but none of those take place in a lavish underground bunker...

For filmmaker Joshua Oppenheimer, the beginning of “The End” came somewhat unexpectedly as an extension of his work in documentary. This might sound strange considering this narrative feature is a musical set in the bunker of a family partly responsible for an apocalyptic event 25 years prior, but throughout the project’s inception, production, and edit, Oppenheimer was constantly drawing upon his skills as a documentarian to further his examination of humanity’s ability to — drawing upon a fitting allegory — “fiddle while Rome burns.”

To hear Oppenheimer tell it, if there were a way to have told the story depicted in “The End” as a documentary, he probably would have. In a recent interview with IndieWire, he said he intended to follow 2012’s “The Act of Killing” and its 2014 followup, “The Look of Silence,” with a third documentary about the oligarchs who exploited the pain and suffering of those featured in these films to enrich themselves.

NYC Weekend Watch is our weekly round-up of repertory offerings.

Museum of the Moving Image

See It Big! Let It Snow brings 35mm prints of Kurosawa’s Dersu Uzala, 1994’s Little Women, and McCabe & Mrs. Miller.

Film at Lincoln Center

Mike Leigh’s Secrets & Lies shows on Saturday with an introduction from Marianne Jean-Baptiste.

Film Forum

The Umbrellas of Cherbourg and The Wages of Fear play in 4K restorations.

Metrograph

La Dolce Vita, Permanent Vacation, Death By Hanging, and The Art of the Steal show on 35mm and Lino Brocka’s Bona starts screening; Ed Lachman’s Report from Hollywood and Urban Ghosts begin while Absconded Art, The World Is a Stage, and Crush the Strong, Help the Weak continue.

IFC Center

It’s a Wonderful Life and a 4K restoration of Carrie plays daily; 2001, Spider Baby, Threads, and Alien show late.

Museum of Modern Art

A Robert Frank centennial continues.

A work of profound optimism, an ambitious mishegas staring into the abyss, an experimental theater piece trapped on film, the most bizarre musical of the year in an annum filled with strong contenders for that title — this is only the beginning of possible descriptions for The End, Joshua Oppenheimer’s wild swing for the fences. A Sondheim-esque tale that’s tuneful and atonal in equal measures, this tale of a collective living in extravagance as the world gasps its last ecological breath is the kind of movie you want adventurous cineastes to make,...

As a genre, movie musicals have had some serious ups and downs throughout Hollywood history. Right now, they definitely seem to be on an upswing, especially now that the long-awaited "Wicked" movie blew everyone away at the box office — and it was only the first half of the musical to boot.

In recent years, movie musicals like "Wonka," "Mean Girls," "The Greatest Showman," "La La Land," and even the filmed stage version of "Hamilton" have become enormous hits, though critical reception has been decidedly mixed across these projects. So what are the best musicals ever according to the official Rotten Tomatoes ranking of movie musicals? Only three musicals earned 100% ratings on the review aggregate, which is — I have to say — a little surprising, largely because some all-time classics apparently missed the cut. For example, "The Sound of Music" and the original "West Side Story" only earned 83% and 92%, respectively, despite being two staples of the genre,...

A heavy influence on major recent Hollywood musicals such as La La Land, Barbie, and even, perhaps most blatantly, Joker: Folie à Deux, Jacques Demy’s musical masterpiece The Umbrellas of Cherbourg has been restored in 4K for its 60th anniversary. Starring Catherine Deneuve and Nino Castelnuovo with music by Michel Legrand, the restoration will now roll out at NYC’s Film Forum starting on December 6 and at LA’s Laemmle Royal a week later, followed by a larger release.

Here’s the synopsis: “An angelically beautiful Catherine Deneuve was launched to stardom by this dazzling musical heart-tugger from Jacques Demy. She plays an umbrella-shop owner’s delicate daughter, glowing with first love for a handsome garage mechanic, played by Nino Castelnuovo. When the boy is shipped off to fight in Algeria, the two lovers must grow up quickly. Exquisitely designed in a kaleidoscope of colors, and told entirely through...

This past weekend saw the release of “Wicked,” a movie musical that broke all sorts of records. If you saw “Wicked” and want to expand your love of musicals, take a look at one of the greatest musicals of all time with “The Umbrellas of Cherbourg.”

Read More: The Essential Jacques Demy: The Director’s Candy-Colored Films Get The Criterion Treatment

To celebrate the film’s 60th anniversary, Janus Films is set to release a new 4K restoration of “The Umbrellas of Cherbourg.” The film tells the story of the daughter of an umbrella shop owner who falls in love with a mechanic.

Continue reading ‘The Umbrellas Of Cherbourg’ 4K Restoration Trailer: Jacques Demy’s Classic Musical Celebrates Its 60th Anniversary at The Playlist.

"My love, oh my love." ☂ Janus Films has unveiled the official 4K re-release trailer for The Umbrellas of Cherbourg, which is getting a US theatrical release starting in early December. Jacques Demy's all-timer musical classic The Umbrellas of Cherbourg (or Les Parapluies de Cherbourg in French) celebrates its 60th anniversary this year, initially opening in France back in 1964. Written and directed by Jacques Demy, with music by Michel Legrand. Catherine Deneuve and Nino Castelnuovo star as two young lovers in the French city of Cherbourg, separated by circumstance. This new 4K restoration also re-premiered at the 2024 Cannes Film Festival earlier this year with a glamorous event and celebration. This is one of the most beautiful films ever made, so vivid and colorful and emotional and evocative. The film was also restored and re-released in 2013, and is already available as a Blu-ray in the Criterion Collection. Even if this isn't...

Acorn TV has announced the titles that will be available on the AMC-owned streaming service in December 2024. The Acorn TV December 2024 slate adds to the service’s various acclaimed English and foreign-language dramas, engaging comedies, documentaries, and more.

The December schedule includes The Chelsea Detective Season 3 Christmas special, Dalgliesh Season 3, Darby and Joan Season 2, and more.

Dalgliesh Season 3 Acorn TV December 2024 Highlights

Dalgliesh Season 3 (Acorn TV Original Series) – The New Season Premieres Monday, December 2; Two Episodes Premiere Every Monday Until the Season Finale on December 16

Based on three of the novels from P.D. James’ bestselling murder mystery series, “Adam Dalgliesh Mystery,” with Bertie Carvel reprising his role as the enigmatic titular investigator.

Season 3 is made up of three distinct mysteries, each two episodes long — set in 1979 on the cusp of Margaret Thatcher’s victory and sees Commander Adam Dalgliesh (Carvel) take on three highly sensitive cases – from a...

Editor’s note: This story was originally published during the 2024 Telluride Film Festival. “Emilia Pérez” is now in theaters and starts streaming on Netflix November 13.

French auteur Jacques Audiard has been flirting with musical moviemaking ever since “Self-Made Hero” in 1996, when he and composer Alexandre Desplat discussed adapting that film into an opera. But it wasn’t until Audiard read a friend’s novel, “Écoute,” that he responded to the idea of a Mexican drug kingpin transitioning to become a woman. In that case the cartel boss was trying to escape from his life, not his gender.

“So the novelist actually introduces this character, but then doesn’t fully develop it,” said Audiard at the Telluride Film Festival, where the Cannes prize-winner “Emilia Pérez” played well at multiple screenings and generated serious Oscar talk going into its September 9 presentation at the Toronto International Festival. “I’m fascinated by the paradox...

Some of the best romantic films don't have the happy endings and fairytale romances. From The Umbrellas of Cherbourg to La La Land or Casablanca, sometimes the best stories can come from those near misses, when, despite a genuine or intense connection, things just don't work out. There may even be feelings of passion, but ends with only intense yearning for what could have been. Perhaps it's the wrong place at the wrong time or just fate that gets in the way of things. Other times, the problems may be internal maybe they were never right for each other or simply weren't right for each other at that moment. Either way, the moment slips away, and people are left with their only option: to move on.

The odd, accidental synchronicity of the movie business brought us double volcano movies, double asteroid/comet movies, double Pinocchio movies and double Truman Capote movies in rapid succession, along with four body-swapping movies over two years back in the 1980s. But “The End,” which premiered on Saturday night at the Telluride Film Festival, may be part of the weirdest trend in cinematic coincidence of them all: film-festival movies that are musicals, even though there’s absolutely nothing in the subject matter to make you think they should be.

First there was Jacques Audiard’s “Emilia Perez,” which caused a sensation at this year’s Cannes Film Festival by taking a story of a Central American drug lord who undergoes gender reassignment surgery and filling it with songs. The Venice Film Festival struck next with “Joker: Folie à Deux,” which finds Todd Phillips turning his sequel to the Oscar-winning 2019 drama “Joker” into a musical,...

The Dark Lord is rising, and the battle for Middle-earth is about to begin. The Lord Of The Rings: The Rings Of Power returns to our screens this summer for a second season that sees the stakes higher than ever – Sauron has revealed himself, Galadriel is out for redemption, war is coming, and there are some of those titular rings in play.

Empire has a giant, world-exclusive look at the show’s return in our brand new issue, on sale and hitting newsstands from Thursday 4 July – but for now, here’s a sneak peek at what’s inside.

The Lord Of The Rings: The Rings Of Power

One show to rule them all – as we prepare to return to Middle-earth, Empire goes on the brand new UK set of Prime Video’s Tolkien fantasy epic, speaking to showrunners J.D. Payne and Patrick McKay, stars Charlie Vickers, Morfydd Clark, Sophia Nomvete and Daniel Weyman,...

This is what it would look like if Michael Bay directed a romantic musical. Though this doesn't have nearly enough explosions or mind-boggling drone shots to really live up Bay's movies. Beating Hearts is a big, epic, flashy, cheesy, nearly-three-hour long French love story thriller made by a French filmmaker named Gilles Lellouche. He last directed an absurd comedy called Sink or Swim that played at Cannes 2018, and somehow he was able to secure a Main Competition slot this year at Cannes with his latest titled L'amour ouf in French (or just Beating Hearts in English). For some reason, before its premiere the movie was being referred to as a musical – but it's not really a musical. More of an epic, sweeping romance like Romeo + Juliet with two big dance sequences and tons of famous songs used in it. But there's no singing and it's not a classic musical,...

It has been a big week for beloved musical The Umbrellas of Cherbourg at the Cannes Film Festival, where it won the 1964 Palme d’Or and went on to international acclaim and five Oscar nominations and served as one of the key inspirations for Damien Chazelle’s La La Land.

The film got a special 60th anniversary Cannes Classics screening Thursday of the exquisitely new restoration at the Agnes Varda Theatre, which is named after the late director and is also wife of late Cherbourg writer-director Jacques Demy. This week also has seen the world premieres of two documentaries related to the film here. On Saturday night at the Buñuel Theatre in the Palais came the premiere of Once Upon a Time: Michel Legrand, an extensive two-hour documentary on the late great composer of Cherbourg and so much more.

Then on Wednesday night, also at the Buñuel, was the unveiling...

One of the pleasures of the Cannes Film Festival is seeing what films and what directors break out. Sure, in the current crop of films premiering at the 77th festival this May, there are some big names everybody knows; you don’t need an explainer to know that Francis Ford Coppola and “Megalopolis” are a big deal. But Cannes is also where filmmakers such as Julia Ducournau and Justine Triet gained wide exposure and became international known quantities, thanks to the prestige granted by nabbing the festival’s top prize, the Palme d’Or.

Introduced a full decade into the festival’s existence, the Palme d’Or has a strong pedigree associated with it; several of the films that received the prize — “La Dolce Vita,” “The Umbrellas of Cherbourg,” “Taxi Driver,” “Paris, Texas,” “Pulp Fiction,” “The Tree of Life,” “Parasite,” and way too many others to properly list — have claim...

As Cannes Film Festival kicks off, the Paris-based international sales company MK2 Films has revealed it has acquired three films and made substantial investments in new restorations, set against the backdrop of a strong presence at Cannes Classics.

MK2 Films has entered into a collaboration with the Niki Charitable Art Foundation on the global rights (excluding the U.S.) for two films directed by artist Niki de Saint Phalle: “Un Rêve plus long que la nuit” (1976) and “Daddy” (1973). “Un Rêve plus long que la nuit” has been restored in 4K by L’Immagine Ritrovata (Bologna-Paris) under the supervision of Arielle de Saint Phalle and with funding from Dior. It was presented at Il Cinema Ritrovato in Bologna, New York Film Festival and the new Los Angeles Festival of Movies. “Daddy” will soon be available in a restored version. MK2 Films described it as a “unique feminist work by one of...

It’s here! The first full trailer for Doctor Who‘s new series has arrived, giving us never-before-seen glimpses of Ncuti Gatwa and Millie Gibson in action. And with it comes glimpses of a whole host of new adventures and scenarios, promising a very different take on Doctor Who than we’ve seen before.

Before we dig into the trailer for hints as to what will be in store for series 14, give the the video a watch if you haven’t already:

Alright, below are all the important things we noticed in the trailer. Let us know in the comments if there’s anything we missed!

The Hooded Stranger

The Christmas Special “The Church on Ruby Road” not only introduced the Doctor’s next companion Ruby Sunday, but also a good ol’ mystery. Like Clara and Rose before her, Ruby is much more than she appears.

“Ruby Road” began with a “hooded stranger,...

French cinema icon Catherine Deneuve has begun filming in Japan of “Spirit World,” a fantasy-drama film directed by Singapore’s Eric Khoo.

Deneuve portrays a singer who dies suddenly while on tour in Japan. But her spirit lives on and she embarks on a journey to find humanity in the after-world.

The project was revealed by the city government of Takasaki, an ancient town on Honshu Island between Tokyo and Kyoto, where production began over the weekend. Work is expected to continue for 10 days, before moving to other locations.

“I’m happy that a movie starring Deneuve is filmed in Takasaki. I’d like to cooperate in the filming,” said city mayor, Tomioka Kenji.

The film is understood to be based on an original screenplay. It is structured as a three-way production involving companies from Singapore, Japan and France and with financial support from authorities in Singapore. The producers are...

The soundtrack to Greta Gerwig's "Barbie" movie is full of wall-to-wall bangers, but the bombastic anthem "I'm Just Ken" has become a bonafide (and charting) sensation. And to think that the song almost had a much smaller presence in the film. In an exclusive featurette from Vudu to promote the highest-grossing film of the year's arrival on video on demand. Gerwig, music producer Mark Ronson, Ryan Gosling, Ncuti Gatwa, and others discuss how the now-beloved scene came to be. Ronson's song was originally just a short little ditty, but Gerwig loved it so much she wanted more.

"It went from being this song that was maybe gonna be played somewhere in the film to this song that they built this epic battle around," Ronson said. Once Gerwig heard the song, she wanted more — which became the nearly 11-minute long song.

The goal was to use the song as...

Movies about movies tend to be as sentimental as Cinema Paradiso, the all-time tearjerker in the genre, or as caustic as the recent Babylon. But Lone Scherfig finds a fine balance between love of movies and the harsh wider world in The Movie Teller, a beautifully made coming-of-age film about Maria Margarita, who acts out the Hollywood movies she has seen at the local cinema in her small mining town. Set in the Chilean desert in the late 1960s and early ’70s, the drama benefits greatly from the sure hand and clear eye Scherfig has brought to her best films, other period pieces including An Education (2009) and Their Finest (2016). All that can’t quite make up for the rocky screenplay, though.

The story is adapted from the Chilean writer Hernan Rivera Letelier’s 2009 novel. The first version of the screenplay was tackled years ago by the Brazilian director Walter Salles,...

Last year, as movies conceived and shot during the Covid-19 pandemic began to be released, we saw a sudden influx of films rejoicing in the act of moviemaking and movie-watching. From Steven Spielberg’s “The Fabelmans” to Damien Chazelle’s “Babylon,” from Sam Mendes’ “Empire of Light” to the Indian Oscar entry “Last Film Show,” a surprising number of films bred during pandemic isolation were movies about movies.

And a year later, during the final days of the 2023 Toronto International Film Festival, another movie that belongs in that company had its world premiere. “The Movie Teller,” a Spanish-language film set in Chile and made by a Danish director with a cast whose biggest names are known for French and German movies, puts an international spin on the love of movies and embraces the art of storytelling in a way that is at times profoundly moving.

The film is a mixture of genres,...

When I was in college cinema courses I made a Super 8 film called Movie Girl. It was a Hollywood-set love letter to movies centered on a Musso & Frank waitress who put herself dreamily into the plots of classic films. It won an award there but was the highlight of the directing career I never had. However, I have always been partial to filmmakers who put their own early film-going experience and passion into their careers now. You may have heard of them: Kenneth Branagh won an Oscar for doing just that in Belfast. Steven Spielberg got several nominations last year for his very personal The Fabelmans. Woody Allen had his own charming take in The Purple Rose of Cairo. Peter Bogdanovich made a lasting impression with 1971’s The Last Picture Show, as did Giuseppe Tornatore with his Oscar winner Cinema Paradiso.

It is a combination of the latter two especially...

On Friday nights, IndieWire After Dark takes a feature-length beat to honor fringe cinema in the streaming age.

First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.

Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.

The Pitch: Once Upon a Time, in a Far Away Land, the Vibes Were Fucked

I’m a simple man with simple political views: I believe the United States government should take all of its pageantry cues for state events from the film “Donkey Skin.” Dead presidents should be laid to rest inside a giant glass Christmas ornament. White House staffers should be required to paint themselves red or blue to reflect the party in power. And the Speaker of the House should preside over congress while sitting on a giant stuffed cat.

While it's not very common, a number of movies have been nominated for Oscars in multiple years. As a general rule, movies can not be nominated at the Academy Awards one year and then come back another year to try again, even in another category. However, there are exceptions to the rule, mainly if the film's original nomination was in a category not requiring a U.S. release, and then their subsequent recognition came after its opening in America. This really only happens with movies initially submitted in the Best International Film category.

There are other movies that have received honors in multiple years at the Oscars but not necessarily in the form of nominations. Snow White and the Seven Dwarfs broke Academy Awards rules by receiving a special Honorary Oscar in 1939, presented to Walt Disney with a unique statuette. The animated feature had previously been nominated in 1938 for Best Score.

When the human eye stares at one color for too long, it experiences a phenomenon known as cone fatigue. The cones in one's eyes are the cellular photoreceptors that process color and are particularly good at processing reds, blues, and greens. And, yes, cones can get tired of looking at certain things. For instance, when one stares at the color red for too long, the cones wear themselves out and fall into a state of complete rest. As a result, the eye will produce a "ghost" spectrally opposite image of red when it looks at a white area. Test it out! Stare at a red spot for about 30 seconds without blinking, then glance quickly to a white piece of paper. You will see, for a few moments, a "burn" of a cyan spot floating in front of you. 

The makers of Greta Gerwig's new blockbuster "Barbie" must have likely...

Designing Barbie's Barbie Land layout and color palette required going old-school.

Speaking to TheWrap, cinematographer Rodrigo Prieto broke down how he and Greta Gerwig came out with the aesthetical choices for Barbie Land, pulling inspiration from Golden Age Hollywood movies like The Wizard of Oz and The Umbrellas of Cherbourg. Singling out Cherbourg's lighting and camerawork, Prieto said, "We didn't want to make the camera angles oblique and funky, it just has to be innocent and frontal. And the camera moves on tracks lateral or frontal, so the lighting had to be high-key, which is a stretch as a cinematographer. All of us are used to creating the illusion of depth with lighting, and that tool is gone when you're lighting frontal, so I had to figure out how to get the sensation of dimensionality and depth with color." The resulting set design, he added, "gave off a "balance of...

Barbie cinematographer Rodrigo Prieto shared his experience creating artificial reality.

Prieto was initially taken aback by director Greta Gerwig's pitch for a bubbly, 1950s musical-inspired Barbie film, especially since he was prepping for Martin Scorsese's dark crime drama at the time. He admitted in an interview with The Wrap, “It was hard for me to completely shift gears in such a tremendous way, but I was immediately intrigued and excited by Gerwig’s pitch for ‘Barbie,’ and knew I wanted to do it before I even read Gerwig’s script. I knew that she wasn’t going to do what you’d expect.”

Related: Barbie Casting Directors Told Ken Candidates to Put Their Shirts Back on During Auditions

Oscar-nominated cinematographer Prieto helped create a visual landscape that exceeded expectations. Drawing $1.2 billion worldwide, the film broke numerous box office records and became the highest-grossing domestic film in Warner Bros' history.

When Oscar-nominated cinematographer Rodrigo Prieto got a call from filmmaker Greta Gerwig to work on her next project, he was excited. He had been an admirer of her work, and was eager to work with her. But when she pitched her bubbly, 1950s musicals-inspired take on “Barbie,” he could not have been in a more different headspace — he was in Oklahoma prepping Martin Scorsese’s dark true crime drama “Killers of the Flower Moon.”

“It was hard for me to completely shift gears in such a tremendous way,” he admitted during an interview with TheWrap, but he was immediately intrigued and excited by Gerwig’s pitch for “Barbie,” and knew he wanted to do it before he even read Gerwig’s script. “I knew that she wasn’t going to do what you’d expect,” he said.

Prieto knew “Barbie” was special, but said no one could have predicted the...

Life in plastic proved fantastic for Greta Gerwig's Barbie, a movie that highlights the dangers of toxic masculinity without actually putting men down in the process. The film also gave audiences a detailed look into the titular characters' pastel paradise, a seemingly utopian society officially controlled by various Barbies. That said, Barbieland presented a morphed version of reality partially borrowed from Seahaven, the setting of Jim Carrey's philosophical comedy: The Truman Show. Moreover, Robbie's viral Letterboxd list "Watch for Barbie" provided some context clues for fans trying to piece together the film's plot and central themes.

Peter Weir's The Truman Show sat alongside films such as The Umbrellas of Cherbourg, The Young Girls of Rochefort, Puberty Blues, and Splash on Robbie's queue. The shared plot elements between Barbie and The Truman Show become more and more apparent as audiences watch the film. However, the setting of Barbieland...

Greta Gerwig’s “Barbie” is destined to be a classic in its own right, already garnering nearly half a billion dollars at the box office in under a week. The film, about a stereotypical Barbie (Margot Robbie) in the grips of an existential crisis that sees her going to the Real World, is all manner of fun and wacky, with a number of Old Hollywood influences.

Gerwig herself has cited a number of features that either directly or indirectly inspired “Barbie,” starting with the 1939 Technicolor classic, “The Wizard of Oz.” That film, with its now iconic transition between Kansas and the land of Oz, no doubt factored into how the feature approaches color. The idea of a character transitioning from one world to another draws comparisons to “The Truman Show” and “Heaven Can Wait.”

Among the more nuanced, less obvious films, Gerwig took inspiration from “Women on the Verge of a Nervous Breakdown,...

This post contains spoilers for "Barbie."

One of the many joys of watching "Barbie" is catching all the film's references to classic cinema. "The Wizard of Oz" was an obvious inspiration for co-writer and director Greta Gerwig's take on the iconic doll, from the yellow pink brick road that cuts through Barbieland to the ghost of Barbie creator and Mattel co-founder Ruth Handler (Rhea Perlman), who gradually emerges as a Wizard-like guide to Stereotypical Barbie (Margot Robbie) on her journey of spiritual discovery. Moreover, the film is a love letter to 20th-century movie musicals in general, as seen in the "I'm Just Ken" sequence -- a musical number that includes a Gene Kelly-styled dream ballet where the Kens adapt all-black attire recalling John Travolta's getup from "Grease" -- and the bold, vivid color palette of Barbieland, which brings to mind the production design for "The Umbrellas of Cherbourg.

Film composers easily rank among cinema's greatest unsung heroes. While many directors and movie stars eventually become household names, very few film composers receive adequate adulation from the mass audience. Film scores are integral to a movie's success, providing and enhancing the mood, tone, atmosphere, and emotion of the drama at hand.

Imagine the shark attack scenes in Jaws without John Williams' score or the shower scene in Psycho without Bernard Herrmann's score. The music is arguably the primary reason these scenes have become touchstone moments in film history. Cinema's elite film composers have impacted popular culture just as much as actors, directors, and producers.

Related: 10 Best Movies With Famous Soundtracks

Charlie Chaplin

Charlie Chaplin is a foundational figure in movie history who is beloved for his acting and directing. However, a much-overlooked facet of Chaplin's career is his brilliance as a film composer. Starting with City Lights, Chaplin...

“Barbie” will soon be unleashed on an eagerly waiting world, and cowriter/director Greta Gerwig would like to provide you with some context, courtesy of her Letterboxd list of films she watched for inspiration, in a clip you can watch above.

Just looking at the list, you can see where some of the inspiration would come from — the candy-colored musical world of “Barbie,” starring Margot Robbie as the titular doll, does bring to mind several of her selections like “The Umbrellas of Cherbourg,” “The Wizard of Oz,” “The Red Shoes” and “Playtime.” The idea of a character transitioning from one world to another is also pretty apparent in selections like “The Truman Show” and “Heaven Can Wait.”

For “Heaven Can Wait,” Gerwig said that the movie is “extremely high concept, but always human… There’s nothing about it that makes you feel distanced from it. It totally works even though...