The latest cinema stories

Interview with  Kate Beecroft, THE NEW WEST, 2026  Sundance Film Festival Audience Award

With On the edge from Guérin van de Vorst and Sophie Muselle , cinema no longer explains psychiatric institutions, it lets us feel them.
Through an immersive and fragile perspective, the movie explores the shifting boundary between care and emotional involvement.

In the Badlands, The New West transforms the western into an intimate, sensory experience where reality flickers, and grief becomes a quiet form of movement.

On the Canary Islands, a night of electronic music stretches toward dawn then quietly unravels.
With Mi Amor, Guillaume Nicloux transforms a seemingly simple disappearance into a drifting, sensorial experience where reality begins to fracture without ever fully breaking apart.

The second weekend was the real test.  Project Hail Mary passed it with rare staying power: $54.5 million in North America, a limited 32% drop, $164.3 million domestically, and $300.8 million worldwide after two weeks. For Amazon MGM, this is already a major success. For the market, it is more than just a strong result: the film is emerging as a textbook case of the power of a major non-franchise studio release when word of mouth, premium formats, and release timing all work hand in hand.

The Festival de Cannes officially announced on April 1st (and no, it’s not an April Fool’s joke) its opening film: La Vénus électrique, the new feature by Pierre Salvadori. The film will have its world premiere at the Grand Théâtre Lumière on May 12, and after the opening ceremony it will be screened the same evening in numerous cinemas across France.