But her idea wasn’t going anywhere until Swedish auteur Ingmar Bergman died: Hansen-Løve just didn’t know that yet. “I spend so much time with an idea of a film,” she told me backstage at the New York Film Festival, where her seventh feature film “Bergman Island” was warmly embraced, just as it was at Cannes earlier in the year. “It evolves continuously to the moment where you start writing. The starting point was the idea of making a film about a couple of directors, one day....

Earlier this summer, Sundance announced a series of layoffs and consolidations in reaction to the financial hits endured during the pandemic. While the organization announced it would be restructuring some of its labs and associated programs, the creation of a brand-new fellowship is especially exciting. Last month, the organization also announced its latest group of 10 young filmmakers selected for the yearlong Sundance Ignite x Adobe fellowship, of which Adobe is also a founding supporter....

Citing the realization that he had suffered anxiety attacks for years, Hill said in a public statement over the summer that he would no longer promote any of his work, including “Stutz.” For now, at least, the Netflix release is the last time he’ll appear in front of the camera without putting on a performance. It was an extraordinary move by a movie star in an era defined by self-promotion. Publicity has been part of Hill’s job since “Superbad” put him on the map over 15 years ago and the decision to evade the spotlight comes with immediate consequences: “Stutz” lost a high-profile slot at the Telluride Film Festival, which has a hard line about in-person appearances, and launched on Netflix in the past week with considerably less buzz than other fall titles....

The French star, who returns to Cannes this year with David Cronenberg’s “Crimes of the Future” and Mia Hansen-Love’s “One Fine Morning,” said that the famed seven-minute “Blue” lesbian sex scene required over 100 takes for a single shot and took 10 days to film. When asked now, almost a decade later, if an intimacy coordinator would have changed the dynamics on set, Seydoux told The Hollywood Reporter, “No, not really,” offering up a shocking laugh....

“Lingua Franca” illustrates the woefully untapped potential of marginalized storytellers. Though the film is not autobiographical, Sandoval is herself a trans Filpina immigrant. She can take creative risks that would feel unnerving coming from a creator even one circle outside of Olivia’s intersecting identities, and she does. And while Olivia’s choices ensure the film’s conclusion isn’t a joyous one, she remains fully autonomous. The film opens and closes with long distance phone calls with Olivia’s mother in Tagalog, and a familiar blend of annoyance and care as Olivia promises to send her mother’s allowance when she can....

MGM’s library has always been key to its appeal. The late Kirk Kerkorian bought and sold the studio’s name and assets three times over 35 years in a complex series of deals that helped make him a billionaire. Kerkorian bought United Artists and its library in 1981 and merged it with MGM. Those assets were not part of the Turner deal and today’s MGM retains the UA library, with the James Bond catalog as its crown jewel....

Per its official synopsis, the film follows Morgana Muses who, “after 20 years as a dutiful housewife stuck in a loveless, sexless marriage … has had enough of her dreary life. Desperately lonely and starved of intimacy, she books a male escort for one last hurrah before ending it all. Her final night takes an unexpected turn when her relationship with the escort opens up a new world of personal and sexual freedom....