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IndieWire | Page indiewire

‘Magic Hour’ Review: Katie Aselton and Daveed Diggs Interrogate the Delusions That Keep Romance Alive

‘Driver’s Ed’ Review: Sam Nivola Stars in Bobby Farrelly’s Generic Throwback to the Days of ‘Road Trip’ and ‘American Pie’

The Deeply Unnerving 1994 Indie ‘What Happened Was’ Reminds You Dating Has Always Been Hell

Lav Diaz on ‘Magellan,’ His NYFF Joke About Casting Gael García Bernal During Sex, and Béla Tarr’s Stubborn Nature

‘If I Go Will They Miss Me’ Review: Walter Thompson-Hernández Delivers an Ambitious Portrait of Black Angelino Life

‘Chasing Summer’ Review: Iliza Shlesinger’s Sexy but Basic Rom-Com Proves the Old Josephine Decker Is Gone

We Have ‘One Battle After Another’ About the Oscar Nominations, and Who Will Win

‘A House of Dynamite’ Editor Kirk Baxter on Why the Script ‘Frightened’ Him, but Also Felt Like It Was Written for Him

TCM Sets Full Evening of Programming to Honor Rob Reiner, Including Network Premiere of ‘The Princess Bride’

Warner Bros. Launches New ‘Contemporary’ Film Label Led by Departing Neon Exec Christian Parkes

‘My Hero Academia’ Is Over and We Won’t See Another Show Like It

Sundance Programmers Break Down a 2026 Lineup Filled with Comedies and Lots of Charli XCX

Autumn Durald Arkapaw Pays Tribute to Her Collaborators While Accepting IndieWire’s Impact Award

Quentin Tarantino Names His Top 10 Films of the Century, from ‘Black Hawk Down’ to ‘Midnight in Paris’

‘Hamnet’ Changes the Maggie O’Farrell Novel’s Approach to Time

Johnnie Burn Snuck Iambic Pentameter Into the Sound Design of ‘Hamnet’

The Hard Choices Public Media Institutions Are Facing Every Single Day

‘Stranger Things’ Season 5 Leaves You Wanting Less

‘Wicked: For Good’ Review: The Finale of a Needlessly Two-Part Movie Musical Adaptation Doesn’t Go Out on a High Note

Watch How ‘Pluribus’ Rigged a Pickup Truck to Torture Rhea Seehorn Specifically

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