What is in the News?

This morning, Emmy winners Liza Colón-Zayas (The Bear) and Jeff Hiller (Somebody Somewhere, nominated again this year for his guest role in Pluribus) announced the nominees for the 78th Emmy Awards, which will be handed out across three ceremonies (one for primetime categories, two for creative arts) in September. And despite a packed TV season with too many contenders to count, the two series with the most nominations were sure things, both from HBO Max: The Pitt dominated the drama categories with 25 nods, and Hacks set a record for the most comedy noms in a single year with 24. Even the limited/anthology series category Source

I could tell by the title sequence alone—the camera gliding along a body, following the path of a telephone cord—that Night Nurse (2026) would not be like the other movies I had been seeing at Sundance. While the festival in aggregate leans toward safe picks, Night Nurse, which premiered in the NEXT competition, is anything but. The film follows a new nurse, Eleni (Cemre Paksoy), as she gets acquainted with a patient being evaluated for early onset Alzheimer’s, Douglas (Bruce McKenzie), during overnight shifts in the memory-care unit. Eleni quickly slips under Douglas’s spell and becomes his accomplice in a phone scam on Source

There’s no industry more sought after than entertainment. Industry hopeful dream of being top-tier directors, thought-provoking screenwriters, or successful producers. The main obstacle is knowing where to start and how to build foundational skills on gear and procedures used on major production sets. Since 1999, The Los Angeles (L.A.) Film School has developed the next generation of award-winning entertainment professionals, through serving its mission of fostering creativity, collaboration, and exploration among its students. The L.A. Film School’s approach to education goes beyond just sitting in a classroom. It takes you onto set, behind the cameras, and in front of industry-standard Source

The latest installment in the Scary Movie franchise is the sixth, though the numeral is pointedly left off the title. This is a form of protest. The Wayans family collectively disowned the three films made in their absence—Scary Movie 3 through 5 (2003, 2006, 2013)—after a compensation dispute with the Weinsteins in 2001, a grievance which became the subject of the new film. Scary Movie (2026) is very much in the tradition of a Wayans spoof: a horror-comedy legacy sequel lampooning its own form as it serves up an incisive critique of the entertainment industry. It retains the offensive humor cherished by the franchise’s core fanbase Source

In Jackass: Best and Last (2026), some of the cast get unexpectedly wistful about the possibility that this will be the final chapter of the brilliantly sophomoric series. The man who has been behind the camera and orchestrating the madness from the start, director Jeff Tremaine, has been feeling a bit emotional about it, too. “I really felt it in the edit bay when we started opening up the old footage and looking back on how long we’ve been doing this,” Tremaine told me last Thursday. “Seeing all these guys as babies, that hit me a little bit. We thought that we Source

Leviticus (2026), Adrian Chiarella’s debut feature, begins with an archetypal horror image: a “little death” that begets a big one. In this cold open, a lesbian lifeguard succumbs to the lubricious persuasions of an invisible lover in a poolside shower, a moment of illicit pleasure that ends in her murder. The sinister seducer, which appears to its victims as the person they desire most, is the spawn of a hex cast upon gay teens by their local church as a form of conversion therapy. This conceptual hook, already a clever spin on the horror genre’s predilection for teenage sex and Source

The wearied refrain—Cannes 2026 was a ho-hum edition, no masterpieces to see here, take the earlier flight home—obscured the quiet revolution taking place in film after film. This was a year of stories that build: All of a Sudden, The Dreamed Adventure, and La Gradiva are accumulative works, beautifully wrought and devastating in different ways, but not in the white-knuckle, nerve-racking manner of last year’s Sirat or It Was Just an Accident. Again and again, I had the sense of these movies having a bodily impact on me—not a wham-bam blow, but a more incremental emotional effect, as if the Source

If NAB Show seems to inspire a mini–existential crisis in me each year, as I am forced to reckon with cinema’s diminishing relevance amidst other growth arenas in video, Cine Gear Expo invites more optimistic vibes with its film focus and Hollywood backlot setting. Cine Gear acts as a two-day gathering of Los Angeles cinematographers, gaffers, and lighting technicians to check out the latest gear and see what everyone has been up to over a beer and maybe a hot dog, if one is lucky enough to get invited to an offsite barbecue. I made plans to meet up with Alec Moeller Source

While covering the Academy Awards may have its challenges, the Emmys are a much bigger venture. Twenty-three awards will be handed out at the Primetime Emmys on September 14, honoring nominees across the comedy, drama, and limited series categories, plus variety and reality competition shows. Meanwhile, about 100 more Emmys are awarded in craft-focused categories (and, randomly, guest acting) at two Creative Arts Emmy ceremonies a week before the main show. If all of this weren’t enough to keep up with, the Television Academy’s ever-changing rules and regulations also mean its award categories are in constant flux. Take, for example, Source

The Gotham, Filmmaker’s publisher, announces today the cohort of the 2026 edition of The Gotham EDU Film and Media Career Development Program. The eight-week virtual program will allow college students from across the country to glean insight from industry professionals via opportunities that include mentorship, curated sessions, and pitch feedback. Each student will pursue one of six distinct tracks offered in their field of interest: the Sidney Poitier Initiative Track for Multi-Hyphenates, the Executive Leadership and Ambassador Track, the Television/Episodic Creator Track, the Documentary Filmmaker Track, the Narrative Filmmaker Track, and the Entrepreneurship in Media Track. Among previous industry speakers Source

Before she brought the charismatic serial killer Patrick Bateman to life in American Psycho (2000) Mary Harron devised a portrait of another kind of New York pathology with I Shot Andy Warhol (1996). When I went to college, there was a poster for the film hanging in the hallway of the cinema studies building: Lili Taylor, patron saint of 1990s indie cinema, staring down the camera with a gun in her hand. Even then, I knew the story carried a particular charge. Valerie Solanas was the radical feminist who shot the pop artist, nearly killing him, and her 1967 SCUM Source

Laurel and Hardy, Martin and Lewis, Nichols and May… Tim and Eric. A double-act for the ages, Tim Heidecker and Eric Wareheim first teamed up as students at Temple University in Philadelphia, and secured comedy-legend status with their chaotic-good surrealist sketch show Tim and Eric Awesome Show, Great Job! (2007–2010), produced for Adult Swim. Like public-access TV beamed through a cracked funhouse mirror—this nineties kid recalls how much those first viewings felt like some kind of illicit initiation rite—Tim and Eric managed to remake internet culture, and maybe even American humor, in its own, gleefully psychoactive image. In the intervening 15-odd years, Heidecker Source

The Comeback always seems to coincide with a new existential crisis facing television. In 2005, the HBO comedy series—created by Michael Patrick King and Lisa Kudrow, and starring the then recent Friends actress as a former sitcom star desperate to return to the spotlight—was a cutting satire about reality TV, which threatened to cheapen the medium with its low costs and tabloid-friendly drama. The show’s initial limited run garnered a cult following, and HBO revived it in 2014 when reality TV had achieved a certain level of legitimacy—but the industry was on the cusp of an overhaul with the impending streaming wars, churning Source

In 1998, the Taiwan International Documentary Festival held its first edition, a decade after martial law was lifted in the island nation. It was a particularly exciting moment for documentary in Taiwan: independent video activism was on the rise, and new models of community media pointed to alternative structures for production and distribution. And yet, apart from Yamagata (founded in 1989), there were not many festivals of politically engaged nonfiction that specifically championed regional Asian cinema; the inaugural TIDF featured both an Asian Visions Competition and a Taiwan Competition strand.  In its 15th edition this May, TIDF continued to explore Source

When I was asked for my favorite discoveries at Cannes this year, “the Travolta” was high on the list. Propeller One-Way Night Coach (2026), John Travolta’s feature directorial debut, premiered on the frantic first Friday night, when no one knew exactly what to expect. Before the screening, and following a highlights reel of the star’s career, Thierry Frémaux bestowed an honorary Palme d’Or on Travolta, who was touchingly grateful. But what, we in the packed theater wondered, would his film about a boy’s first airplane flight in 1962 look like? The answer was an absolutely charming portrait of experience, with a loving Source

Chie Hayakawa’s Renoir (2026) focuses on Fuki (Yui Suzuki), a preteenage girl whose perspective on life is darkened and complicated over the course of her father’s terminal illness. The film is set in 1987, a year or so into Japan’s “bubble period,” when financial and real-estate speculation radically reshaped the country’s economy a generation after its “miraculous” postwar recovery. This boom time becomes the backdrop for Fuki gaining awareness of the people around her and the consequences of her actions; a chance encounter with a reproduction of Auguste Renoir’s 1880 oil portrait of the eight-year-old Irène Cahen d’Anvers provides her with a Source

Showrunner Bruce Miller admits that when he first read The Handmaid’s Tale, he thought the ending of Margaret Atwood’s dystopian novel was a little unsatisfying: “I was like, ‘Well, I hope there’s a sequel!’” Two decades later, Miller was at the helm of the Hulu series based on Atwood’s book. The show was an immediate hit—it premiered in 2017, during the first Trump administration, at a moment when its themes were particularly resonant. The evocative image of the red cape and white bonnet donned by star Elisabeth Moss and her fellow handmaids became not only an image of subjugation, but one Source

A day in the life of the internet is impossible to reconstruct as a feature film. The pace of the scroll is too quick; any given snapshot is too algorithmically myopic to be comprehensive. There’s too much that evades notice, and still more that evades preservation. With the slow obsolescence of search engines—lost first to advertisements, then to optimization, and now to artificial intelligence—our digital past gets blurrier still. With There’ll Likely Be Michael Jackson Vigils Throughout the Night, Marcus Batto attempts the impossible, reconstructing June 25, 2009, the day of Jackson’s death, exclusively through the found footage available online. Batto, Source

Like the internet lore for which it is named, Backrooms (2026) encapsulates a paradox of embodiment and time. Kane Parsons’s feature film—an adaptation of his cult YouTube series of the same title—has its origins in a photograph of a former furniture store undergoing renovations in Oshkosh, Wisconsin, taken in 2003 and uploaded to 4chan in 2019. This unlikely source became the starting point for a diffuse, Lovecraftian latticework of anonymous mythmaking and creepypasta, whose locus eventually migrated to Reddit, where it split into separate communities of originalists and revisionists. Their prolific output is a striking example of hypermodern digital creativity predicated on Source

The inaugural season of the American Cinematheque series Bleak Week: Cinema of Despair took place in 2022, a cheeky stab at some summertime counter-programming. Its diverse lineup was aimed, as per the Cinematheque’s website, at spotlighting “filmmakers who wholly embrace a cinema of despair in pursuit of unpleasant truths and raw empathy.” Indeed, in the festival’s first 33 film–strong slate of repertory classics like Salò, or the 120 Days of Sodom (1975), Come and See (1985), Winter Light (1963), Funny Games (1997), Breaking the Waves (1996), and Sátántangó (1994), this visceral quality was front and center as an organizing principle, even if the films weren’t united by much besides their baseline dreariness and Source