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Screen International has unveiled the 2024 line-up for Stars of Tomorrow, which spotlights the most talented up-and-coming actors and filmmakers in the UK and Ireland.

Now in its 21st edition, the annual talent showcase has an unparalleled track record for identifying emerging UK and Irish talent, both in front of and behind the camera, since its launch in 2004.

This year’s cohort includes Bridgerton star Florence Hunt, Tosin Cole, who appeared in Doctor Who and Rapman’s upcoming Supacell, Hoard lead Saura Lightfoot‑Leon, Baby Reindeer creator Richard Gadd and Alison Oliver, who played a key role in Saltburn.

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Furiosa: A Max Max Saga had its world premiere at the Cannes Film Festival, nearly a decade after the debut of Mad Max: Fury Road at the same festival. The first reviews for Furiosa have begun pouring in, and while they’re just as full of praise as those first reactions, it doesn’t sound like it reaches the heights of Fury Road.

Variety‘s Owen Gleiberman said that while Furiosa contains “a handful of awesome action moments,” the action doesn’t take center stage in the same way it did in Fury Road. “The most important thing to say about ‘Furiosa,’ however, is that what it all adds up to is a movie that can be darkly bedazzling, and that will be embraced and defended in a dozen passionate ways — but it’s one that, to me, falls very short of being a ‘Mad Max’ home run,” Gleiberman wrote.

Apple Original Films has acquired global rights to John Carney’s Sundance crowd pleaser “Flora and Son” for just under 20 million, according to an individual with knowledge of the deal.

The film, which stars Eve Hewson, Joseph Gordon-Levitt, Orén Kinlan and Jack Reynor, debuted Saturday in the festival’s Premieres category.

Carney was previously at Sundance with films “Once” and “Sing Street.” His latest film centers on Flora (Hewson), a single young mother living in Dublin who is at war with her son, Max (Kinlan). Trying to find a hobby for Max, she rescues a guitar from a dumpster and befriends an online guitar teacher (Gordon-Levitt). The film features original songs from Carney and composer Gary Clark Jr.

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In his review of the film, The Wrap’s Nicholas Barber wrote: “It was a bold move of...

The last-minute scramble to share best-of-the-year lists while voters across guilds and other bodies fill out their own ballots means plenty of films will disappear into the ether. That’s especially true of indie films and especially indie films released earlier in the year. While indies like “TÁR,” “Aftersun,” “Bones and All,” “The Inspection,” “Everything Everywhere All at Once,” and “Women Talking” deservedly sit atop the awards conversation and continue to dominate with nominations among blocs like the Independent Spirit and Gothams voters, there are plenty, plenty more that are well worth your time.

Below, IndieWire has rounded up 15 great indies from throughout 2022 that are worth a first or second look, ranging from homegrown American micro-budget movies to documentaries and foreign films released in arthouse theaters and on streaming platforms. Many of these appeared on IndieWire’s list of the Best Films of 2022 So Far published at the year’s halfway point,...

The first reviews are in for “Guillermo del Toro’s Pinocchio,” and by all indications, the stop-motion animation is a resounding success. Fifteen years in the making, the film co-directed by del Toro and Mark Gustafson boasts an all-star cast of voice talent, including Ewan McGregor, Cate Blanchett, Christoph Waltz and Tilda Swinton. However, overwhelming praise for the latest take on Carlo Collodi’s classic tale centered on its visual and thematic approach.

Set in 1930s fascist Italy, “Pinocchio” separates itself from the rest as a “family movie” that “does not shy away from dark themes of death and war,” per Insider. Its critic Ayomikun Adekaiyero wrote that the adaptation “justifies its existence by modernizing the tale with beautiful stop-motion animation and a tear-jerking story.” On the flip side, Adekaiyero was “disappointed by the mediocrity of the musical elements of the movie,” adding that they were “secondary to the story.

[Editor’s note: This list was originally published on June 30, 2022. It was updated on October 6, 2022 to reflect new inclusions.]

Googly eyes. High-flying fighter jets. Terrifying aliens. Genies in bottles (and beyond). Lovable robots and wild red pandas. Medieval tweens. Meat. Romance. Dancing. Incredibly bad vacations. Farts. Freedom. The first nine months (and change) of 2022 have already gifted film fans with a wide array of incredible cinematic offerings, and there’s still plenty of titles yet to arrive on a screen near you.

Some of our favorite filmmakers have returned to the cinema with fresh visions, including everyone from Kogonada to Andrea Arnold, David Cronenberg to Daniels, Terence Davies to Peter Strickland, Lena Dunham to George Miller. And there have been plenty of new names to admire, too, including Audrey Diwan, Panah Panahi, Mimi Cave, John Patton Ford, Owen Kline, Adamma Ebo, and Jerrod Carmichael, all of whom have bowed debuts that make us feel hopeful for the future of film.

A handful of the films that have already earned...

Oscar nominees Penélope Cruz and Antonio Banderas transform into film industry caricatures for the latest comedy from Argentinian directing duo Gaston Duprat and Mariano Cohn, “Official Competition.” Check out the outrageous trailer for the film below.

“Official Competition” stars Cruz as a renowned filmmaker hired by a billionaire entrepreneur (José Luis Goméz) to create the movie of the century. Banderas is the Hollywood heartthrob set to star in the fictional feature, along with a radical theater actor played by Oscar Martinez. The legendary nemeses sling jabs at one another over who is a bigger sellout for money, all while Cruz is trying to teach them both how to really act. The stars undergo a series of increasingly eccentric tasks that force them to confront not only each other but their own Hollywood legacies. The film hits theaters June 17.

“Official Competition” premiered at the 2021 Venice Film Festival, five years after Duprat...

Almost every aspect of Citizen Kane has been lauded, analysed and replicated to the point that it’s almost become a cliché of a film. At the same time the infamous War of The Worlds radio broadcast, and the (no doubt overstated) ensuing widespread panic at impending alien invasion, have become a leading urban legend.

While Orson Welles has rightly taken the glory for these projects, there seems to be little trickle down effect to the man who stood beside him during both – Bernard Herrmann; a motion picture composer who is only really rivalled by John Williams. Despite this though, he hasn’t made the leap from being known in film circles into being known more widely.

Probably the most famous homage paid to him in recent times was when Quentin Tarnatino used his piece “Twisted Nerve” in Kill Bill.

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So what’s his story? He...