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Why The Emmys’ Decision To Remove Five Categories From The Primetime Broadcast Is A Mistake

admin — Fri, 17 Jul 2026 21:56:02 +0000

Today, it was announced that the Academy’s Board of Governors voted to shift five categories from the Primetime Emmys broadcast to the less-viewed Creative Arts ceremony that takes place one week earlier. The demoted categories include Outstanding Writing for a Variety Series, Outstanding Supporting Actor in a Limited or Anthology Series or Movie, Outstanding Supporting Actress in a Limited or Anthology Series or Movie, Outstanding Directing for a Limited Series or Anthology or Movie, and Outstanding Writing for a Limited Series or Anthology or Movie.

The reasoning behind this change is simple. Supposedly, the Emmys ceremony is too long, and it needs to be trimmed. This is not the first controversial action to shorten the Emmys: who can forget the infamous rule last year that Emmy winners who went over their allotted time would have their money taken away from charity? This is also not the first time an awards show cut categories from their broadcast, as the 2022 Oscars did not air 8 technical categories — Documentary (Short Subject), Film Editing, Makeup and Hairstyling, Music (Original Score), Production Design, Short Film (Animated), Short Film (Live Action), Sound — before reinstating them in subsequent ceremonies.

Why these five categories? TV Academy chair Cris Abrego has said, “…rather than concentrating on the change in one discipline or one peer group, it’s a small number of categories across the performances, writing, and directing.” Yet there is still a clear similarity among the five removed categories, as four of them are in the Limited Series category. As a result, only three awards from the genre will be aired live: Outstanding Limited or Anthology Series, Outstanding Lead Actor in a Limited or Anthology Series or Movie, and Outstanding Lead Actress in a Limited or Anthology Series or Movie. Sure, there might not have been an unambiguous hit miniseries this year in the vein of “Adolescence,” “Baby Reindeer,” and “The Queen’s Gambit.” I loved quite a few of the nominees, but none had the combination of breakthrough viewership and unanimous critical acclaim that those shows possessed. But demoting so many categories in this genre specifically feels like an insult to all the miniseries released this year, as if these categories were nixed because the Board of Governors felt few would miss the limited series this year, not taking home Emmy awards. This could not be further from the truth, as many of the year’s finest shows have been limited series.

With this rule, we would not see legends like Julianne Nicholson or Jennifer Coolidge win their first-ever Emmys for “Mare of Easttown” and “The White Lotus,” respectively. We would not see “Beef” creator Lee Sung Jin break barriers with his Emmy wins for writing and directing “Beef.” We would not see Michaela Coel win an Emmy for writing the breathtaking “I May Destroy You,” the only one she won for the show overall. We would not see Owen Cooper become the youngest-ever acting Emmy winner for “Adolescence.”

There are several exciting moments this year that we could miss out on seeing in the live broadcast. Linda Cardellini could win her first Emmy for “DTF St. Louis” after phenomenal work in series like “Mad Men” and “Dead to Me.” Ditto goes for her co-star David Harbour, long beloved for his turn as “Stranger Things” fan favorite Jim Hopper. Lee Sung Jin could be the first Asian to win a directing Emmy twice for his work on the second season of “Beef.” The writers for “The Late Show with Stephen Colbert,” who are infamously now out of a job, could win an Emmy for scripting the show for the first time.

The comedy bits are an enjoyable part of the Primetime Emmy awards, but no one watches this ceremony to see A-listers read jokes off a teleprompter. They watch the ceremony to see the talent behind their favorite series win a prestigious, richly deserved award. If the goal is to leave more time for memorable moments in the broadcast, it feels counterintuitive to skip five passionate speeches that mean a great deal to the newly minted Emmy winners and to those who are fans of the winning shows. I can only hope this decision gets reversed, much like the decision to announce the nominees for nine craft categories one week after the rest of the 2026 Emmy nominations was walked back.

What do you think of this news for the 2026 Emmy Awards? Please let us know in the comments section below or over on our X account and check out our latest Emmy nomination predictions here.

The post Why The Emmys’ Decision To Remove Five Categories From The Primetime Broadcast Is A Mistake appeared first on Next Best Picture.

The Next Best Picture Podcast – Interview With “The Odyssey” & “Marshals” Star Logan Marshall-Green

admin — Fri, 17 Jul 2026 19:12:32 +0000

Logan Marshall-Green is a very respected actor who has been working for over twenty years in some of your favorite movies and television shows including “The O.C.,” “Devil,” “24,” “Prometheus,” “The Invitation,” “Quarry,” “Upgrade,” “When They See Us,” “Carry-On,” “Marshals” and now, Christopher Nolan’s “The Odyssey.” Marshall-Green was gracious enough to lend us an hour of his time as he came into the studio and spoke with us about these projects, his theater upbringing, working with Tom Holland on “Spider-Man: Homecoming” and now on “The Odyssey,” his thoughts on A.I., whether or not he will direct again after his 2019 directorial debut “Adopt a Highway,” what kind of an actor he wants to be known as, if the countless comparisons to Tom Hardy bother him, and more, which you can watch or listen to below. Please be sure to check out “The Odyssey,” which is now playing in theaters from Universal Pictures. Thank you, and enjoy!

Thank you so much for listening. The Next Best Picture Podcast is proud to be a part of the Evergreen Podcasts Network. You can subscribe to us anywhere you listen to podcasts or listen in the embedded player below. Please take a moment to review us on Apple Podcasts here. And if you’re feeling generous, you enjoy what you hear, and you want to hear more, please help support us on Patreon for as little as $1 a month, and you’ll receive some exclusive podcast content from us.

The post The Next Best Picture Podcast – Interview With “The Odyssey” & “Marshals” Star Logan Marshall-Green appeared first on Next Best Picture.

“HORSEGIRLS”

admin — Fri, 17 Jul 2026 19:04:04 +0000

THE STORY – As her mother Sandy grapples with an uncertain diagnosis, autistic 22-year-old Margarita must reluctantly grow up.

THE CAST – Lillian Carrier, Gretchen Mol, Jerod Haynes, Tony Hale, Matthew Schwab & Iqbal Theba

THE TEAM – Lauren Meyering (Director/Writer) & Mackenzie Breeden (Writer)

THE RUNNING TIME – 101 Minutes

In one of many heartfelt scenes from Lauren Meyering’s feature directorial debut, “Horsegirls,” Margarita (Lillian Carrier) asks if her mother, Sandy (Gretchen Mol), fears dying. It’s not death that Sandy fears, but rather the thought of leaving her daughter behind, especially in a world where people are made to feel small simply for being themselves. There’s a recurring theme of overprotective love in the film that Meyering confronts with an empathetic glow. Margarita, a young woman with autism, is eager to explore the world and ready to show what she’s capable of. Sandy wants nothing more than for her daughter’s happiness, but also fears that she will be undermined and pitied. The two perspectives slowly collide, giving way to a gorgeously written mother-daughter relationship that centers Margarita’s agency at every turn. Shaped by an authentic voice in actor Lillian Carrier, who is herself on the autism spectrum, “Horsegirls” illuminates a protagonist we rarely get to see on screen.

Inspired by the life of Meyering’s friend Mackenzie Breeden, who appears in the film’s final scene, “Horsegirls” stars Carrier and Mol as a close-knit family unit. Margarita and Sandy spend most of their time together, whether belting out a song at karaoke night or sharing special meals at their favorite restaurant. Margarita often accompanies her mother to chemotherapy and interacts with fellow patients as though they’re part of the family. At home, Sandy’s diagnosis has a gentle, powerful impact, instantly recognizable for those who have lived with a terminally ill loved one. In a vulnerable moment, clumps of her hair fall into Margarita’s hands. The film sits with Margarita’s uncertainty about how to respond and lingers just enough to convey her insight. While she has limited knowledge of her mother’s condition and its severity, she can always sense when something feels off.

While Margarita and her mother share an endearing secret language, they also have secrets of their own. Sandy stresses getting a job as an entry point into adult responsibilities, but Margarita defines independence a little differently. On an evening bike ride with her stuffed horse, Cheeseburger, Margarita discovers a hobby horsing rehearsal. A group of girls, aged a decade younger than her, gallop on hobby horses (faux horse heads on a stick) to replicate the equestrian sport. It’s a choreographed mix of gymnastics and creativity. Margarita, who was never allowed to ride a real horse, spots an opportunity to prove her independence and feel a sense of belonging. To pay the Coach (Jerod Haynes) for weekly rehearsals, she gets a job working at a Halloween store and sneaks out early to keep up with routines.

Independence as a form of uninhibited creative expression shapes “Horsegirls” into something far more spirited than its coming-of-age premise. Meyering deftly conveys the pure joy of discovering your passion, and the wonder of all the possibilities it can lead to. Hobby horsing is a way for Margarita to fulfill her dream of riding horses and achieve an innate desire to connect with people. She’s a wonderfully written character, and should be a star-making role for the enchanting Lillian Carrier. Just as Margarita is integral to the rehearsal group, also rounding up their number of participants to meet championship eligibility, Carrier’s performance is integral to the film’s authenticity. She brings a natural presence and an endearing sense of humor that lights up the screen. It’s an incredibly assured performance that centers on Margarita’s complexities and diversifies the often limited portrayals of autistic characters on screen. It helps that the writing never defines Margarita by a single trait or circumstance. Her unique and layered personality shines through. In a standout recurring bit, she explains the story behind her name: her parents were drunk on margaritas the night she was conceived.

On paper, Sandy could have been reduced to the stereotypical movie mom role of either saintly or villainous. While Sandy’s character leans into the occasional cliche, particularly in her opposition to Margarita’s hobby horsing, there’s enough nuance to craft a realistic perspective. Gretchen Mol plays the role with grounded charisma and excels at letting us into Sandy’s all-consuming fear of leaving her daughter. Mol and Carrier’s wondrous chemistry throughout adds to the film’s lived-in realism. Their perspectives intersect in painfully heartfelt ways, with Margarita headed for a new chapter as her mother’s future dims. This emotional tension builds to an effectively bittersweet final scene. Sandy also has a dynamic arc in the lead-up, from needing tangible proof that things will be okay (such as Margarita getting a job and making her own dinner), to accepting what cannot be controlled in life.

The film features an endearing supporting cast, including standout work by Jerod Haynes as the hobby-horsing Coach. Haynes and Carrier share a resonant scene centered on what it means to be a part of something. When the Coach speaks on how hard people try to embody who they think they’re “supposed to be,” Margarita amusingly suggests how exhausting that must feel. Her character’s sincerity makes for some charming interactions, especially at the Halloween store with her manager, Hank (Iqbal Theba), and co-worker, Felix (Matthew Schwab). Tony Hale also shows up in a small role as Margarita’s uncle, Patrick, who gets called in as a source of comfort and brings an instantly warm presence.

There’s a majestic, graceful quality to horses that Meyering retains in her camerawork. These may be faux stick horses the characters prance around on, but they are visually dynamic. We feel the significance of what they represent, from a creative outlet to a means of belonging. Additionally, Meyering’s compassionate direction brings out the humanity in every character, giving us a well-rounded portrait defined by moments of kindness and humility. It’s this sense of community that makes the final act of “Horsegirls” a wondrous watch.

The hobby horsing competition is not about whether Margarita lands every jump or nails the choreography. When she stumbles, the moment immediately becomes uplifting. While it’s made clear throughout the film that the other girls in the group are not her real friends, they turn a stumbling block into part of the team’s choreography and help lift her spirits. The competition radiates community; it’s about the familiar faces who drive her to the venue and greet her when she arrives. It’s about the genuine friend she meets when she steps backstage, and the pure joy when she makes that first jump into a new world. “Horsegirls” shines as an endearing story about the unique, everyday passions that give people a sense of belonging.

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Can “The Invite” Score An Acting Oscar Nomination For Any Of Its Four Outstanding Performers?

admin — Thu, 16 Jul 2026 20:39:06 +0000

Despite a splashy, acclaimed debut at this year’s Sundance, Olivia Wilde’s “The Invite” feels like it has rocketed in acclaim as more eyes have discovered it in theaters. What many expected to be a fun summer indie comedy has revealed itself to many as a complex, ingenious, and endlessly quotable portrait of modern relationships. With this boom in visibility and love, many have reassessed their awards prospects beyond the Best Adapted Screenplay slot, which some have held onto since January. If A24 can maintain this buzz through the end of the year to make it a Best Picture contender, is it a conversation worth having on its own? Perhaps the more interesting question is how the quartet at the center of the film each fares if the film does become said contender.

The film follows the meeting and intertwined conflicts that emerge when two couples, one played by Olivia Wilde and Seth Rogen, and the other by Penélope Cruz and Edward Norton, spend an evening together at the former couple’s apartment. These four are the only actors in the film, and the entire film takes place in one location, giving ample opportunity for each actor to shine and for every piece of dirt in both relationships to bubble to the surface. When the film first emerged at Sundance, many shouted out Penélope Cruz as a potential Best Supporting Actress contender. Still, the narrative that has really emerged since the film’s wide release is how it seems everybody has a different ranking of the quartet, and nearly everyone agrees that any ranking is valid. As great as that is for discussion, a lack of consensus could mean none of the four are recognized during awards season, so the question then becomes: how will each performer shake out?

To start with, Penélope Cruz, since she seems to be the most predicted, has her likelihood mostly driven by the current state of the Best Supporting Actress category. There aren’t any contenders besides Anne Hathaway in “The Odyssey” that feel like a sure thing, making the other four slots feel pretty hectic at the moment. Between her role here and in “La Bola Negra,” it seems she will appear in the category one way or another, but based on early word from Cannes, her role here is certainly bigger. With the new Academy rules, she may get in for both, but she isn’t a sure thing for either. She’s also the only one of the four to be a previous winner, and with her popping in for something like “Parallel Mothers,” she perhaps has the most baked-in goodwill of the four. In the film itself, she is the calmest and most observant performer; she is great like the rest, but doesn’t get a clear “baity” moment the way the other three do. Her character is still great and layered; relative to the other three, it would be a little surprising for that to be the role to make it in, but perhaps the category’s weakness and love for her could result in her being a lone acting nomination.

Edward Norton is probably the second-most likely of the four, again, partially due to the nature of the Best Supporting Actor category. While this has more top-heavy contenders on paper with actors from “Digger,” “Wild Horse Nine,” and “The Odyssey” populating predictions, if some of those start to fall, Norton is quite the performer to recognize. Not only is he a singular comedic presence, but he also brings so much life and dimension to what could be a surface-level role. The monologue Norton has in the film is quite strong, and honestly, the showiest moment in the film. If anybody were to get a sole nomination of the four, he would perhaps make the most sense. With four Oscar nominations under his belt already, this won’t necessarily be a win moment for whom many may consider overdue, but could be another moment to recognize him again after three decades of great work. With his most recent nomination for “A Complete Unknown” just two years behind us, he’s certainly still a performer people feel is worth recognizing.

Despite being the director and arguably the lead of the film, Olivia Wilde hasn’t gotten much attention in predictions for Best Actress. Even among those who consider her a standout in the film, I think many just aren’t feeling the urgency to nominate her for this role. Best Actress usually requires something with a bit more pizazz or story to it, and while Wilde is quite incredible in this role, the work isn’t what often gets one nominated in a Leading category. Perhaps the film is strong enough, and her authorship is enough to get her in, but in the early days of this film, it feels unlikely for her to go past a Golden Globe Comedy nomination. With her having a role in “Behemoth!” as well, later this year, we can only hope that role is meaty enough to finally get her an Oscar nomination for what’s been a career-defining year for her.

Speaking of people who direct themselves, sadly, Seth Rogen is the least likely of the quartet to get nominated for an Oscar. Somewhat for the same reasons as Wilde, given the type of role it is, no matter how good the performance, it’s a character that rarely compels people to nominate it, outside of major Best Picture contenders. Which is unfair, as he gives what many consider his career-best work, showing a refreshing amount of vulnerability. Many may view it as an extension or continuation of the Seth Rogen schtick we’ve gotten used to over the years, and the similarities found here may be enough to lead many to discredit his work. Which is a true shame, and he would be worthy of recognition here, although with projects like “The Fabelmans,” “Steve Jobs,” and his heavily awarded “The Studio,” it’s only a matter of time till Rogen breaks through at the Oscars in some form. We can only hope Golden Globe Comedy/Musical will also give him a reprise and show of love during what may be a quiet awards season for him.

These types of ensemble films are hard to track when it comes to appropriately recognizing the cast’s work. Films like “May December” failed to have a consensus hierarchy among the three leads and henceforth got none in. With something more comfortable and likely closer to Best Picture, “The Invite” can obviously break into these categories more easily. One certainly can’t expect it to have the cast recognized in the way something like “Who’s Afraid of Virginia Woolf?” was sixty years ago. Still, one can certainly hope the four get appropriate praise and their flowers throughout the rest of the year.

Have you seen “The Invite” yet? Which of its actors do you feel has the best chance to be nominated for an Oscar? Are you currently predicting it to receive any nominations? Please let us know in the comments section below and on Next Best Picture’s X account and check out Next Best Picture’s latest Oscar predictions here.

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Trailer – “The Uprising”

admin — Thu, 16 Jul 2026 17:44:17 +0000

Focus Features has released the official trailer for Paul Greengrass’s “The Uprising,” starring Andrew Garfield, Jamie Bell, Stephen Dillane, Tom Hollander, Cosmo Jarvis, Thomasin McKenzie, Jonny Lee Miller, Woody Norman, Katherine Waterston, and Sky Yang. The film will be released in theaters on September 11th.

Plot Synopsis: Andrew Garfield stars as the legendary leader of a ferocious rebellion against the tyranny of King Richard II. As war burns across England, he forms an army of the people to face the King’s might in a fight for justice and survival.

What do you all think of the trailer?

Anyone who knows me knows I love historical epics, and pretty much everything in this trailer speaks to me. Yes, it feels like a “Braveheart” knockoff, albeit on a smaller scale. However, the themes of rebellion against a government are sure to resonate with some people today. Andrew Garfield has always been a reliable actor. However, Paul Greengrass has not been the most reliable director lately. There has been a real inconsistency in his work. And given that this is releasing so early in the fall, the only real possibility for this to be seen as an awards contender with a fall film festival release is if it premieres at Venice, which could happen. Still, I am doubtful of that. And even if it does premiere at Venice, it likely won’t go to Telluride, TIFF, or the New York Film Festival due to its September 11th release date. So, how much confidence does Focus Features have that this will be a more robust awards contender? It might pick up a craft nomination here or there, just like “The Lost Bus” did. But otherwise, I think this is going to be an entertaining historical action epic for me, and that might just be it. But what do you think, though? Please share your thoughts in the comments section below or on our X account.

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TIFF Announces Five Special Presentation Films For The 51st Toronto International Film Festival

admin — Thu, 16 Jul 2026 14:04:09 +0000

TIFF ‘26 is expanding with today’s announcement of five additional films in this year’s Special Presentations program. These compelling new works from celebrated filmmakers Rachel Morrison, Benjamín Naishtat, Ben Shirinian, Bassam Tariq, plus David and Nathan Zellner provide a glimpse into this year’s Official Selection. The 51st edition of TIFF, presented by Rogers, will take place September 10–20, 2026.

“Each year, we strive to curate a selection of films that feels most relevant to the moment with the power to spark a rich dialogue with our public audience, and these Special Presentations titles are true reflections of that,” said Anita Lee, Chief Programming Officer, TIFF. “From debut directors to the most anticipated sophomore films of the year to vanguard voices, this group of films showcase the authenticity, the unexpected, and the ambition of cinema now. They are sure to be among the Festival’s most talked-about titles, captivating audiences and generating buzz long after the credits roll. We’re delighted to share these original works with TIFF audiences in September.”

Film details (in alphabetical order):

Alpha Gang | David Zellner, Nathan Zellner | USA
International Premiere

Glaxo | Benjamín Naishtat | Argentina, Brazil
World Premiere

Love of Your Life | Rachel Morrison | USA
World Premiere

The Housewife | Ben Shirinian | USA
World Premiere

Your Mother Your Mother Your Mother | Bassam Tariq | USA
World Premiere

Upcoming announcements:

TIFF Takeover 1: July 20–23

Mon., Jul. 20: Gala & Special Presentations
Tue., Jul. 21: Platform
Wed., Jul. 22: Discovery
Thu., Jul. 23: Primetime

TIFF Takeover 2: August 4–6

Tue., Aug. 4: Centrepiece, Wavelengths & Classics
Wed., Aug. 5: TIFF Docs & Shortcuts
Thu., Aug. 6: Midnight Madness

Dan Bayer, Nadia Dalimonte, Giovanni Lago, Sara Clements, and I will be attending this year’s TIFF from Next Best Picture in person.

Are you excited for this announcement? What other films do you think will be announced for this year’s Toronto International Film Festival? Please let us know your thoughts in the comments section below or on our X account.

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James Gray’s “Paper Tiger” Will Open NYFF64

admin — Thu, 16 Jul 2026 13:55:44 +0000

Film at Lincoln Center announces James Gray’s “Paper Tiger“ as the Opening Night selection of the 64th New York Film Festival, presented in partnership with Rolex. The film will make its North American premiere in a gala debut at Alice Tully Hall on Friday, September 25th, with Gray and members of the cast and crew in attendance. Starring Adam Driver, Miles Teller, and Scarlett Johansson, the film premiered in competition at the 2026 Cannes Film Festival. “Paper Tiger“ is Gray’s fourth film to be selected for the New York Film Festival, following “The Immigrant“ (2013) as an official Main Slate selection; “The Lost City of Z“ (2016) as the Closing Night film; and “Armageddon Time“ (2022) as a Main Slate selection and the festival’s 60th Anniversary Screening.

The gripping, exquisitely foreboding dramas of James Gray reside in the dark space between the American dream and gutting reality. His brilliant new thriller, set in 1986 Queens and Brooklyn, is an authentically drawn New York story and a master class in escalating tension, charting the tragic domestic fallout after family man and engineer Irwin (Miles Teller), who aspires to middle-class comforts, is pulled into a shady deal by his brother, Gary (Adam Driver), a former NYPD cop. Gary thinks he can make a killing on a scheme with Russian criminals dumping oil down by the Gowanus Canal, assisting them to work around regulations; instead, Gary ends up endangering his brother, as well as Irwin’s sons (Gavin Goudey and Roman Engel) and wife Hester (Scarlett Johansson), who is going through her own private crisis. Torn between brotherly love and marital loyalty, Irwin discovers he’s ensnared in forces far beyond his control. With its vivid period detail and marvelous, deeply moving trio of lead performances, “Paper Tiger“ is a frightening portrait of pollution in all forms—and the human bonds that can save us from the brink of despair. A NEON release.

“I’m immensely grateful to be welcomed back to this remarkable festival,“ said Gray. “This deeply personal film is rooted in New York City, from my upbringing to life-changing family experiences. To be here, at the heart of art and cinema, with our cast and crew—many of whom are New Yorkers—is a privilege. Thank you to the entire New York Film Festival team. It is an honor.”

“James Gray has been a fixture at the New York Film Festival for many years, and we are thrilled to welcome him back as our Opening Night filmmaker with a career-best achievement,“ said NYFF Artistic Director Dennis Lim. “Paper Tiger is a movie of immense emotional power, at once lovingly realistic and grandly mythic, and it confirms that James is one of the great New York filmmakers—one of the great filmmakers, period—of our time.“

Presented by Film at Lincoln Center, the New York Film Festival is an annual celebration of the most significant international films of the year. Since 1963, the New York Film Festival has played a vital role in shaping film culture, championing bold and remarkable works by both celebrated auteurs and emerging voices from around the world. NYFF64 takes place from September 25th through October 12th, 2026.

James Gray was born in New York City, grew up in Queens, and attended the University of Southern California School of Cinema-Television. He made his directorial debut in 1994 at the age of 25 with “Little Odessa,“ which received the Silver Lion at the Venice Film Festival. Gray then wrote and directed “The Yards“ in 2000, his first feature with Joaquin Phoenix, who would become a frequent collaborator and go on to star in his next three films: “We Own The Night“ (2007), “Two Lovers“ (2008), and “The Immigrant“ (2013), all of which screened in competition at the Cannes Film Festival. Gray’s “The Lost City of Z“ (2016), starring Charlie Hunnam, Sienna Miller, Robert Pattinson, and Tom Holland, was released in theaters by Amazon and Bleecker Street in 2017. Disney/Fox’s “Ad Astra,“ directed by Gray and starring Brad Pitt and Tommy Lee Jones, had its world premiere in competition at the Venice Film Festival and was released in theaters in 2019. Focus Features’ “Armageddon Time“ (2022)—which Gray directed, wrote, and produced—was inspired by his own childhood in 1980s Queens and had its world premiere at the Cannes Film Festival.

The NYFF Main Slate selection committee is chaired by Dennis Lim, NYFF Artistic Director, and includes Florence Almozini, Justin Chang, and Rachel Rosen.

NYFF64 is generously supported by Festival Co-Chairs Susan and John Hess, Almudena and Pablo Legorreta, Susannah Gray and John Lyons, and Nanna and Dan Stern; Vice-Chairs Jack Heller and Tara and Roy Kelleher; and Supporters Hillary Koota Krevlin and Glenn Krevlin, and Marcia DB Levy and William G. Levy.

Secure your tickets for Opening Night and more with Passes, limited quantities on sale now. NYFF64 single tickets will go on sale to the general public on Tuesday, September 15th at noon ET, with pre-sale access for FLC Members and Pass holders before this date. Become an FLC Member by August 28th to secure NYFF64 pre-sale access and discounted tickets year-round. NYFF64 Press and Industry accreditation is now open through August 14th.

New York Film Festival Opening Night Films
2026: Paper Tiger (James Gray, US)
2025: After the Hunt (Luca Guadagnino, US)
2024: Nickel Boys (RaMell Ross, US)
2023: May December (Todd Haynes, US)
2022: White Noise (Noah Baumbach, US)
2021: The Tragedy of Macbeth (Joel Coen, US)
2020: Lovers Rock (Steve McQueen, UK)
2019: The Irishman (Martin Scorsese, US)
2018: The Favourite (Yorgos Lanthimos, Ireland/UK/US)
2017: Last Flag Flying (Richard Linklater, US)
2016: 13th (Ava DuVernay, US)
2015: The Walk (Robert Zemeckis, US)
2014: Gone Girl (David Fincher, US)
2013: Captain Phillips (Paul Greengrass, US)
2012: Life of Pi (Ang Lee, US)
2011: Carnage (Roman Polanski, France/Poland)
2010: The Social Network (David Fincher, US)
2009: Wild Grass (Alain Resnais, France)
2008: The Class (Laurent Cantet, France)
2007: The Darjeeling Limited (Wes Anderson, US)
2006: The Queen (Stephen Frears, UK)
2005: Good Night, And Good Luck (George Clooney, US)
2004: Look at Me (Agnès Jaoui, France)
2003: Mystic River (Clint Eastwood, US)
2002: About Schmidt (Alexander Payne, US)
2001: Va savoir (Jacques Rivette, France)
2000: Dancer in the Dark (Lars von Trier, Denmark)
1999: All About My Mother (Pedro Almodóvar, Spain)
1998: Celebrity (Woody Allen, US)
1997: The Ice Storm (Ang Lee, US)
1996: Secrets & Lies (Mike Leigh, UK)
1995: Shanghai Triad (Zhang Yimou, China)
1994: Pulp Fiction (Quentin Tarantino, US)
1993: Short Cuts (Robert Altman, US)
1992: Olivier Olivier (Agnieszka Holland, France)
1991: The Double Life of Véronique (Krzysztof Kieślowski, Poland/France)
1990: Miller’s Crossing (Joel Coen, US)
1989: Too Beautiful for You (Bertrand Blier, France)
1988: Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, Spain)
1987: Dark Eyes (Nikita Mikhalkov, Soviet Union)
1986: Down by Law (Jim Jarmusch, US)
1985: Ran (Akira Kurosawa, Japan)
1984: Country (Richard Pearce, US)
1983: The Big Chill (Lawrence Kasdan, US)
1982: Veronika Voss (Rainer Werner Fassbinder, West Germany)
1981: Chariots of Fire (Hugh Hudson, UK)
1980: Melvin and Howard (Jonathan Demme, US)
1979: Luna (Bernardo Bertolucci, Italy/US)
1978: A Wedding (Robert Altman, US)
1977: One Sings, the Other Doesn’t (Agnès Varda, France)
1976: Small Change (François Truffaut, France)
1975: Conversation Piece (Luchino Visconti, Italy)
1974: Don’t Cry with Your Mouth Full (Pascal Thomas, France)
1973: Day for Night (François Truffaut, France)
1972: Chloe in the Afternoon (Eric Rohmer, France)
1971: The Debut (Gleb Panfilov, Soviet Union)
1970: The Wild Child (François Truffaut, France)
1969: Bob & Carol & Ted & Alice (Paul Mazursky, US)
1968: Capricious Summer (Jiri Menzel, Czechoslovakia)
1967: The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria)
1966: Loves of a Blonde (Milos Forman, Czechoslovakia)
1965: Alphaville (Jean-Luc Godard, France)
1964: Hamlet (Grigori Kozintsev, Soviet Union)
1963: The Exterminating Angel (Luis Buñuel, Mexico)

What do you think of this news? Are you excited to see “Paper Tiger?” Given that they mention this is the North American Premiere, that means the film will NOT be going to TIFF or Telluride before NYFF What do you think? What else do you think will be announced for NYFF64? Please let us know your thoughts in the comments section below or on our X account.

The post James Gray’s “Paper Tiger” Will Open NYFF64 appeared first on Next Best Picture.

Danny Boyle’s “Ink” Will Open The 2026 Venice Film Festival

admin — Thu, 16 Jul 2026 13:39:11 +0000

La Biennale di Venezia is pleased to announce that INK, directed by the Academy and BAFTA award winning Danny Boyle (28 Years Later Trainspotting, Slumdog Millionaire), written by multi-Olivier award-winning playwright and screenwriter James Graham (Dear England, Sherwood, Brexit), and starring Jack O’Connell, Guy Pearce and Claire Foy, is the opening film, in a world premiere in competition, of the 83rd Venice International Film Festival directed by Alberto Barbera (September 2 – 12, 2026).

INK will have its world premiere screening on Wednesday, 2 September 2026, in the Sala Grande at the Palazzo del Cinema (Lido di Venezia) on the opening night of the 83rd Biennale Cinema.

Danny Boyle stated: «I’ve been to the Biennale many times, but this is my baptism at the film festival – a huge honor to be in a city of such extraordinary art and opening this great festival with my new film INK. 1969 – the year we first walked on the moon – and the year Rupert Murdoch & Larry Lamb launched a newspaper that was to change the world far more. Long before Fox News, clickbait, and Truth Social, decades before Twitter, Facebook, Google, & OnlyFans, these 2 men created a new tabloid that, against all odds, became the biggest-selling newspaper in the world. Cheeky, Irreverent, daring: The super soaraway Sun challenged the establishment and remade our world for the modern era. A script by James Graham I felt compelled and privileged to make.»

«An Oscar-winning director, one of the leading playwrights on the London theater scene, and three of the most acclaimed actors in contemporary British cinema—these are the credentials behind Danny Boyle’s film – stated Alberto Barbera – enhanced by the performances of Jack O’Connell, Guy Pearce, and Claire Foy, which screenwriter James Graham adapted from his own play of the same name. It is an account of publisher Rupert Murdoch’s acquisition of the daily newspaper The Sun, which he entrusted to the unscrupulous Larry Lamb, turning it into Britain’s best-selling tabloid at the expense of its rival, The Mirror. I want to thank StudioCanal, Media Res, and House Productions for granting us the honor of opening the Venice Film Festival with such a highly anticipated film.»

INK is a STUDIOCANAL, MEDIA RES, and House Productions film.

Academy and BAFTA award-winning Danny Boyle (28 Days Later, Trainspotting, Slumdog Millionaire) directs INK, which is based on the Tony-nominated play by multi-Olivier award-winning playwright and screenwriter James Graham (Dear England, Sherwood, Brexit). Graham has written the screenplay.

BAFTA winner Jack O’Connell (Starred Up, 71, Back To Black, Sinners), Academy Award nominated Guy Pearce(Memento, The Brutalist, LA Confidential) and BAFTA nominated Claire Foy (The Crown, All of us Strangers, The Electrical life of Louis Wain) star in INK, an explosive cinematic rollercoaster about a group of visionaries and misfits who had an idea for a new kind of news – one that would give the people what they want and would change the face of the world we live in today.

O’Connell stars as THE SUN editor Larry Lamb with Pearce as Rupert Murdoch. Claire Foy is Jules Davies.

Danny Boyle produces with Tessa Ross (Conclave, The Iron Claw, Zone of Interest) and Michael Ellenberg (The Morning Show, Pachinko). INK reunites Boyle and Ross following their collaboration on Slumdog Millionaire. Tracey Seaward (The Two Popes, Philomena, Pistol) also produces. Anna Marsh, Ron Halpern, Joe Naftalin (of STUDIOCANAL), Tonia Davis, Zoe Edwards, James Graham, and Sudie Smyth (of STUDIOCANAL) are EPs.

MEDIA RES optioned James Graham’s play of the same name, directed by Rupert Goold.

STUDIOCANAL fully financed the film. STUDIOCANAL will release INK theatrically in their territories of Italy, the UK, France, Germany, and Poland. Benelux, Australia, and NZ. INK will be released in Italy – in cinemas – by Lucky Red.

Alwin H. Küchler (Steve Jobs) is DOP, Gareth Pugh & Carson McColl (28 Years Later) are Production & Costume Designers, Fin Oates (How to Have Sex, Warfare) is Editor, Gail Stevens & Rebecca Farhall (28 Years Later) cast the film, music by Daniel Pemberton.

The 83rd Venice International Film Festival will run from September 2nd-12th with Ema Sasic and Josh Parham attending on behalf of Next Best Picture this year in-person.

Are you excited for the 2026 Venice Film Festival? Are you planning to attend the festival this year? Which films do you think will be announced for this year’s lineup? Please let us know in the comments section below or on our Twitter account.

The post Danny Boyle’s “Ink” Will Open The 2026 Venice Film Festival appeared first on Next Best Picture.

The Next Best Picture Podcast – “The Dark Knight”

admin — Thu, 16 Jul 2026 13:05:05 +0000

With the release of Christopher Nolan’s “The Odyssey” arriving in theaters, our 2008 retrospective revisits his comic book action film that not only re-defined the genre, but changed the whole industry up until the Oscar nominations where it forced the Academy to expand the Best Picture lineup for the first time in decades, “The Dark Knight,” starring Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal, and Morgan Freeman. Co-written with his brother Jonathan Nolan, the world had never seen a comic book film quite like Christopher Nolan’s crime epic. Marked by the untimely passing of Heath Ledger before its release, the film had a tremendous amount of hype surrounding it during the summer of 2008 and continues to be talked about till this day for Ledger’s iconic, Academy Award-winning performance, Nolan’s grounded realism borrowing from other crime classics such as “Heat,” the film’s politics and how it directly commented on the Patriot Act, its themes of escalation, chaos, vigilantism and more! How does it hold up nearly 20 years later? Please tune in as Alyssa Christian, Josh Parham, Amy Kim, Brendan Hodges, and I talk about the film’s screenplay, Nolan’s direction, the performances, the action sequences, the film’s historic awards season run, and more in our SPOILER-FILLED review. Please check out our past reviews for “Frost/Nixon,” “Doubt,” “Changeling,” “Revolutionary Road,” “WALL-E, and “Milk” We appreciate your support and hope you enjoy our review!

This is a preview of the podcast. The full version is only available to those who subscribe to us on Patreon. For the small price of $1 a month, you can receive this podcast along with other exclusive podcast content, so be sure to subscribe here.

You can follow Matt, Alyssa, Josh, Amy & Brendan and hear more of their thoughts on the Oscars and Film on X @NextBestPicture, @veganmoviesnob, @JRParham @AmyHayneKim & @metaplexmovies

The post The Next Best Picture Podcast – “The Dark Knight” appeared first on Next Best Picture.

“THE DARK KNIGHT”

admin — Thu, 16 Jul 2026 12:38:46 +0000

THE STORY – When a menace known as the Joker wreaks havoc and chaos on the people of Gotham, Batman, James Gordon and Harvey Dent must work together to put an end to the madness.

THE CAST – Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal & Morgan Freeman

THE TEAM – Christopher Nolan (Director/Writer) & Jonathan Nolan (Writer)

THE RUNNING TIME – 152 Minutes

Hollywood has a long history of going through phases that are at the center of attention for general audiences. Many of them have general peaks in popularity before becoming less impactful, whether that be the glorification of the Western in the early days of cinema or the abundance of musicals that advertised the overwhelming soundscape and visual feast. Event films have consistently been a priority for the industry, and those based on recognizable properties are not at all a new phenomenon. When Christopher Nolan decided to reinvent one of the most well-known comic book franchises with “Batman Begins,” it signaled a triumphant return to celebrating the world of this character. Still, it did not signal a fundamental shift in overall perception. The release of “The Dark Knight” a few years later absolutely changed that environment. The vision brought to this material brought about immense change across all facets of the industry, and looking at this work, it’s not hard to imagine how that came to be. Such a film can only have a monumental effect when it demonstrates exceptional craftsmanship and a compelling story, which Nolan absolutely delivered with this piece.

Following the events of the previous film, Gotham City has found itself under the terror of another formidable villain menacing its citizens. As Bruce Wayne (Christian Bale) dons his alter ego in an effort to curb rampant criminality, a new face has emerged amid the sea of gangsters wrestling for control. An unknown man, known only as the Joker (Heath Ledger) due to his painted white face and flamboyant clothing, has been attached to murders and armed robberies, with an anarchistic spirit that has made him particularly dangerous. It’s a serious threat that has emerged, one that is balanced by the enthusiastic response; the city’s new district attorney, Harvey Dent (Aaron Eckhart), is determined to conquer it. It’s an emotionally complex situation, as Wayne wants to support the “white knight” that will legally bring these criminals to justice while also being conflicted by the romantic relationship Dent has with Rachel Dawes (Maggie Gyllenhaal), whom he continues to pine after. The tensions rise as Joker continues to rain down twisted judgment on all who cross his path, ultimately hoping to tear the city apart through its own fears and insecurities. It’s up to Batman and his cohort of allies to stop him, but doing so may come at a price that even this superhero is unprepared to experience.

Nolan has always been a storyteller who manages to infuse a sense of realism into even the most fantastical of circumstances. One of the features that made this film’s predecessor so intriguing was the commitment to frame elements of Batman’s universe within a grounded nature, giving practical explanations to his gadgets and backstory. That tone is even more pronounced here, as the city landscape sheds nearly all hints of a studio backlot and fully embraces the striking Chicago scenery. But that doesn’t mean the audience is in for a drab experience either. Clearly taking inspiration from the films of Michael Mann, the filmmaking still has a propulsive energy that keeps the setting incredibly riveting. Wally Pfister’s beautifully dark cinematography enhances every frame with textured imagery that makes the sequences so alluring, especially with the IMAX cameras capturing the massive scope of thrilling set pieces. The action and drama are delicately balanced by the editing, making the lengthy runtime fly by as we become invested not only in Batman’s escapades, but also in the political and personal turmoil these characters must endure. Christopher Nolan’s filmmaking has always had an appreciation for the large scale, and the massive frame measurements measure that scale effectively. Whether chasing the Bat-Pod on the streets of Lower Wacker or simply admiring a stoic character standing amongst rubble, his efforts to assemble this work are monumental in presentation and very captivating.

The higher standard of quality also extends to the screenplay that Nolan and his brother Jonathan have crafted, one that relishes a morally complex discussion of the ethics at play. It’s another layer of reality thrust upon this narrative, and it offers an engrossing commentary on the tactics used to bring down those who intend to harm the larger populace. The main antagonist is determined to prove that there is ugliness within society, a cruelty that is utterly willing to disregard norms in an effort to burn an entire system to the ground. Battling such an enemy could also mean corrupting your own moral compass. Does utilizing predatory and invasive techniques become acceptable if the ends justify the means? Must the legends we build to honor saviors be preserved if a more insidious nature reveals itself? These questions have lingered ever since the film’s premiere, when the toll of George W. Bush’s presidency left the United States with a fractured psyche in battling omnipresent terrorism. The storytelling is not setting out to bring definitive answers to these questions, but to ponder the state of the world, and their very existence can insinuate a damaged culture. Some characterizations can become flattened, or some scenes can contribute to an already lengthy runtime. However, the Nolans weave a fascinating tale that walks a delicate line between gritty realism and fantastical comic-book logic. The world is dark and solemn, but presented with such grandiosity that entertainment is never sacrificed either. The tone can be exciting or disturbing, but it’s consistently provocative.

An affliction that many Batman films have suffered from is having a stronger attachment to the villains than to the main hero. Ever since Jack Nicholson got top billing in 1989’s “Batman,” this superhero’s impressive rogues gallery has consistently managed to steal the spotlight in nearly every adaptation. While it may be a similar case here, it’s hard to deny that justification when witnessing Ledger’s monumental performance. He offers a Joker that feels completely novel, harnessing the recognizable energy of a crazed individual. Still, this time with a much more sinister presence that creeps in as soon as Hans Zimmer and James Newton Howard’s score underlines every appearance. His gravelly voice and face paint make him nearly unrecognizable, even with the makeup starting to smear away and barely revealing the disfigured human face beneath. There is so much engrossing energy that exudes from Ledger, who can carefully utilize his menace like an exacting scalpel to meticulously draw out the tension. However, his portrayal is not totally shrouded in darkness. There is a playfulness to his aura, which makes his presence all the more intoxicating. There’s humor there that blends exceptionally well with the threatening peril that is felt. The Joker has had countless interpretations over the years, and Ledger earns his place as one of the most impactful, with an understandably long legacy.

Even though Ledger takes most of the spotlight, that doesn’t mean the rest of the ensemble is completely lacking either. Bale’s version of Bruce Wayne has always been a portrait of inner conflict that wrestles between wanting to strive for normalcy while heeding the call to bring justice to the streets. It’s an emotional portrayal that nicely textures Wayne. It’s far more effective than his Batman, which may be an impressive feat of physicality, but loses nearly all mystique when the voice that sounds like it’s been gargling rocks bursts through. While it was tolerable in the previous films, it becomes more grating here due to the larger chunks of dialogue required to perform. Eckhart is another fine addition, even if some of his more histrionic outbursts don’t quite land. However, he is adept at showcasing the beaming optimism that has a sinister undercurrent, eventually transforming him into the villain Two-Face. This persona is terrifying in both physical appearance and the horrific acts of violence he commits. Gyllenhaal may be the superior actor to Katie Holmes, who she replaces in the role, but the writing is significantly inferior. Dawes struggles to have much dimension beyond her relationships with these two men, making her another casualty of Nolan’s weakness in writing more interesting female characters.

There are several other nicely placed members of the ensemble, even if a couple chew through a heavy Eastern European accent in a broad manner that is less engaging. The old veterans like Michael Caine and Morgan Freeman manage to carry their own weight in the small but impactful roles. However, Gary Oldman as Commissioner Gordon proves to be one of the film’s secret weapons. His version of this character is a lot more involved with Batman’s outings and, therefore, comes across as a more active force. The calming presence he tries to instill in every scene, with a collected demeanor that can still toss aside sharp dialogue with ease, feels the most like a character who’s just walked off the set of “Heat.” Oldman takes what was normally a stilted character, barely interacting with the main plot, and turns him into an endearing role whose determination is applauded. Still, there’s an unease within this man as well, and when we arrive at the harrowing finale that reckons with his own decisions, one of the film’s most powerful scenes becomes completely alluring. Oldman’s presence is a large reason for its effectiveness.

A film does not necessarily need to aspire to greatness to have a lasting legacy. For many of the works in Christopher Nolan’s repertoire, that status seems easy to come by. Being one of the most important and influential directors will automatically carry that distinction for any project. Yet, the work on “The Dark Knight” feels even more singular. His perspective led this material away from its venerable but somewhat sillier roots and planted it in a modern landscape that made the storytelling even more potent. The political intrigue it discusses is endlessly fascinating, supported by invigorating set pieces and absorbing commentary being delivered with a gripping sense of momentum. The ensemble all delivers, even if some blemishes can be spotted, and the overstuffed narrative may come close to stretching itself thin, but never quite crosses that threshold. The world of Batman may continually endure, but the shadow this entry has cast is long. It’s a standard that’s hard to overcome in the years since, for better and worse.

Streaming Information JustWatch

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