All articles tagged with #film industry
Nicolas Cage says he turned down Christopher Nolan’s Insomnia in 2002 and Nolan didn’t call back after the rejection; he notes directors often take it personally, but David O. Russell did reach out for Madden, a gesture he appreciated, and Cage discusses his Spider-Noir series beyond the film-choices story.
At Cannes, Cate Blanchett argued that the #MeToo movement was killed very quickly and highlighted ongoing gender imbalance on film sets, noting a daily headcount of roughly 10 women to 75 men—an issue Julianne Moore has also raised—underscoring that inequality persists across the industry.
The movie Michael has retaken the domestic box-office lead and is closing in on the worldwide record for the biggest music biopic, underscoring strong audience demand and momentum for music-centered biopics.
Hollywood’s major studios largely skipped the 2026 Cannes Film Festival due to cost and risk, fueling questions about when blockbuster premieres and Netflix titles will return to the Riviera. Netflix is signaling a shift toward theatrical windows (including a 45-day theater run for Greta Gerwig’s Narnia film next year), while Neon continues to dominate indie presence, leaving the festival in a cautious, watchful moment for marquee releases.
The Cannes Film Festival 2026 runs May 12–23 on the French Riviera, with jury members Demi Moore, Ruth Negga and Chloé Zhao, and a star-studded guest list including Scarlett Johansson, Kristen Stewart, Cate Blanchett and Julianne Moore. This gallery-style recap captures red-carpet arrivals and outfits across premieres, photo calls and parties, featuring looks from designers like Jacquemus, Dior Haute Couture, Celine and Gucci among others.
Eight years after Saudi Arabia opened cinemas, its bid to become a global entertainment powerhouse has yielded mixed results: massive investments and new studios abound, but the Desert Warrior flop underscores the sector’s risks and the need for a more sustainable, audience-driven slate, even as smaller, homegrown films gain traction and attract international interest.
As the 2026 Cannes Marché du Film opens, buyers are favoring leaner, high-concept titles with clear theatrical identities over giant action packages. Studios are launching genre-focused labels and pre-buying festival favorites to compete with indie distributors, with Neon, A24, IFC and others active in the market. The slate includes Park Chan-wook’s English-language Western, Justine Triet’s Fonda, Rodrigo Sorogoyen’s The Beloved, and AI-assisted projects like Critterz, alongside prestige dramas, English-language debuts, and a broad mix of presales aimed at global buyers and awards-season attention.
Cannes' 2026 lineup marks a shift from Hollywood blockbusters toward international auteurs, with only two American films in competition and several prestige titles financed outside the US; the industry’s risk aversion and preference for prestige projects outside the festival ecosystem underscore a return to Cannes’ auteur-driven roots while reaffirming the festival’s status as a global tastemaker.
Cannes 2026 has no major Hollywood blockbusters, signaling rising risk aversion among US studios who prefer tightly controlled launches over festival premieres and fear negative reviews impacting box office. A pair of independent American films remain in competition, while some studios still run selective Cannes events, suggesting this may be a temporary shift rather than a permanent rupture between Hollywood and European festivals.
The Devil Wears Prada 2 delivered a boffo worldwide debut, with a $77 million domestic opening that topped expectations and strong international performance that placed it No.1 in most markets. The film also marks career-best openings for Meryl Streep and Emily Blunt and is framed as a rare female-led blockbuster kickstarting the summer, though it faced stiff competition in Japan from The Super Mario Galaxy Movie.
The Devil Wears Prada 2 opened to a $77 million 3-day weekend from 4,150 theaters (about $18,554 per location), the biggest opening for a non-genre female-led title, lifting the weekend domestic total to $172.2 million and worldwide to $233.6 million. The audience skew was heavily female (76%), with solid critical and audience scores, signaling a strong start to the summer; Lionsgate’s Michael followed with $54 million in second, Hokum entered the Top 5, and next weekend brings Mortal Kombat II and The Sheep Detectives as potential sleepers.
The Devil Wears Prada 2 is forecast to debut with roughly $75–80 million in North America (with some estimates near $90–100 million) and about $100 million internationally, for a global launch around $175–$190 million. The $100 million-budget sequel reunites Meryl Streep, Anne Hathaway, Emily Blunt and director David Frankel, aiming to top the box office and potentially outpace the original's $125 million domestic and $326 million worldwide.
Marissa Bode, star of Wicked, says she was denied boarding on a Southern Airways flight because of her wheelchair after gate staff asked if she could stand. She alleges planes with stairs and no lifts are exempt from certain accessibility requirements, calling the policy and experience blatant segregation. Her team had been assured she’d be accommodated, highlighting broader questions about accessibility for disabled travelers in the airline industry even as Bode continues her acting career with upcoming projects.
Rising horror filmmaker Curry Barker is in talks to write and direct a new Texas Chainsaw Massacre for A24, with Roy Lee and Steven Schneider producing; Barker’s indie breakout success, including Obsession, helped secure the deal, signaling a fresh chapter for the franchise separate from an upcoming TV series in development.
Paramount CEO David Ellison surprised CinemaCon with an immediate 45‑day theatrical window and a 90‑day path to SVOD, saying Paramount could average about 30 films a year if the Warner Bros. Discovery merger closes. On stage after a Jon M. Chu–directed sizzle reel narrated by Tom Cruise, Ellison highlighted a revived Paramount lot and a ramped-up slate led by co-heads Dana Goldberg and Josh Greenstein, including 15 theatrical releases in 2026. The appearance comes amid merger chatter and industry nerves, with AMC’s Adam Aron expressing support for the deal while executives warn of potential job losses and fewer films if the merger stalls.