- Chicago Critics Film Festival Lineup Announced, including Guests Olivia Wilde, Joe Swanberg, Dawn Porter, More (April 10, 2026)
The Chicago Film Critics Association announces the line-up for the 13th Chicago Critics Film Festival, running from May 1-7, 2026 at the historic Music Box Theatre. A blend of new and familiar voices, this year’s line-up reflects the breadth of filmmaking in 2026 including new works from Olivia Wilde, Dawn Porter, and Joe Swanberg, all scheduled to attend.
Other guests include Cory Michael Smith, Edd Benda, Stephen Helstad, Zach Schnitzer, and Nate Simon. New films starring Seth Rogen, Willem Dafoe, John Early, Samara Weaving, Paul Rudd, Dustin Hoffman, and Cooper Hoffman will premiere, along with two shorts programs, five documentaries, and three timely anniversary titles: Steven Spielberg’s “A.I.: Artificial Intelligence,” David Cronenberg’s “The Fly,” and Jonathan Demme’s “Something Wild,” all presented on 35mm. Watch this space for more information but get your tickets now while you can.
Friday, May 1st
6:30pm “The Invite” (on 35mm w/Q&A with director/star Olivia Wilde)
9:30pm “The Fly” (40th anniversary on 35mm)
11:59pm “Decorado”
Saturday, May 2nd
11:30am “Shorts Program 1” (w/directors Q&A)
2pm “Tuner”
4:30pm “Carolina Caroline”
7:15pm “Power Ballad”
9:45pm “I Want Your Sex”
11:59pm “Leviticus”
Sunday, May 3rd
11:30am “You Had to Be There”
1:45pm “Shorts Program 2” (w/directors Q&A)
4:15pm “Maddie’s Secret”
6:30pm “Late Fame”
8:45pm “A.I.: Artificial Intelligence” (25th anniversary)
Monday, May 4th
4:15pm “The Last One for the Road”
6:30pm “When a Witness Recants” (w/Q&A with director Dawn Porter)
9:30pm “Time and Water”
Tuesday, May 5th
4:30pm “If I Go Will They Miss Me”
7pm “Chili Finger” (w/Q&A with writer/directors Edd Benda & Stephen Helstad)
9:45pm “Black Zombie”
Wednesday, May 6th
4:15pm “Romeria”
7pm “Loafers” (w/Q&A with writer/director/star Zach Schnitzer and producer Nate Simon)
9:30pm “Something Wild” (40th anniversary on 35mm)
Thursday, May 7th
5pm “Broken English”
7:30pm “The Sun Never Sets” (w/Q&A with writer/director Joe Swanberg and star Cory Michael Smith)
- Cannes Announces 2026 Program with New Films by Pedro Almodovar, Hirokazu Kore-eda, Asghar Farhadi, More (April 9, 2026)
The Cannes Film Festival announced the first selections for its 2026 program this year, a diverse array of films from international masters from around the world, blended in with new, unexpected voices. After a 2025 program of high profile Hollywood premieres like the last “Mission: Impossible” movie and Spike Lee’s “Highest 2 Lowest,” this year looks a bit more subdued on the red carpet front, but undeniably includes some of the best working filmmakers from around the world, including Pedro Almodovar, Asghar Farhadi, Ryusuke Hamaguchi, Hirokazu Kore-eda, Cristian Mungiu, Pawel Pawlikowski, Ira Sachs, and Andrey Zvyagintsev, all in competition.
Interestingly, the newest films from Jane Schoenbrun and Nicolas Winding Refn will both launch in programs ineligible for the Palme d’Or, while the latest from James Gray, widely rumored for Cannes, is nowhere to be found. (It’s worth noting that films from Lee, Bi Gan, and Lynne Ramsay, among others, were all added after the initial program reveal last year.) Of course, the best thing about Cannes is the unknown. There’s almost certainly a masterpiece or two in here. Come back in May to find out which one(s).
In Competition
“All of a Sudden,” Ryusuke Hamaguchi
“Another Day,” Jeanne Herry
“The Beloved,” Rodrigo Sorogoyen
“Bitter Christmas,” Pedro Almodóvar
“The Black Ball,” Javier Ambrossi and Javier Calvo
“Coward,” Lukas Dhont
“The Dreamed Adventure,” Valeska Grisebach
“Fatherland,” Pawel Pawlikowski
“Fjord,” Cristian Mungiu
“Gentle Monster,” Marie Kreutzer
“Hope,” Na Hong-jin
“The Man I Love,” Ira Sachs
“Minotaur,” Andrey Zvyagintsev
“Moulin,” László Nemes
“Nagi Diary,” Koji Fukada
“Notre Salut,” Emmanuel Marre
“Parallel Tales,” Asghar Farhadi
“Sheep in the Box,” Hirokazu Kore-eda
“Stories of the Night,” Léa Mysius
“The Unknown,” Arthur Harrari
“A Woman’s Life,” Christine Bourgeois-Taquet
Un Certain Regard
“All the Lovers in the Night,” Yukiko Sode
“Benimana,” Marie-Clementine Dusabejambo
“Club Kid,” Jordan Firstman
“Congo Boy,” Rafiki Fariala
“Le Corset,” Louis Clichy
“Elephants in the Fog,” Abinash Bikram Shah
“Everytime,” Sandra Wollner
“I Am Always Your Maternal Animal,” Valentina Maurel
“I’ll Be Gone in June,” Katharina Rivilis
“The Meltdown,” Manuela Martelli
“Strawberries,” Laïla Marrakchi
“Teenage Death and Sex at Camp Miasma,” Jane Schoenbrun (Opening Film)
“Uļa,” Viesturs Kairišs
“Yesterday the Eye Didn’t Sleep,” Rakan Mayasi
Out of Competition
“L’Abandon,” Vincent Garenq
“De Gaulle: Tilting Iron,” Antonin Baudry
“Diamond,” Andy Garcia
“The Electric Kiss (Opening Night Film),” Pierre Salvadori
“Her Private Hell,” Nicolas Winding Refn
“Karma,” Guillaume Canet
“L’Objet Du Delit,” Agnes Jaoui
Cannes Premiere
“Heimsuchung,” Volker Schlöndorff
“Kokurojo: The Samurai and the Prisoner,” Kiyoshi Kurosawa
“Propeller One-Way Night Coach,” John Travolta
“The Third Night,” Daniel Auteuil
Special Screenings
“Avedon,” Ron Howard
“Cantona,” David Treehorn
“John Lennon: The Last Interview,” Steven Soderbergh
“Les Matins Merveilleux,” Avril Besson
“Les Survivants du Che,” Christophe Réveille
“Rehearsal for a Revolution,” Biga al Ahani
“The Survivors of Che,” Christophe Réveille
Midnight Screenings
“Colony,” Yeon Sang-ho
“Full Phil,” Quentin Dupieux
“Jim Queen,” Nicolas Athane and Marco Nguyen
“Roma Elastica,” Bertrand Mandico
“Sanguine,” Marion Le Corroller
- Netflix’s “Big Mistakes” Starts Off Feeling Small but Settles into Its Best Self (April 9, 2026)
The first two episodes of Netflix’s “Big Mistakes,” which basically play as one hour-long episode, actively annoyed me. A premise that feels overly familiar in the era of ordinary people getting caught up in violent situations a la “Ozark” with frustratingly dim lighting that matches that increasingly influential award winner centered by two obnoxious characters who I expected would just bicker their way through the next eight chapters: I started to regret my career choices.
Some of the issues in the first hour of “Big Mistakes” linger, but to say that the show finds its footing in unexpected ways would be an understatement. Behind-the-scenes drama could be to blame for the rough start tonally, but Dan Levy and his team relatively quickly figure out how to amplify the best aspects of their show, pivoting into a radically different one than it first seems.
“Big Mistakes” was created by and intended to be a vehicle for Levy and Rachel Sennott. When “I Love L.A.” went to series, Sennott couldn’t juggle both shows, so her part was recast with Taylor Ortega, and it feels like that shift impacted the show’s launch. The first impression I had was that Levy and Ortega not only don’t feel like siblings, but I’m not convinced they’ve ever even met. That lack of sibling chemistry early in the season really impacts the tone—it’s different watching a brother and sister bicker than it is two obnoxious strangers. There were also reports that Levy was struggling with the balance between crime and comedy in the writers room, and one can totally feel that early in the season, too.
BIG MISTAKES. (L to R) Dan Levy as Nicky and Boran Kuzum as Yusuf in Episode 103 of BIG MISTAKES. Cr. Spencer Pazer/Netflix © 2025
And then it’s gone. Before the halfway mark, “Big Mistakes” has become a more confident, balanced, entertaining show, a program that still struggles with some unbelievable choices by its many characters, but one that moves with such momentum that it’s an easy binge. It’s one of those shows where you want to see what’s going to happen next, how these two are going to fall into another trap or work their way out of one. And it contains several engaging performances, especially from Levy and Laurie Metcalf. It’s not perfect, but if this is Netflix’s newest “Ozark Lite,” it’s a better one than most of that imitative field.
Levy plays Nicky, a pastor in a town so small that his mother Linda (Metcalf) can both own the hardware store and be running for mayor. When his grandmother is dying, Linda tasks Nicky and his sister, Morgan (Ortega), with buying a nice necklace for her burial. They go to a pawn shop, and Morgan decides to shoplift what seems like an ordinary piece of jewelry, only to discover it is a bauble that is very important to a local crime syndicate. The store clerk/tough Yusuf (Boran Kuzum) brings Nick and Morgan to his boss, Ivan (Mark Ivanir), who basically forces them to join the payroll, giving them flip phones they have to answer whenever he needs them. What better unexpected pawns could a crime lord have than a pastor and a schoolteacher?
BIG MISTAKES. (L to R) Laurie Metcalf as Linda and Darren Goldstein as Tom Donaldson in Episode 104 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Meanwhile, Linda launches a heated political campaign with her third child, Natalie (Abby Quinn), taking on a truly toxic power player in the community, Tom Donaldson (Darren Goldstein), whose strings are pulled by his wife, Annette (a perfectly cast Elizabeth Perkins). There are times when the Metcalf/Quinn/Perkins half of “Big Mistakes” feels like a different show from the Levy/Ortega one, but that becomes something more of a feature than a bug. The always-great Metcalf chews on the clever dialogue regarding small-town politics in a way that makes you wish she had guest-starred on “Veep,” and it allows a bit of a release from the criminal half of “Big Mistakes” while also reminding one that the worlds of international crime and local politics aren’t that different when it comes to idiotic behavior.
Levy settles into his role, too, getting just enough character work outside of the action of the piece to make him feel increasingly genuine. Mostly, he just doesn’t seem as adrift as in the early episodes, even developing some stronger chemistry with Ortega, although the extended scenes where they just yell at each other are the most consistently grating.
BIG MISTAKES. (L to R) Taylor Ortega as Morgan and Dan Levy as Nicky in Episode 107 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Importantly, Levy and his fellow producers wisely surround their abrasive leads with rich supporting characters, mostly on the criminal side of the coin. Kuzum and Ivanir are particularly good, taking roles that could have been two-dimensional and making them richer through subtle choices. Ivanir conveys why Ivan would see our leads as different from his usual criminal cronies, while Kuzum finds a balance between being charming and dangerous.
“Big Mistakes” sometimes feels a bit too derivative of things that its creators know people love from the accidental criminals of “Ozark” to the dysfunctional siblings of “Schitt’s Creek,” but it’s ultimately smart enough to overcome that criticism. It’s an easy weekend binge in one of the most crowded TV months of the year. And a reminder that sometimes people, and shows, aren’t what they first appear.
Whole season screened for review. Now on Netflix.
- HBO’s “Euphoria” Feels as Lost as Its Characters in Riveting, Infuriating Third Season (April 8, 2026)
HBO’s “Euphoria” is in such a weird place in 2026. A show that once felt abrasively fresh and inventive went away for long enough that not only did its stars all become just as bright in other places, but its provocations seem increasingly hollow in a very different world. Premiering four years after we last saw these characters, the third season of Sam Levinson’s Emmy winner sometimes feels like a shadow of its former self, a program about young people trying to find who they are that is struggling through an identity crisis of its own, but there are just enough times when that shadow springs to life that it’s not so easily dismissed as a relic that took too long to return.
On the one hand, the disjointed nature of the storytelling across the three episodes sent to press makes for a TV-watching experience that lacks consistent momentum. On the other hand, it’s a season that’s often about people stuck in their routines, unable to find direction in a world of side hustles that treat their bodies like means to ends. There are individual beats, scenes, and performances in these three episodes that spark with that energy that the show found at its best, but 2026 “Euphoria” feels more uncertain of what it’s doing or saying than ever before.
If the goal is to reflect a lack of direction or focus in the quarter-life crises of its characters through a show that also can’t maintain a train of thought, then mission accomplished. But that feels like an awfully shallow sentiment for a generation that’s constantly trying to find new ways to keep its head above water.
The Rue (Zendaya) of 2026 isn’t battling addiction as much as what her addiction wrought. It turns out that the theft from unexpected crime boss Laurie (Martha Kelly) has turned her into a drug mule, literally using her body to transport product across the Mexican border. While she uses her body literally, Cassie (Sydney Sweeney) does so virtually, re-introduced dressed like a dog in lingerie to appease a very precise corner of the internet. Cassie is trying to raise extra funds for her dream wedding to now-entrepreneur Nate (Jacob Elordi)—including a $50k flower bill—by doing whatever it takes online, including opening an OnlyFans account.
Of course, other familiar faces return. Lexi (Maude Apatow) is working in Hollywood with a power player portrayed by Sharon Stone, while Maddy (Alexa Demie) circles a similar world of celebrities and influencers. At its best, Levinson and company seem to be commenting on the increasingly shallowness of, well, everything. Weddings are funded by softcore porn, celebrities care more about their online persona than their abilities, and the alleged sins of the world, like drugs and sex, are the only viable escapes from it all. Real happiness, whatever that may mean, is as brief and elusive as a drug high or a one-night stand. And if it’s true in your teens, it’s still true in your twenties.
Interestingly, the world has seen the stars of “Euphoria” develop their skills outside the show, and many of them bring what they’ve learned back to their familiar characters. Most of all, Zendaya slides right back into what I still consider her best performance. There’s a jittery, anxious energy that the “Dune” star brings to Rue that I really wish more film writers and directors would find a way to let her explore on screen. This version of Rue has essentially embraced the chaos, bouncing from Laurie’s grip into the sphere of a dangerous crime lord named Alamo (Adewale Akinnuoye-Agbaje). Zendaya sketches her as a reactive creature, someone who has faced so many hurdles that she just jumps when there isn’t even one in front of her. It’s another truly great turn, the best thing about the season, and, again, the best of Zendaya’s career.
Of course, Sweeney, Schafer, and Elordi have also seen their stocks skyrocket. They flow right back into these roles as if they never left, but they almost seem above the material at times. Elordi has been so nuanced in work like “On Swift Horses” and “Frankenstein,” but he’s hampered here by a shallow presentation of Nate through three episodes. (One hopes that changes over the subsequent five episodes of the season.) Sweeney again nails the fragility of a woman who’s so obsessed with image and opinion but can’t understand how fleetingly those things make her happy. Schafer doesn’t really do much until the third episode, but she glows under the chance to portray a happier Jules, one who seems in control of her own happiness more than at any other point in the series.
And yet what does it all mean? There’s a conversation in the second episode in which Maddy tells Cassie that she’s being too desperate instead of being herself. “Who am I?” asks Cassie, as if desperation to please IS being herself. “Euphoria” often has a similar problem: Pushing into shock value and even scenes that feel designed for TikTok virality instead of actually saying anything. As often as a performer’s choice rises above the artifice of it all, that hollowness always returns, especially with a trio of episodes that struggle to maintain a narrative throughline.
To start the third season, “Euphoria” seems to be saying that being in your twenties in the ‘20s exists on the surface of humanity, chasing highs through meaningless elements like drugs, sex, and online virality. If these characters were shallow, broken creatures when they were teenagers at the start of the show, this season seems to be building to the idea that we can’t just mature out of those habits because our birth certificate implies we should. To that end, the hollow chaos may be the point.
Only time will tell if Levinson and company can turn what is essentially just the setup for the season into a payoff that feels deeper and more focused. Or if it will be content to reflect the uncertainty of its characters through storytelling that can feel maddeningly uncertain itself.
Three episodes screened for review. Premieres on Sunday, April 12 on HBO.
- Peacock’s “The Miniature Wife” is Big on Feelings, and That’s Not Nothing (April 8, 2026)
They say no one wins when the family feuds. Maybe not, but the bestseller lists, box office, and streaming would like a word. Anything that makes us yell, “mommy, daddy, don’t!” with our faces only partially covered and a grin on our lips, has a good chance of winning us over. There’s the vitriolic fallout of 2019’s “Marriage Story” and the crown jewel of marital enmity, “The War of the Roses,” as proof.
These are influential stories, but life is their inspiration. When a marriage decays, it can turn catastrophically bad. We all know it, many of us have seen it, and others have written about it. The challenge is coming at it in a new way to recontextualize a weaponized marriage—so we don’t forget to treat each other better. In 2013, Manuel Gonzales released the collection “The Miniature Wife: and Other Stories,” and created an inspired metaphor. A scientist specializing in miniaturization shrinks his wife. Or as he describes it, “The truth of the matter is: I have managed to make my wife very, very small.” And that’s the point; he needed to make her small to make himself feel big.”
With a concept this incisive, it’s no wonder it captured the imaginations of executive producers and co-stars Elizabeth Banks and Matthew Macfadyen, alongside showrunners Jennifer Ames and Steve Turner, from the production company Media Res. And so, here we have a 10-episode dark dramedy about “the power (im)balances between spouses.”
THE MINIATURE WIFE — Pictured: (l-r) Elizabeth Banks as Lindy, Matthew Macfadyen as Les — (Photo by: Peacock)
“The Miniature Wife” has a setup that begs you to pay attention. I did. That decision is dubious; come with me and decide for yourself. Based on the somewhat “Roses”-reimagined short story by Gonzales, the series version of “The Miniature Wife” expands the characters and their hijinks. Lindy (Banks) is now a Pulitzer Prize-winning author and professor who’s in a slump. Les (Macfadyen) is her Nobel-chasing husband who specializes in agricultural advances. They have a disgruntled daughter, Lulu (Sofia Rosinsky), and one—in some ways both—of them has an ardent lover in Richie (O-T Fagbenle). During an argument, Lindy is accidentally shrunken down to 6 inches tall, and life, careers, and parenthood get complicated. The marriage itself was already in shambles.
Picture me flailing, attempting to encapsulate my reactions. Satirical absurdism is likely the best way to categorize this show. Logic is not in the building. Yet I found myself searching for an internal logic that would make the self-destruct button inside this world work. For most of the first five episodes of “The Miniature Wife,” I kept asking the characters, “Why would you do that?“ The only answer I found was “BIG emotions.” And when your work, homelife, or the past make you feel small, big emotions are your wrecking ball. Apparently, they are also a superpower because some of these characters do things that should be physically impossible. Yes, even though this is a world where people get shrunken down to cake-topper size, I need some form of mechanics to immerse myself in the fantastical.
This is an era of women’s psychological thrillers, and although “The Miniature Wife” is listed as a dramedy, it has the same beats as a thriller. That’s a good thing. I’ve always been a fan of what a story is trying to say: what are the themes beyond the plot?
The main theme examines how women are often made to shrink next to men who need them to be less in order to feel powerful. That’s an easy one. As a result, the secondary theme highlights how women become adept at navigating environments designed to make things difficult for them. Love that. The third theme is about the problematic catalyst of narcissism x tiny minds. When those two traits collide, nothing is safe. Confidently climbing territory like that, this Peacock series has something to say, and the characters are legitimately propelled into change. But, gosh, it annoyed me most of the time. I enjoy a heaping pile of science-fiction pandemonium, but this might not be my brand of absurdist satire.
THE MINIATURE WIFE — Pictured: (l-r) Zoe Lister-Jones as Vivienn, Matthew Macfadyen as Les, Rong Fu as Janet, O-T Fagbenle as RPW — (Photo by: Rafy/Peacock)
From the leads through to Ronny Chieng’s ‘demon’ investor and Zoe Lister-Jones’ boss-chick in a power suit, these are catastrophically arrogant characters who are nowhere near as brilliant as they think, while still being brilliant. At least in their work. Not so much in their lives. Even with truly engaging character work by everyone in the cast—especially Fagbenle, Rosinsky, Sian Clifford as Lindy’s neurotic but liberated literary agent, and Tricia Black—halfway through, I wanted to stop watching. Wait, I can’t forget about the Shirtless Man—he may have been my favorite, not because he’s shirtless, but because he’s direct and perceptive. What was I saying? Oh yes, at the end of Episode 8, my one-word review would have been “Tedious.”
Here’s the surprise: “The Miniature Wife” didn’t leave me cold. The characters take us through an array of emotions. Mostly I wanted them to implode—demonstratively—but that’s NOT nothing. In this world, the main characters seek validation through the adoration of the masses; nothing else matters to them. They must be praised, or they are nothing. The question becomes, can they evolve before they destroy themselves and each other?
With that in mind, before the finale lands, we are rewarded with “JANET RENO” – Episode 109, a full-blown romcom complete with runaways, revelations, and multiple stabbings—that’s not a spoiler. You won’t have any idea what I mean until it happens. Weirdly, like with “Vladimir” before it, the denouement makes “The Miniature Wife” worth the ride. Episode 9 is a Hail Mary that pulls you back in for a somewhat satisfying final Episode 10. An ending that’s very much like “The War of the Roses”—I’m just not telling you which version.
Whole season screened for review. Streams April 9 on Peacock.
- Watch: Spike Jonze Directs Zendaya in Surreal 'Shape of Dreams' Ad (April 10, 2026)
Dream On? Time for another dose of "but when will Spike Jonze ever directed a new movie?" distraction. Alas there's still no word on if he's directing a feature film project anytime soon. But while we wait, patiently for it to happen one day, he is still whipping up crazy creative and weird and unique commercials and short films. Last year we posted his Gucci short film The Tiger (co-directed by Spike and Halina Reijn) along with his "Someday" Apple AirPods commercial with a dancing Pedro Pascal; and also in 2024 his brilliant "All My Love" music video featuring then 99-year-old Dick Van Dyke dancing around his home. One thing is for sure - Spike Jonze really loves making his actors dance in his commercials! And I will continue to feature his new advertising work - even if it just shameless marketing for corporations. Jonze's latest creation is this "Shape of Dreams" ad for the Swiss shoe company called On featuring Zendaya getting funky trying to dress herself. Yes it's just a clothing ad but it's fun & clever & quirky. Which is what we all love about Spike. // Continue Reading ›
- First Look Trailer for Manuela Martelli's 'The Meltdown' at Cannes 2026 (April 10, 2026)
"I know that Hanna's going to come back..." Les Films du Losange from France has debuted the first look teaser trailer for a film titled The Meltdown (also called Dégel in French), which will be premiering at the 2026 Cannes Film Festival in May. The second feature film made by Chilean filmmaker Manuela Martelli (following Chile '76), this is playing in the festival's Un Certain Regard section and it's definitely one film to watch out for there. Set in Chile in the year 1992. Staying at her grandparents' remote hotel near an Andean ski resort, nine-year-old Inès befriends the teenaged Hanna, a German skier. When Hanna vanishes without a trace, the search for her exposes hidden truths. The subsequent investigation reveals long-buried secrets in this post-dictatorship mystery drama. Where is she? This stars Maya O'Rourke, Maia Rae Domagala, Saskia Rosendahl, and Jakub Gierszal. Another mysterious Hitchcockian film from Manuela Martelli – keep an eye out for this one. Already waiting to see what the reviews say coming in from Cannes next month. // Continue Reading ›
- New Trailer for Barbara Kopple's 'American Dream' Doc 4K Restoration (April 10, 2026)
"They want to freeze us out. They want to starve us out." "It's a war." 🇺🇸 Janus Films has debuted a brand new trailer for the 4K restoration of the iconic documentary film American Dream, made by acclaimed doc filmmaker Barbara Kopple. This premiered in 1990 and went on to win an Oscar for Best Documentary Film after releasing in 1991. Kopple's big follow-up to her other famous doc Harlan County, USA from 1976, this film follows another strike and another labor dispute in America. But with more depressing results this time around. American Dream recounts the 1985 to 1986 strike against the Hormel Foods Corporation in Minnesota after its employees' wages and benefits were cut. The film features extensive footage of union meetings and press releases, Hormel press releases, news broadcasts, and in-depth interviews with people on both sides of the issue, including Jesse Jackson. Supervised & approved by director Barbara Kopple, this 4K digital restoration was undertaken by Janus Films and the Criterion Collection from a scan of the 16 mm internegative. The original monaural soundtrack was remastered from the 35 mm DME magnetic track. It looks and sounds better than ever before! This is absolutely worth a watch if it's playing anywhere near you. // Continue Reading ›
- Music Maven Documentary Film 'Peter Asher: Everywhere Man' Trailer (April 10, 2026)
"Peter stuck with me throughout some dodgy times." Greenwich Ent. has unveiled the official trailer for a documentary film titled Peter Asher: Everywhere Man, out in theaters starting in June in the summer. This first premiered at the 2025 Telluride Film Festival last year - the original full title was Everywhere Man: The Lives and Times of Peter Asher. Everywhere Man tells the story of a man who was there for it all. From Swinging London and Beatle-era pop to the rise of the California singer-songwriter movement, Peter Asher's life and career intersect with some of the most iconic artists and cultural moments of the last six decades. Born in 1950s London, he co-owned the Indica Gallery and produced artists like James Taylor and Linda Ronstadt. Asher is still active today, collaborating with Barbra Streisand on her latest album, The Secret of Life: Partners. Featuring interviews with artists, collaborators, and many cultural icons, this film is a compelling music documentary about influence, artistry, friendship, and one extraordinary life in rock and roll history. Including Steve Martin, Eric Idle, Jane Asher, Clare Gillies, Gordon Waller, Lyle Lovett, Paul McCartney, Twiggy, Rufus Wainwright, Robin Williams, "Weird Al", many others. Have a look listen below. // Continue Reading ›
- First Trailer for 'The Beloved' Starring Javier Bardem & Victoria Luengo (April 10, 2026)
Meet Esteban & Emilia. A Contra Films has debuted the first official trailer for the film titled The Beloved, originally known as El ser querido in Spanish, the next film by acclaimed director Rodrigo Sorogoyen (also of Stockholm, May God Save Us, The Candidate, Mother, The Beasts). This is premiering at the 2026 Cannes Film Festival in May in the prestigious Main Competition and was just announced this week which is why they dropped this new trailer. It's being referred to as this year's Sentimental Value because the premise is quite similar - it's about a filmmaker father trying to reconnect with his estranged daughter, who is also an actress. However, this film spends more time on set (in the Canary Islands) where he's shooting rather than in an old house. Javier Bardem stars as Esteban Martínez, a famous filmmaker working on a new film. Victoria Luengo co-stars as his daughter Emilia, an unsuccessful actress. They reunite to shoot a film together, confronting their strained relationship and many unresolved past issues that neither wants to address directly. So far so good - this seems quite promising! And I am amused by Javier Bardem's stoic filmmaker performance – it seems he's channeling Francis Ford Coppola or many other eccentric directors. // Continue Reading ›
