Rushes | Luca Guadagnino Film Dropped By Amazon, Robert Eggers Releases "Werwulf" Trailer, Indie Filmmakers Disclose Financial Realities

Дата публикации: 01-07-2026 08:00:00

Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on X and Instagram.NEWSDo Not Expect Too Much from the End of the World (Radu Jude, 2023).
Amazon MGM Studios abruptly dropped Luca Guadagnino’s Artificial, a biographical comedy-drama about OpenAI CEO Sam Altman, a move that occurred days after Amazon signed a $50 billion deal with OpenAI. The film is expected to be picked up by Neon.
Penske Media has bought the remaining sites owned by Vox Media, including Eater, PopSugar, and Thrillist, following an earlier deal conducted by James Murdoch to acquire New York magazine, Vox, and the Vox Media’s podcast network for $300 million. This deal makes Penske the world’s largest digital media publisher.
Uwe Boll claims that his latest film Citizen Vigilante (2026) has been effectively banned in Germany due to its violent content and anti-migrant message. The film has been boosted by conservative figures internationally, including Elon Musk, who posted the film on X for 48 hours.
REMEMBERINGCheers (James Burrows, 1985-86).
James Burrows has died at 85. After graduating from the graduate program at the Yale School of Drama, the prolific American television director began his career in earnest as the assistant stage manager for the 1967 play Holly Golightly, where he met actress Mary Tyler Moore. Burrows later wrote to Moore and her husband Grant Tinker asking for a directing job at their production company MTM Enterprises. He subsequently cut his teeth directing episodes of multiple MTM shows, including Taxi (1978–83), where he served as the show’s in-house director. In 1982, he and Taxi creators Glen and Les Charles co-created Cheers (1982–93), where he directed all but 35 of its 275 episodes. His success with Cheers led him to play a pivotal early role in the development of Friends (1994–2004), a show he helped shepherd from the beginning, Frasier (1993–2004; 2023–24) where he won his fourth Emmy for directing, and Will and Grace (1998–2006; 2017–20), for which he directed the entire series. From the 1980s onwards, Burrows became a highly sought-out television comedy director, someone who directed 75 pilot episodes that eventually went to series. He also occasionally appeared in front of the camera, most notably in the series The Comeback (2005–26) where he played himself as a recurring character over the course of two decades, including in episodes from earlier this year. “He was at the top of his game for the entirety of his career,” said Steven Spielberg. “No one got close to what he could do on a multi-camera show. I learned a lot from him.”
Daveigh Chase has died at 35. The American actress began her feature film career by playing the youngest Darko sister in Richard Kelly’s Donnie Darko (2001). Her profile rose considerably when she voiced Chihiro in the English dub of Spirited Away (2001) and the eponymous Lilo in Lilo & Stitch (2002), her breakout role. She would later reprise her role as Lilo in Stitch! The Movie (2003), Lilo & Stitch: The Series (2003–06) and Leroy & Stitch (2006). Her other notable roles include the wraithlike ghost Samara Morgan in The Ring (2002) and Rhonda Volmer on the HBO series Big Love (2006–11). Lilo & Stitch directors Chris Sanders and Dean DeBlois paid tribute to Chase on Instagram with an illustration of Stitch feeding a fish a peanut butter sandwich.
RECOMMENDED READINGBringing Up Baby (Howard Hawks, 1938).
“There’s a sense when your film is being talked about that that equals a financial benefit, but the reality is that making a financial return on a film this size is very, very difficult. Even with distribution, so much goes into getting the film out there, so it’s very hard to get into any kind of backend. Film financing works very differently in Canada than the US. We don’t have a huge amount to pay back, but we do have some investors who helped us cover the cost of the music…The way we organized the backend was that we tried to give points to all crew members so that everybody would get something. But it’s really not an expectation I have. If we get there, it’s a cherry on top.” For Vulture, Hershal Pandya interviewed five filmmakers about the financial realities of making independent films, including the day jobs they cling to and the looming threat of bankruptcy.
“With titles—and, by extension, prints—ranging from 100 to 75 years old, the unique pleasure of seeing these rare, gem-like objects lit up and life-sized is undeniable. One might mistake the festival as a celebration of obsolescence; rather, it’s a chance to bask in the moving image at its most sophisticated and avant-garde. These films were, at the time of their releases, at the cutting edge of storytelling capability: whether as technological achievements, or as the vanguard of narrative courage.” For Screen Slate, Caroline Golum reports from the 2026 Nitrate Picture Show, which featured films by Mitchell Leisen, John M. Stahl, and Jean Cocteau.
“Screwball was impure from the start, born out of silent slapstick, early genre pictures and theatrical hits. It wasn’t associated with any one studio, and many of its stars were vaudevillians, singers, stuntmen, Ziegfeld girls or farceurs from Mack Sennett’s two-reelers. Its hallmarks are fast talk, eccentric characters and an oddball couple. There might be a reversal or a misdirection (‘screwball’ comes from a baseball pitch with a twist), but its ironies are reassuringly proleptic: the gold-digger will end up with the strapped cab driver, just as the divorced couple will marry again; opposites, interminably, attract.” For the London Review of Books, Ruby Hamilton unpacks the mechanics of the screwball comedy, where “with enough conviction, craziness starts to make sense,” as London’s Garden Cinema kicks off its Screwball Summer series.
“I first got sober at the Cannes Film Festival in 2019. Two days into the festival, I woke up with my ever-present hangover in a hilltop apartment lent to me by a Parisian friend. After deciding to spend my modest savings on what should have been a cinephile’s fantasy vacation, my initial endorphin cloud cleared to reveal my true motivations: an attempt to escape depression, temporarily forget my unemployment, and ward off paralysis about what to do with my life. Nicolas Cage went to Las Vegas to drink himself to death in Leaving Las Vegas (1995), Tabea Blumenschein in Ticket of No Return (1979) went to Berlin, and I went to Cannes.” For The Paris Review, programmer and critic Inney Prakash details his journey to sobriety against the backdrop of film festival culture.
RECOMMENDED EVENTSDeadlock (Roland Klick, 1970).
London, through July 30: The Institute of Contemporary Arts presents Time to Play: Films by Jacques Rozier, a program that collects five features and a collection of shorts by an underappreciated voice from the French New Wave.
Berlin, July 5: The Lichtblick Cinema presents a celebration of filmmaker Roland Klick on his 87th birthday by screening the psychedelic western Deadlock (1970) and the crime drama Supermarket (1974).
Chicago, July 10–12: MUBI presents the third edition of MUBI Fest, whose American edition will feature the Chicago premiere of Teenage Sex and Death at Camp Miasma (2026), a 40th anniversary screening of The Fly (1986), a sneak-peek screening of Karim Aïnouz’s Rosebush Pruning (2026), and more across multiple city venues.
Amsterdam, through September 2: Eye Filmmuseum presents Queer Power, a presentation of classic and contemporary queer films from around the world, including Badnam Basti (1971), Liquid Sky (1982), The Watermelon Woman (1996), and more.
RECOMMENDED VIEWINGFocus Features and Universal Pictures present a trailer for Robert Eggers’s latest gothic horror film Werwulf (2026), about a mysterious creature stalking a small town in 13th-century England, starring Aaron Taylor-Johnson, Lily-Rose Depp, and Willem Dafoe. data-height="natural">
A24 presents a trailer for Jesse Eisenberg’s The Debut (2026), a musical comedy starring Julianne Moore as a shy housewife who’s cast in a local community theater production and subsequently loses herself under the tutelage of the show’s director (Paul Giamatti). data-height="natural">
Music Box Films presents a trailer for Remake (2025), Ross McElwee’s latest documentary chronicling the final years of his son’s life and various efforts to fictionalize his landmark feature Sherman’s March (1986), which has been restored for its 40th anniversary. data-height="natural">
Don Hertzfeldt’s Paper Trail (2026), winner of the Short Film Special Jury Award for Creative Vision at this year’s Sundance Film Festival, is available to rent or purchase on Vimeo.
RECENTLY ON NOTEBOOKDisclosure Day (Steven Spielberg, 2026).
“Despite the physical openness of its setting, the first half of [Last Night I Conquered the City of Thebes (2025)] trades in emotional ambiguity. The friends’ relationship, while close and intimate, is accompanied by a strain of Antonío’s awkwardly articulated longing for Jota, who we learn is soon leaving home. As the afternoon saunters into evening and night, they luxuriate in the warm water, drifting between the facility’s pools as their conversations also lazily drift from their latest Fortnite campaigns to their anxieties about growing up—all while daylight retreats behind the horizon in a hypnotic facsimile of real time.” Chris Cassingham explores the history of bathhouse culture on screen through the lens of Gabriel Azorín’s debut feature Last Night I Conquered the City of Thebes.
“If Tony had been born 60 or 70 years earlier he would have been renowned as one of the great Italian poster artists, like Anselmo Ballester or Ercole Brini, or like his hero Averardo Ciriello whom he called, when selecting his poster for Masaki Kobayashi’s Harakiri (1962) as one of his all-time favorites, ‘one of the best artists to ever work in movie posters,’ and said, ‘like his Venetian forefathers he was masterful in capturing likenesses with the simplest, loosest brushstrokes.’ The same could be said of Tony himself. He was remarkable at capturing likenesses of actors and yet he seemed to do it almost effortlessly.” For Notebook’s Movie Poster of the Week column, Adrian Curry pays tribute to the late poster artist Tony Stella and interviews his collaborator Midnight Marauder about their work together.
“Spielberg’s trust in storytelling and the power of images is undeniable, the source of plenty of what is good and bad about his work. His concerns might always be about the more immediate emotional effects of his images, but there is always this trust in ‘the movies’ that is supposed to energize them. This has rarely been as true as on Disclosure Day (2026), which makes the power of images its subject. It is less a first contact movie than one about sharing the evidence of that contact. What matters is that those images, when presented effectively, have the power to shake us.” Felipe Furtado unpacks Disclosure Day and the meaning of image-making in Steven Spielberg’s “late-late” period.
“Vilified as it’s been since its inception, South Park (1997–) hasn’t just kept an unparalleled pulse on our society, but combined high- and lowbrow comedy to interrogate our dreams and paranoias, stress-testing the limits of what can and cannot be said. But what, if anything, could a sitcom that kicked off in 1997 as a crudely animated Christmas video card from two disgruntled University of Colorado Boulder graduates—now in their mid-fifties—have to say about today?” Leonardo Goi examines the last two years of South Park, how it has addressed contemporary politics, and the ways in which its vulgarity has become a liberating creative force.
WISH LISTMarie Antoinette (Sofia Coppola, 2006).
Dressing the Story: The Art of Costume Design, a “rare, inside-the-room account of how films are truly made” by award-winning costume designer Debra McGuire in conversation with producer Jim Stark, is available to purchase from Sticking Place Books.
Making Marie Antoinette—Andrew Durham’s photographic chronicle of the making of Sofia Coppola’s third feature, which includes an oral history of the film by Keaton Bell and a new in-conversation between Durham and Coppola—is available to preorder from MACK.
EXTRASJaws (Steven Spielberg, 1975).
Steven Soderbergh has launched Production 02074, an interactive app that pays tribute to the making of Jaws (1975) by allowing users to scroll through behind-the-scenes images from each of the film’s 143-day production schedule, accompanied by Soderbergh’s own commentary and an epilogue by Steven Spielberg.
Redditor olievans created a virtual recreation of the Criterion Closet, which allows users to “browse” over 1,200 films.
Tom Hardy, under the alias Frankie Pulitzer, will release a collaborative rap album with the group Czarface entitled Czarface Meets Frankie Pulitzer later this summer.

Схожие новости

#	Наименование новости	Тональность	Информативность	Дата публикации
1	Rushes | Locarno Lineup Unveiled, “Digger” Trailer Revealed, R.I.P. Sam Neill	0	10.76	15-07-2026
2	Seven-Word Reviews | Il Cinema Ritrovato 2026	0	8.79	03-07-2026
3	This film festival left me feeling better about AI moviemaking	5	7	26-06-2026
4	These human TV and movie picks trounce Netflix’s algorithm	0	6	29-06-2026
5	Summer in the City: The Best Summer Movies Set in New York City to Watch in 2026	5	6	03-07-2026
6	11 sultriest lesbian and sapphic femmes in TV and film history	2	4	01-05-2025
7	The Fall/Winter 2025 Movies And TV Shows You Need To See	5	5	02-10-2025
8	David Cronenberg and William S Burroughs on the set of The Naked Lunch (1991)	0	0	17-06-2026
9	The 3 Best Movies to Watch on HBO Max This Week	0	5	02-07-2026
10	Natasha Rothwell Joins Hulu’s Cable Guy Pilot	0	10.64	23-07-2026

Классификация: . Схожих патентов: 0. Схожих новостей: 10. Тональность: 0. Информативность: 11.04. Источник: mubi.com.