Latest news with #StellanSkarsgård
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18 hours ago
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Renate Reinsve rejects her famous actor father in Joachim Trier's Sentimental Value trailer
Gustav may not be the worst person in the world, but to his daughter, he is. Renate Reinsve and Stellan Skarsgård lead Joachim Trier's latest affecting character study about a stage actress, Nora (Reinsve), who rejects a role in her famous actor father's (Skarsgård) comeback film. Will we ever be free from the shackles of the year of the nepo baby? Luckily, this doesn't seem like a project critics want any sort of distance from. Sentimental Value was a huge hit at Cannes, where it won the Grand Prix this spring. Now it has a trailer for the rest of us, which you can watch below: The beginning of the trailer immediately establishes that once again, we're dealing with complicated people. 'I can't work with him,' Nora tells Rachel Kemp (Elle Fanning), a young American actress who takes on the role Gustav had previously offered his daughter. 'We can't really talk. My father is a very difficult person.' The film's official synopsis reads as follows: 'Sisters Nora (Reinsve) and Agnes (Inga Ibsdotter Lilleaas) reunite with their estranged father, the charismatic Gustav (Skarsgård), a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film. When Nora turns it down, she soon discovers he has given her part to an eager young Hollywood star (Fanning). Suddenly, the two sisters must navigate their complicated relationship with their father — and deal with an American star dropped right into the middle of their complex family dynamics.' Nora may not have wanted to work with her dad, but Reinsve was clearly game to reunite with Trier, whom she previously worked with on the very-much-not-the-worst The Worst Person In The World. Sentimental Value also reunites Trier with Worst Person co-screenwriter, Eskil Vogt. 'We had this feeling that if we thought too much about the pressure of following that one up, we'd be hindered from reaching in and getting more emotional,' Trier told Vanity Fair of the pressure associated with this feature in May. Luckily, it seems like they didn't struggle all that much in that department. Grab a box of tissues and head to theaters for Sentimental Value, premiering November 7. More from A.V. Club The Old Guard 2 is half an entry to a flailing franchise 3 new songs and 3 new albums to check out this weekend Jason Blum understands why audiences didn't want to play with M3GAN 2.0
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a day ago
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Karlovy Vary's Karel Och on Mixing RPG Cinematic Debut, Gloomier Auteur Fare and That Iran Film
July 4 is a big date for the film industry, and not only because everyone will be watching the momentum at the North American box office. Friday, July 4, also marks the opening of the 59th edition of the Karlovy Vary International Film Festival (KVIFF). This year's edition of the big summer festival in the Czech spa town, which is a favorite of movie buffs, celebrities from Hollywood and beyond, and industry insiders, runs through July 12, once again putting the spotlight on new releases from around the world, as well as highlights of the film festival circuit from the past year, including Cannes and Berlin. More from The Hollywood Reporter AMC Theatres Strikes Deals to Resolve Litigation, Boost Balance Sheet, Touts Box Office Outlook Serial Killer Thriller Series 'The Dark' From ITV Studios' Poison Pen Gets Green Light Max's Best-Performing Local Original Production Is... Turkey's 'The Prince' (Exclusive) Stellan Skarsgård, Peter Sarsgaard, Vicky Krieps, and Dakota Johnson are among the big names traveling to picturesque Karlovy Vary this year, along with Michael Douglas, who will present a newly restored version of One Flew Over the Cuckoo's Nest. But KVIFF is also expanding its offerings this year, adding to the range of audiovisual content it showcases with the world premiere, as part of its Special Screenings section, of 'a cinematic cut of Warhorse Studios' internationally successful video game Kingdom Come: Deliverance II Cinematic Cut,' a role-playing game (RPG), as well as Serbian miniseries Absolute 100. Ahead of the festival's opening night, Karel Och, who has been serving as the artistic director of the festival since 2010, discussed the 2025 KVIFF lineup, mixing more traditional gloomier auteur fare with messages with gaming adventure, the death and legacy of long-time festival president Jiří Bartoška, and the Iran competition film that his team had to keep a mystery for a while to ensure the safety of its delegation. Looking across the 2025 lineup for the festival, it looks like a really broad selection. Any thoughts on that, and anything you have noticed as a trend? Overall, we're really happy with the selection. It's probably the most diverse selection in years in terms of the aesthetics and the formal approach of the filmmakers. But all films included in the competitions, especially the Crystal Globe [main] competition, have this soul or core, which is very strong and through which the filmmaker tries to communicate something important. Sometimes it's in a bit more classical way, formally narratively speaking, sometimes it's a more challenging, more cryptic way. The second competition, your Proxima section, which is now in its fourth year, wants to provide a space for bold works by young filmmakers and renowned auteurs alike from around the globe. It replaced the East of the West competition, which was established in the 1990s with the goal of helping filmmakers from the former Eastern Bloc. And Proxima seems to have become a really exciting place of discovery. How do you feel about it? The second competition was geographically limited to first, so we couldn't offer much to up-and-coming filmmakers from Latin America and Asia. But their voices were one of the reasons why we decided to change things and open this up to the whole world. This year, we have three Proxima films from Latin America that were specifically submitted for the section, which is clearly and visibly quite challenging for the spectator. Some titles will always be divisive, but we feel that we can bring them in front of the audience with all the love that we can show to a film. Any other trends or anything new in your lineup this year? If we expand beyond the competitions, there is one particular film that I would like to discuss, which is called Kingdom Come: Deliverance II Cinematic Cut. It's a revolutionary moment in the new history of Karlovy Vary when we're presenting a world premiere of a cinematic cut from the narrative scenes of a video game, which I saw a few months ago and was excited about. During the spring, you're often excited by what you see [as we are planning the festival program], but sometimes it's very gloomy. Of course, art house cinema is working in the territory of the contemporary world and all its problems and tragedies, which makes sense. But then at some point, you're being offered two hours of a beautiful, exciting, and adventurous form of entertainment, and you realize that there are different ways to tell a story, and it can be a video game. And I watched these two hours, which is part of the narrative of the video game, and I was blown away by how engaging this was as an experience for a spectator. I'm not someone who is very knowledgeable about the world of video games, but I am proud that we are working with Warhorse Studios. And together, we'll put this on a big screen. I'm really curious, because we hope that this event will bring perhaps a new type of audience, or another type of audience. We hope that people like me, who have no clue, will go and enjoy it, but also those who know the game well and maybe less about the world of cinema. So that's something new. While we're talking about unusual Czech projects and the Special Screenings section, I want to ask you about , directed by Marek Novák and Mikuláš Novotný, which was inspired by Wim Wenders' , shot during the 1982 Cannes Film Festival. Karlovy Vary played a key role in the new film, right? I keep wondering how interesting it might be for people outside of the Czech Republic. Yes, a couple of Czech producers came up with an idea influenced by or inspired by the Wim Wenders documentary about 18 months ago. They asked us: 'Could we use a room in the Hotel Thermal during the festival where we would give five minutes to Czech filmmakers or filmmakers from abroad living in the Czech Republic in front of the camera, talking about what is Czech in Czech film?' So we did this. We have about 27 filmmakers of all generations, and it's edited into a film called The Czech Film Project. It's interesting from the perspective of what you learn about Czech film, but also what you learn about the characters of Czech filmmakers. I think it's very exciting. At the end of the screening, you can get an idea not just about what is Czech, but maybe what is a central European approach to everything, mainly cinema. It could be this type of content that starts as a very local thing, in the sense that we want to learn about something from the inside. But it could transcend that and maybe travel [to other places]. So, I'm curious. The 12th and final movie in your main competition is Soheil Beiraghi's from Iran, which tells the story of a female singer who refuses to accept that women are not allowed to perform in public. How difficult was it to get the film and its filmmakers to the festival, and what went into that? It was just amazing to have the opportunity to preview this film with my colleagues thanks to the relationships of my colleagues. We watched the film immediately, and we were blown away, not just by the political aspect of the film and the courage of the filmmakers to go that far concerning something, which in our parts of the world is just a natural thing – seeing a young woman singing in the streets of a metropolis, but also by how it's made. It's not just about the content. It's a really well-made film that has the potential to talk to people all around the world. We were really excited and delighted when we got confirmation of the film. But then the moment came when we discussed the announcement. Because whenever you're announcing something about a movie coming from Iran, which is clearly going to stir some controversy, you have to be careful. And we listened to the team behind the film, and we agreed to postpone until they were out of the country. Then, of course, the whole problem between Iran and Israel and America's involvement came up, but by that time the crew was already outside of the country, and we could safely announce the film. I can't wait to see the reaction of the people. After the sad recent death of long-time KVIFF president Jiří Bartoška, the festival with the opening film , directed by Jakub Jurásek, screenings of Radek Bajgar's film , which stars the legendary Czech actor and fest president, and the exhibition 'Jiří Bartoška – KVIFF President.' How has it been to prepare for the festival without him around? It's still very fresh. And it was strange, because with such a complex, amazing Renaissance person, it's difficult not to think about him all the time, because he was so present everywhere in a way, his persona, his spirit. Maybe he was less involved in the actual [day-to-day] work of the festival over the last few years, so people don't have to be afraid of what is going to happen to the festival. But it's more about his symbolic presence. In Cannes, after his passing, I felt he was kind of walking behind me. It was like when David Bowie died. With people like that, you sometimes feel like they are immortal. I had a similar experience a few years ago with Eva Zaoralova, the artistic director before me, who chose me as her successor, and a person who was extremely important to me. So, yes, the first months are very sad, because you miss the physical presence of the person. But then at some point, inevitably, it changes, and the pain disappears, and you feel the person coming back in spirit. So I'm still in the office, which I shared with Eva Zaoralova, and I can feel her presence in my mind. I'm discussing things with her, and I'm pretty sure the same thing will happen with Jiří Bartoška. We're lucky and blessed that he was such a big part of our lives. 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2 days ago
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Stellan Skarsgård Tries to Reconcile With His Family in Sentimental Value Trailer
Neon has released the first official Sentimental Value trailer, previewing the upcoming comedy-drama from Joachim Trier. The trailer follows the story of sisters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) reuniting with their estranged father (Stellan Skarsgård), a once-renowned director who is making a new movie based on his life. Sentimental Value is currently set to release in theaters on November 11, 2025. Check out the trailer below (watch other trailers): Sentimental Value is directed by Joachim Trier (The Worst Person in the World) and co-written by Eskil Vogt and Trier. Maria Ekerhovd and Andrea Berensten Ottmar serve as producers on the project. The film stars Reinsve, Skarsgård, Elle Fanning, Ibsdotter Lilleaas, and Cory Michael Smith. 'Sisters Nora and Agnes reunite with their estranged father, the charismatic Gustav, a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film,' reads the film's official synopsis. 'When Nora turns it down, she soon discovers he has given her part to an eager young Hollywood star. Suddenly, the two sisters must navigate their complicated relationship with their father — and deal with an American star dropped right into the middle of their complex family dynamics.' The post Stellan Skarsgård Tries to Reconcile With His Family in Sentimental Value Trailer appeared first on - Movie Trailers, TV & Streaming News, and More.
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25-06-2025
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Stellan Skarsgård, Vicky Krieps & Dakota Johnson Among Names Set For Karlovy Vary
Karlovy Vary has set the series of actors and filmmakers who will receive honorary awards during this year's edition, which runs from July 5 to 12. Stellan Skarsgård will be handed the festival's Crystal Globe award for Outstanding Artistic Contribution to World Cinema. Skarsgård will also screen his latest feature, Sentimental Value, directed by Joachim Trier. Skarsgård previously was a guest of the festival in 2002, when he presented director István Szabó's film Taking Sides. More from Deadline 'Splitsville' Trailer: Dakota Johnson Has Swinging Good Time In Michael Angelo Covino's Marital Comedy Karlovy Vary International Film Festival To World Premiere Cinematic Cut Of Video Game 'Kingdom Come: Deliverance II' Dakota Johnson Raves About Working With First Intimacy Coordinator: "It's Not Sexy" Vicky Krieps will receive the festival's President's Award and screen her latest film, Love Me Tender, directed by Anna Cazenave Cambet, which also debuted at this year's Cannes Film Festival. Dakota Johnson will also receive a President's Award and screen her summer rom-com The Materialists, directed by Celine Song. Peter Sarsgaard will get a President's Award and screen his seminal 2003 journalism drama Shattered Glass. Today, Karlovy Vary also added a 12th film to its competition lineup. The Iranian film Bidad will screen at the festival. The festival said the film was kept secret to protect the film's delegation, including director Soheil Beiraghi, who will present the world premiere in Karlovy Vary. The film follows the young singer Seti, who refuses to accept the fact that women in Iran are not allowed to perform in public. In defiance of her country's religious laws, she decides to sing in the street. Her performances quickly gain in popularity, and Seti becomes a star for a young generation that no longer wants to be oppressed by the regime. Elsewhere, British filmmaker Mark Jenkin will screen his new short film I Saw the Face of God in the Jet Wash. The film will play in the festival's Imagina section. Best of Deadline Everything We Know About 'My Life With The Walter Boys' Season 2 So Far Everything We Know About The 'Reminders of Him' Movie So Far Everything We Know About The 'Hunger Games: Sunrise On The Reaping' Movie So Far
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25-05-2025
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Cannes 2025 Palme d'Or Contenders Ranked: Who Will Win the Top Prize?
Updated, May 24: My final ranking of how this year's Cannes Film Festival titles will shake out while vying for the Palme d'Or is below. Reviews and reactions to late premieres 'The Mastermind' (Kelly Reichardt) and 'Young Mothers' (Jean-Pierre and Luc Dardenne) haven't startled the race too much at this point. The Palme is Neon's to lose, with either 'Sentimental Value,' or the company's mid-festival acquisitions comprising 'It Was Just an Accident,' 'Sirât,' or 'The Secret Agent' taking the top prize. My money is on 'Sentimental Value,' which delivers on the emotion the jury looks for, but who can really be sure? If not Neon, then the Palme could go to MUBI for Mascha Schilinski's avant-garde tone poem of generational female anguish, 'Sound of Falling.' Expect this film to win something. As for Neon, if they win the 2025 Palme, it's their sixth in a row after 'Parasite,' 'Titane,' 'Triangle of Sadness,' 'Anatomy of a Fall,' and 'Anora.' 'Sentimental Value' star Stellan Skarsgård could win Best Actor from the jury; so could 'The Secret Agent' star Wagner Moura. Neon will clean up on Saturday. More from IndieWire These Cannes 2025 Prize Winners Will Inspire Oscar Campaigns Cowboys vs. Accountants: The Real World of International Production Financing | Future of Filmmaking Summit at Cannes Jury president Juliette Binoche is not a stranger to elliptical, emotionally sparse films, including her work with Abbas Kiarostami, Michael Haneke, and Claire Denis, all Cannes prize winners or contenders for her collaborations. She may steer the jury away from something that's purely about heightened, operatic feeling, like 'Sentimental Value,' and more toward something heady and recalcitrant, like 'Sirât.' Jafar Panahi's 'It Was Just an Accident' dances somewhere between the two polar categories, but the narrative of this filmmaker fleeing his country after making his most accessible movie yet can't be denied. (After filming in Iran, 'It Was Just an Accident' completed post-production in France.) See IndieWire's final Palme d'Or contenders ranking at the bottom of this story. The awards ceremony takes place on Saturday night in Cannes. Updated, May 23: Neon now looks primed to win the company's sixth consecutive Palme d'Or with multiple contenders in its war chest. Beyond earlier Brazilian premiere 'The Secret Agent,' two Neon films vying for the Palme with extraordinary reviews are 'It Was Just an Accident,' which we discuss below, and Joachim Trier's 'Sentimental Value.' The Thursday premiere earned raves for the Norwegian filmmaker's sprawling, Bergmanesque family portrait, starring Stellan Skarsgård as an arthouse auteur trying to jumpstart his career and recover his fractured relationship with his daughters, played by Renate Reinsve (2021 Best Actress Cannes winner for Trier's 'The Worst Person in the World') and Inga Ibsdotter Lilleaas. IndieWire's Anne Thompson called 'Sentimental Value' a 'surefire Oscar contender,' while Skarsgård could give Cannes Best Actor frontrunner Wagner Moura a run for his money with one of the deepest and most sensitive roles of the Swedish veteran's career. Elle Fanning co-stars as the American actress his Gustav hires to play a role he originally wrote for his theater-actress daughter Nora (Reinsve), who turns him down. The film received a reported 19-minute standing ovation — while these recorded lengthy bouts of applause are often arbitrary, as in-house cameras move leisurely from talent to talent to capture everyone's reactions after the credits, it's allegedly one of the longest in the festival's history. Last year, Neon's Palme winner 'Anora' also premiered late in the festival. I'm calling 'Sentimental Value' the Palme frontrunner at this point, as it delivers on the big emotions the jury often looks for in a winner. Neon meanwhile acquired 'It Was Just an Accident' during the festival, suggesting Tom Quinn and his team have faith in Panahi's bruising portrait of Iranian dissidents to win a prize. (It's not going home empty-handed, I can assure.) Still to screen are the Dardennes' 'Young Mothers' and Kelly Reichardt's 'The Mastermind.' Bi Gan's bewildering cinematic epic 'Resurrection' stunned and baffled critics with its expansive, genre-crossing, sci-fi-tinged filmmaking, making the Chinese filmmaker a possible Cannes Best Director contender for his boundary-pushing vision. Earlier, May 21: The raves are in for dissident Iranian director Jafar Panahi's 'It Was Just an Accident,' with the asylum filmmaker in attendance at Cannes for Wednesday's press conference and Tuesday night's premiere. The powerful drama — less reflexive than Panahi's recent films like 'No Bears' or 'Taxi' in which the director, by virtue of his outsider and formerly incarcerated status in Iran, is forced to become a character himself — has some of the best reviews out on the Screen International jury grid. It follows an ever-growing group of Iranians who kidnap and consider killing their former captor under the regime. In an affecting move, Panahi shows women without hijab, such as a wedding photographer roped into being a part of the man's captivity, to reflect the shifts in his native country's society post-Woman, Life, Freedom movement. Panahi spoke openly during the press conference and in a Variety interview about how his experience in prison under interrogation and torture-like tactics inspired this politically rousing film. It's tough and dark but also features plenty of humor, and there's seemingly no one at Cannes who doesn't think it's a second-week Palme frontrunner. Panahi previously won the Camera d'Or for his 1995 debut 'The White Balloon' and the Best Screenplay prize in competition for '3 Faces' in 2018. 'It Was Just an Accident,' as it's titled in English, is a sales title currently looking for U.S. distribution. I've spoken to a few buyers who loved the movie. Based on early reviews, including IndieWire's rave, someone will want to snap this one up quickly before Saturday's awards ceremony. Carla Simón's autobiographical 'Romería' out of Spain, about an aspiring filmmaker who ventures into learning about her family history and especially her late father, who died of AIDS in the early 1990s when she was young, also debuted Wednesday to supportive reviews. The superb cinematography from Hélène Louvart, who also shot Scarlett Johansson's Un Certain Regard premiere 'Eleanor the Great' but is a regular at Cannes with her work ('La Chimera,' 'Motel Destino'), deserves consideration from the jury. Premiering today in Cannes are 'The History of Sound' and 'Sentimental Value,' which screened for reviewers earlier on Saturday and could be up for prizes themselves. Reviews, which just broke, for 'The History of Sound' are mixed, though Paul Mescal could be a Cannes Best Actor contender for his moving portrayal of a music student enamored with Josh O'Connor. They go on the road together, falling in love and collecting music after bonding as fellow Boston Conservatory students. MUBI has distribution rights and will release the queer World War I-adjacent romance later in the year. It will no doubt make the rounds at regional fall festivals on the way to an Oscar campaign. Oliver Hermanus' film doesn't feel like a Palme winner, though. It's not hugely giving in terms of emotions, which are what the juries go for. We'll keep updating the below ranking. Earlier, May 20: We are exactly a week into the 2025 Cannes Film Festival, and on a day of severe, soaking rain hailing down upon the Croisette. In other words, ideal moviegoing weather. At this point, we've seen 13 competition titles, with Julia Ducournau's divisive epidemic-horror-meets-grief-drama 'Alpha' debuting Monday night to wildly mixed reactions (including a pan from IndieWire's own critic and established Ducournau fan David Ehrlich). Ducournau won the Palme in 2021 for 'Titane' and is unlikely to repeat this year; Neon releases the AIDS-allegorical domestic drama later in 2025. Tuesday night brings the premiere of asylum filmmaker Jafar Panahi's 'It Was Just an Accident' out of Iran, with the dissident director set to appear in person for a press conference on Wednesday. Could this film follow the pattern of another Iranian director, Mohammad Rasoulof, who won a prize last year for eventual Oscar nominee 'The Seed of the Sacred Fig'? Yet to come are Oliver Hermanus' 'The History of Sound,' Joachim Trier's 'Sentimental Value,' Saeed Roustaee's 'Woman and Child,' Bi Gan's 'Resurrection,' Carla Simón's 'Romeria,' the Dardennes' 'Young Mothers,' and Kelly Richardt's 'The Mastermind.' That film will be the last to premiere in competition, as Cannes awaits the arrival of Josh O'Connor, who is currently in production duties in the United States on Steven Spielberg's upcoming sci-fi film. That meant he had to miss the 'History of Sound' press junket on Tuesday (stay tuned for IndieWire's coverage), with his co-star Paul Mescal holding court. So far, there is no clear, universally praised standout, though early premieres 'Sound of Falling' from Mascha Schilinski and 'Two Prosecutors' from Sergei Loznitsa are holding high on the Screen International critics' jury grid. There was a lot of praise, too, for Oliver Laxe's tough sit 'Sirât,' a sales title that follows a father and his small son into the Moroccan desert to find his missing daughter amid drug-fueled raves that cross 'Mad Max' with Burning Man. Richard Linklater's black-and-white French New Wave love letter 'Nouvelle Vague' was also adored on the ground, appealing to the European and American cinephile set with its gorgeous cinematography and who's-who of the Parisian filmmaking scene in 1959. It's more a New Wave hangout movie than a strict chronicle of the making of Jean-Luc Godard's 'Breathless,' though it peels back the curtain on how Godard (Guillaume Marbeck) put together his groundbreaking movie with stars Jean Seberg (Zoey Deutch, who nails Seberg's wobbly French accent) and Jean-Paul Belmondo (Aubry Dullin, a dead ringer for the late French star). Kleber Mendonça Filho's lively, nearly three-hour epic 'The Secret Agent,' set in 1970s Brazil and following Wagner Moura as a tech expert on the run during the country's carnival week, also picked up great reviews. I could see Moura ('Narcos,' 'Civil War'), speaking his native Portuguese throughout this energetically directed political thriller, picking up the Best Actor prize from Juliette Binoche's jury — which includes actors like Jeremy Strong and Halle Berry, who surely responded to the best big-screen performance showcase of Moura's career. Still splitting everyone on the ground are Ari Aster's 'Eddington' and Lynne Ramsay's 'Die, My Love,' which scored the biggest sale of the festival so far, $23 million at MUBI with eyes on an Oscar campaign for Jennifer Lawrence, a Cannes Best Actress contender for her character's postpartum depression spiral. It's Aster's first Cannes, and European audiences took more to his COVID-era Western satire than some Americans. Scottish auteur Ramsay, meanwhile, won Best Screenplay in 2017 for 'You Were Never Really Here' and is a regular at Cannes despite being less regular in terms of her output ('Die My Love' is her first film since that year). Getting so-so reviews was Wes Anderson's 'The Phoenician Scheme,' an espionage comedy starring Benicio del Toro and breakout Mia Threapleton, who got emotional during the standing ovation on Sunday night. The painterly, tweezer-precise compositions from production designer Adam Stockhausen and cinematographer Bruno Delbonnel are all on vivid display here, but the narrative leaves something to be desired, and signals it might be time for Anderson to shake up his schtick. Less buzzy but picking up praise, Chie Hayakawa's 1980s-set Tokyo coming-of-age drama 'Renoir' and Egyptian film industry political satire 'Eagles of the Republic,' from 2022 Best Screenplay winner Tarik Saleh ('Boy from Heaven'), also make a bid for the Palme. Hayakawa won the Camera d'Or out of 2022's Un Certain Regard for 'Plan 75,' making 'Renoir' her competition debut. Hafsia Herzi's French-Algerian coming-out chronicle 'The Little Sister' was a day four premiere that could pick up a lower-end jury prize or even Best Actress notices for breakout Nadia Melliti, who got a nice interview spread from Vulture's Rachel Handler. Based on conversations with distributors, executives, critics, and industry attendees, I've ranked below which films are likely so far to score the Palme d'Or. Past winners like 'Anora' have popped during the second week, so don't rule out any of the remaining films. There's still much to see. 1. 'Sentimental Value'2. 'It Was Just an Accident'3. 'Sound of Falling'4. 'The Secret Agent'5. 'Sirât'6. 'Nouvelle Vague'7. 'Two Prosecutors'8. 'Resurrection'9. 'Young Mothers'10. 'The Mastermind'11. 'Eddington'12. 'Die My Love'13. 'Renoir'14. 'Romería'15. 'Woman and Child'16. 'The History of Sound'17. 'Eagles of the Republic'18. 'The Little Sister'19. 'Dossier 137'20, 'Fuori'21. 'The Phoenician Scheme'22. 'Alpha' Best of IndieWire Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear' Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal'
