Two of the most anticipated films of the fall will finally not be released in 2022.

There’s a Mike Leigh career retrospective going on at the Lincoln Center right now. Every movie from his illustrious career is being screened.

We have two Pinocchio adaptations being released this year. There’s Guillermo del Toro darker, fascist-set Netflix epic and then Robert Zemeckis’ “Pinocchio” starring Tom Hanks.

The consensus feeling was that Sam Mendes’ “Empire of Light” was on a tight schedule and that a 2023 release was more likely. Not anymore.

Cannes has been over for less than 48 hours and Screen Daily is already speculating about the potential of a once-in-a-lifetime Venice lineup.

For a film like “Top Gun: Maverick” to be considered a Best Picture contender it needed to have a) great reviews and b) great box-office. It has both.

Photos of Bradley Cooper and Carey Mulligan on the set of “Maestro” have leaked. The upcoming film is a biopic based on the life of Leonard Bernstein.

I truly believe a film like Adam Rehmeier’s “Dinner in America” will get a cult following in the years to come. After all, it was all but ignored by most Sundancers in 2020, in favor of bigger and more topical titles.

It was an exhausting 12 days, but no matter what people say, even in a weaker year than usual, the Cannes Film Festival delivered a dozen or so very good films.

Having seen it two weeks ago, I’m kind of itching to rewatch “Top Gun: Maverick” outside the exhaustive Cannes setting. I was mixed on it in my review, but I tend to give films I watch at Cannes a second shot.

I was doing backflips over Jeff Nichols quitting “A Quiet Place: Part III” last October. Deadline had reported a few months back that Paramount hired Nichols to write and direct the third film in the “A Quiet Place” franchise. Actor-filmmaker John Krasinski helmed the first two.

Here’s how it all went down. It all began with the jury choosing nine films they wanted to reward with a prize and then it went on from there. I reported correctly, before the awards ceremony, all nine films. I’m told The Dardennes’ were in contention for the Palme, with Lukas Dhont’s “Close,” until the very end. Kyle Buchanan has more or less confirmed this assumption.

All indications are pointing towards a Belgian Palme d’Or, as rumors point towards “Close” and “Tori et Lokita” as jury faves. They are the top Palme contenders as of right now. Someone told me they might even share it (Please, no).

After winning the Palme d’Or in 2018 for “Shoplifters”, Japanese writer-director Hirokazu Kore-eda made a film in France (“The Truth”) and now one in Korea. Both mediocre.

I wrote a sort of wrap-up for The Globe and Mail in which I ponder, among many other things, what might win the Palme d’Or. The awards get announced on Saturday.

Swedish filmmaker Lukas Dhont’s “Close” was screened last night and, suffice to say, the film has everybody talking this morning. Will the filmmaker-heavy jury go for it?