We know that the 20-minute “Funny Wars” will most likely be at Cannes in May. But Brenez is telling Critikat that we could look forward to others in the near future.

What do you do after your first film, a critically-acclaimed doc, won a slew of awards, including an Oscar? Well, you hop on the Disney train and sell your soul to greed.

‘Beau’ will be launched without a festival run by A24 — a strategy also used for Aster’s “Midsommer.” A24 seems to believe a festival-less route is the best way forward for Aster’s 3-hour movie.

As previously mentioned, Martin Scorsese’s “Killers of the Flower Moon” will premiere at Cannes then get rolled out in the fall.

A fascinating Variety interview with Cannes boss Thierry Fremaux is making the rounds.

80-year-old Harrison Ford has said that “Indiana Jones and the Dial of Destiny,” will be the fifth and final time he plays the titular hero.

Cronenberg has mentioned that ‘Shrouds’ is part of the aborted Netflix project we had previously reported on.

It looks as though we’ll now have to settle with Adrian Brody, Guy Pearce and Felicity Jones. Not too shabby.

The NYPD were told that the alleged assault victim on Saturday was Jonathan Majors' girlfriend — and, according to her, they had gotten into an argument while in a taxi returning home from a bar in Brooklyn.

A bit odd, but Syzygy Publishing, the new Image Imprint headed by Chris Ryall and Ashley Wood, announced they are collaborating with Francis Ford Coppola on a graphic novel tie-in to his upcoming film, ”Megalopolis”.

Action was reinvented in the 21st Century. It had to. After all, we were coming off the ‘90s, which saw the last days of the testosterone-fueled action of Michael Bay, Schwarzenegger, Bruce Willis, Sylvester Stallone, and Jean-Claude Van Damme.

Marielle Heller’s “NightBitch” test-screened a week ago. I waited until I could gather up a few reactions, but all I could muster up were two brief ones.

A roundtable discussion between Céline Sciamma (Portrait of A Lady on Fire) and Carla Simón (Alcarras) occured in Barcelona this morning, two of the most important voices in today's European film scene.

American audiences must be enjoying S. Craig Zahler’s “Dragged Across Concrete,” it wouldn’t be #1 on Netflix if they weren’t.

I gather many of our readers, from many countries, all over the world, had a chance to watch “John Wick: Chapter 4” this weekend.

Now, I just feel bad for Zachary Levi whose ‘Shazam’ sequel is tanking hard at the box-office. To the point where he’s practically begging people to watch it over ‘John Wick 4.’

On Thursday, I emailed around to try and figure out what was going on with Jonathan Glazer’s “The Zone of Interest.” It’s been highly anticipated for a few years now, his first since 2013’s “Under the Skin.”

I’ve been very big on Jonathan Majors’ acting talents — even banging the drums hard for his “Magazine Dreams” performance, which is very much Oscar-worthy.

For months I was under the impression that Yorgos Lanthimos’ “Poor Things” was going to Cannes, and it probably will, but a Deadline piece by Andreas Wiseman certainly raised a few eyebrows yesterday.

Is it just me or are movies getting longer these days? It seems to be an unwritten rule, for many moviegoers, that a film should be anywhere between 90 to 120 minutes.