What is “Maserati: The Brothers”? Well, it cost $100M — sketchy stuff — was directed by Bobby Moresco, who shared an Oscar for co-writing “Crash” with Paul Haggis.

The announcement and trailer for A24’s “You Can See Everything,” a 174-minute documentary about Elizabeth Holmes made by Nathan Fielder and Lance Oppenheim, premiered last night at Telluride.

Meier also calls the project a “love story,” which might mean we’re in for an unusual age-gap romance. A fall shoot in Alberta is now planned.

For Schrader, AI solves the curious practical filmmaking problem he had. How about just creating Black people? No casting calls, no agents, no actors turning down the roles.

Originally, Cregger was reported to be directing “Gladys.” He then dropped out. He was also supposed to co-write the script with Zach Shields, and apparently now he isn’t.

The mystery surrounding Telluride’s secret A24 screening now appears to have been solved. Did anybody guess Nathan Fielder and Elizabeth Holmes?

The film runs 164 minutes. What a stunner this turns out to be. “Possible Love” keeps getting stranger and deeper the longer it goes. And by the end, the film has moved somewhere almost transcendent.

Some major guessing games are currently going on regarding Telluride’s surprise movie, playing later today at 6 PM MT, which has sparked some fun theories among industry insiders and journalists.

An official announcement is “imminent.” “Backrooms 2” will be Parsons’ next film — he’s not jumping into anything else. Might as well strike while the iron is still hot, I guess.

To make things even wilder, Gibson won’t be relying solely on the Bible as his source material. He plans to flesh out the gaps in the Gospels, exploring elements of the story that Scripture does not fully detail.

“Coyote vs. Acme,” distributed by Ketchup Entertainment, continues to show impressive staying power, grossing an estimated $15.3M over four days in its second weekend.

The film has taken over the Telluride Film Festival. It’s a best picture contender. Julianne Moore is a best actress frontrunner. Paul Giamatti might win his first Oscar for as supporting actor.

The Rolling Stones are heading to the big screen after reportedly finalizing a biopic deal with American production company 101 Studios.

Wachowski, who isn’t involved with Goddard’s “reboot,” confirms being “done” with The Matrix, but apparently Goddard still wants Lily and Lana’s blessing before continuing with his work.

Danny Boyle tells Vanity Fair that AI was used to animate old photographs—which means Margaret Thatcher and the Kray brothers—and to create mice running around the newsroom.

John Malkovich is set to star in a production of “The Music Critic” in Israel next year, just 24 hours after entering the best actor race for his “Wild Horse Nine” performance. I gather he won’t be getting Mark Ruffalo’s vote.

“Primetime” doesn’t really go beyond being a good movie. For all of its outrageous entertainment value, it ultimately feels like a stylishly conceived riff on a ridiculous show and its even more ridiculous host.

Gyllenhaal says women face systemic barriers in an industry that may not value the kinds of films they want to make. Roy Price’s response? Watch “The Bride.”

And just like that, after Venice and Telluride, the Best Actor race is taking shape, with Andrew Scott (“Elsinore”) and John Malkovich (“Wild Horse Nine”) emerging as major contenders.

When asked if “The Odyssey” had led to “getting a zillion calls” for new roles, the Oscar nominee revealed that work has been slow, despite now being able to “do some of my best work.”