So, whatever rumors you’d heard of Bond auditions still happening are not true. Steven Knight, the screenwriter of the next James Bond film, is saying that the new 007 has already been cast.

In the Academy’s 97-year history, no documentary has ever been nominated for the Best Picture Oscar? Fielder’s doc is being tipped as potentially making history — but is it even non-fiction?

Scott says it could be “the highest budget film” of his career” before accounting for tax incentives.” If Scott isn’t bullsh*tting here, and lord knows he might be, that would put the cost in the $200M+ range.

Brady Corbet's “The Origin of the World,” his X-Rated epic about "Northern California’s economy" in the 1970s epic, has now started production in South Africa under the working title “SALT FLATS.”

Hansen-Løve has a new film — a period piece set in England. “If Love Should Die” will focus on the 18th-century English philosopher Mary Wollstonecraft. This was announced three years ago, and it is finally happening.

Venice keeps trudging along. Twelve of the 21 films in competition have now been screened. Tomorrow, we’ll get to see Casey Affleck’s “Company,” Florian Zeller’s “Bunker,” and Ilya Khrzhanovsky’s “DAU.”

The project was gaining steam in 2023, and then the WGA strikes hit, which deflated the entire thing. At the time, Austin Butler and Colin Farrell were in talks to star as the film’s two leads.

Luca Guadagnino doesn’t make short movies. His latest, “Artificial,” is yet another example of the indulgence he tends to bring to all of his films.

Did Gary Oldman just reveal who the next James Bond might be? He’s also supporting his “Slow Horses” co-star Jack Lowden to get the gig.

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.