Justin Chang

By the artist Min Heo! I love it, too.

“Hoppers” Is a Happy Leap Forward for Pixar In Daniel Chong’s cheerfully ludicrous science-fiction comedy, robot technology enables an environmental activist to walk and talk with the animals.

Village of the dammed: Pixar's delightfully unhinged HOPPERS, reviewed. www.newyorker.com/magazine/202...

Peter Jackson, Honorary Palme d'or of the 79th Festival de Cannes - Festival de Cannes “To be honoured with an Honorary Palme d’Or at Cannes is one of the greatest privileges of my career” Peter Jackson said. “Cannes has been a meaningful part of my…

He will also receive an honorary Palme Mord’Or and an honorary Palme d’Orc. www.festival-cannes.com/en/press/pre...

Thank you and glad you enjoyed the movie!

An amazing piece. Thank you for this, Robert.

Thank you, Chelsea! And great to connect on here.

The End of Books Coverage at the Washington Post Becca Rothfeld, a former critic at the Washington Post, on the death of the paper’s books section.

Becca Rothfeld, a former critic at the Washington Post, on the death of the paper’s books section. newyorkermag.visitlink.me/zmzLbN

Emerald Fennell’s “Wuthering Heights” Is Extravagantly Superficial A new adaptation of “Wuthering Heights,” starring Margot Robbie and Jacob Elordi, is certainly something to behold—but is it something to feel?

" 'WUTHERING HEIGHTS,' " reviewed. Quite the aspic ratio on this one: www.newyorker.com/culture/the-...

Tabitha Jackson Announced as Director of Film Forum; Influential Film Industry. Leader Will Assume Role as of February. 23

Oh look, a thing that rules @filmforumnyc.bsky.social

New Interview: www.newyorker.com/culture/q-an...

Very kind of you, Josh, thanks so much.

Now I want to see it again, with you slapping me with your notebook!

Have missed you, Noel (especially since it’s been a while since my last TIFF). Let us steak together at a festival again soon.

One Last Sundance in Park City The most important film festival in America bade farewell to its Utah roots.

On the end of Sundance as we know it. (Yes, I wrote about Grub Steak.) www.newyorker.com/culture/the-...

Thousands of people filled the streets of downtown Minneapolis in protest of federal immigration enforcement for the second consecutive Friday.

📷️: Aaron Lavinsky

The U.S. Grand Jury Prize: Documentary was presented to Nuisance Bear / U.S.A., Canada (Directors: Gabriela Osio Vanden, Jack Weisman, Producers: Michael Code, Will N. Miller, Teddy Leifer) — A polar bear is forced to navigate a human world of tourists, wildlife officers, and hunters as its ancient migration collides with modern life. When a sacred predator is branded a nuisance, it becomes unclear who truly belongs in this shared landscape. World Premiere. Available online for public. Jury citation: This film tells an enormous story with great drama, beauty and verve, and powerfully confronts the realities of climate change, the tensions between Indigenous tradition and Western capitalist encroachment, and the complexities of humanity’s relationship with the natural world. It also features a standout sequence that is, like the film itself, humorous, terrifying, and unforgettable. Of all the documentaries we saw, this one was the least … polarizing. The U.S. Grand Jury Prize: Documentary goes to Nuisance Bear.

And he was never asked to do another festival jury again. #Sundance

SINNERS: All About Evil

The New Yorker Reporting, Profiles, breaking news, cultural coverage, podcasts, videos, and cartoons from The New Yorker.

Oscar nominations plus: my friends and colleagues @justincchang.bsky.social and @michaelschulman.bsky.social and I discuss them here, in the @newyorker.com Daily newsletter, with our editor Erin Neil keeping the peace:
link.newyorker.com/view/5bea068...

Nia DaCosta Injects New Blood Into “28 Years Later: The Bone Temple” In this gory sequel to Danny Boyle’s “28 Years Later,” an undead threat that has ravaged Britain turns out to be no match for the reality of living human evil.

28 YEARS LATER: BONEHENGE, reviewed. www.newyorker.com/culture/the-...

The 101 best Los Angeles movies Our list of the 101 best Los Angeles movies is as sprawling as the city, and includes "Chinatown," "Clueless," "Blade Runner," "Mulholland Drive," "Heat," "Pulp Fiction," "The Big Lebowski" and "La La...

The @latimes.com list of the 101 best Los Angeles movies is a thing of beauty. Hats off and many thanks to @joshuarothkopf.bsky.social; delighted to have cast a ballot, and excited to read so many wonderful colleagues on so many wonderful films: www.latimes.com/entertainmen...

The Zealous Voyagers of “Magellan” and “The Testament of Ann Lee” In two historical bio-pics, the directors Lav Diaz and Mona Fastvold employ bold formal devices to hold their protagonists at a compelling remove.

Blood vessel: on Lav Diaz's stunning anti-colonialist epic MAGELLAN, plus a few late, admiring notes on Mona Fastvold's THE TESTAMENT OF ANN LEE. www.newyorker.com/magazine/202...

Béla Tarr’s Unbroken Visions In muckily deliberative masterworks such as “Sátántangó” and “The Turin Horse,” the Hungarian director monumentalized the process of decay and the passage of time.

I wrote about the incomparable Béla Tarr. www.newyorker.com/culture/post...

“Young Mothers” Is a Gentle Gift from the Dardenne Brothers In Jean-Pierre and Luc Dardenne’s latest drama, set in and around a Belgian maternity home, several teen-age moms seek to break through cycles of poverty, addiction, and neglect.

Mères' nest: Jean-Pierre and Luc Dardenne's lovely YOUNG MOTHERS, reviewed. www.newyorker.com/magazine/202...

“Familiar Touch” Is an Exquisitely Fragmentary Portrait of Memory Loss In Sarah Friedland’s début feature, Kathleen Chalfant plays an octogenarian with dementia adapting to the constraints and possibilities of assisted living.

Kathleen Chalfant's performance in FAMILIAR TOUCH is a wonder — and the richly deserving winner of the National Society of Film Critics' Best Actress prize today. My review: www.newyorker.com/culture/the-...

Best Nonfiction Film: MY UNDESIRABLE FRIENDS: PART I — LAST AIR IN MOSCOW (56 points)

Runners-up:
THE PERFECT NEIGHBOR (22 points)
ORWELL: 2+2=5 (18 points)

Best Film Not in the English Language: THE SECRET AGENT (58 points)

Runners-up:
IT WAS JUST AN ACCIDENT (57 points)
SENTIMENTAL VALUE (38 points)

Best Director: Paul Thomas Anderson, ONE BATTLE AFTER ANOTHER (54 points)

Runners-up:
Jafar Panahi, IT WAS JUST AN ACCIDENT (48 points)
Richard Linklater, BLUE MOON and NOUVELLE VAGUE (39 points)

Best Picture: ONE BATTLE AFTER ANOTHER (57 points)

Runners-up:
SINNERS (29 points)
THE SECRET AGENT (27 points)

Best Screenplay: Jafar Panahi, IT WAS JUST AN ACCIDENT (53 points)

Runners-up:
Robert Kaplow, BLUE MOON (50 points)
Kleber Mendonça Filho, THE SECRET AGENT (40 points)

Best Supporting Actor: Benicio del Toro, ONE BATTLE AFTER ANOTHER (54 points)

Runners-up:
Delroy Lindo, SINNERS (37)
Stellan Skarsgård, SENTIMENTAL VALUE (30 points)