Film News 2026-08-08

• How Can 1980’s ‘The Return of the King’ Spoil Everything — and Ruin Nothing?
  Indie Wire
• ‘Teenage Sex and Death at Camp Miasma’ Is Bloodthirsty for Artifice
  Indie Wire
• 16 Years at IndieWire, and My Last Issue of In Development
  Indie Wire
• ‘Paradise’ Director Hanelle M. Culpepper on Why Great Sci-Fi Shows Sweat the Small Stuff
  Indie Wire
• ’Donkey Princess’ Review: A French Fairytale Gets a Stunning Reimagining from Two Animation Legends
  Indie Wire
• Sundance 2026 Movies Sold: ‘The Gallerist’ with Natalie Portman and Jenna Ortega Acquired by Roadside Attractions and Vertical
  Indie Wire
• ‘Super Troopers’ Oral History: Mutiny on the Highway, Adam Sandler’s Advice, and a Real Crime
  Indie Wire
• The Secret Is Out: ‘Sugar’ Season 2 Got Good
  Indie Wire
• ‘I Rarely Wake Up Dreaming’ Review: A Young Queer Couple Tries to Evacuate Kyiv in Isabelle Stever’s Remarkable Portrait of Gender During Wartime
  Indie Wire
• ‘The Last House’ Review: Wagner Moura and Greta Lee Are Locked Inside by the Rain in Ridiculous Netflix Thriller
  Indie Wire
• For Emmy Nominee Betty Gilpin, ‘Widow’s Bay’ Is ‘the Ultimate F**k You to Safe, Algorithm-Friendly, ChatGPT’ TV
  Indie Wire
• How Faithful Is ‘Tony’ to Anthony Bourdain’s Life?
  Indie Wire