Film News 2026-09-08

• ‘Musk’ Teaser: The Wealthiest Man in the World Becomes Alex Gibney’s Latest Documentary Subject
  Indie Wire
• Sandra Hüller’s Star Keeps Rising, but She’s Still Adjusting to Life in the Public Eye
  Indie Wire
• From ‘Scream 7’ to ‘Coyote vs. Acme,’ We’re Living in the Age of the Protest Ticket
  Indie Wire
• ‘Monsters of God’ Director Eric Goode Breaks Down the Finale Reveal: ‘He Was Like an Alcoholic Running a Liquor Store’
  Indie Wire
• ‘Look Back’ Review: Hirokazu Kore-eda’s Hyper-Faithful Adaptation Draws Rich and Dazzling New Textures from Manga and Anime
  Indie Wire
• Werner Herzog on David Lynch, AI, and Why His Unhinged New Film ‘Bucking Fastard’ Skipped Cannes for Venice
  Indie Wire
• Rob Reiner Wins Posthumous Emmy, Julie Andrews, ‘Widow’s Bay’ Among Others Honored at Creative Arts Emmys
  Indie Wire
• ‘You Can See Everything’ Review: Nathan Fielder and Lance Oppenheim’s Elizabeth Holmes Documentary Is Boundary-Pushing and Absurd
  Indie Wire
• ‘Lanterns’ Review: Episode 4 Is All About ‘The Weenie'(s) — Spoilers
  Indie Wire
• A24 Reveals Telluride Secret Screening: It’s Nathan Fielder and Lance Oppenheim’s Documentary About Elizabeth Holmes
  Indie Wire
• Jesse Eisenberg’s ‘The Debut’ Serves Up an Oscar-Worthy Julianne Moore — Here’s How He Did It
  Indie Wire
• ‘Woman Unknown’ Review: May el-Toukhy’s Paranoid Period Thriller Depicts the Degradation of Women Accused of Sleeping with Nazis
  Indie Wire