Film News 2026-09-21

• Chester Bennington Doesn’t Appear in Linkin Park Rock Doc ‘Unshatter,’ but Director Joe Hahn Made Sure He Was ‘Always, Always Around’
  Indie Wire
• Watch an Exclusive Look at NYFF World Premiere ‘I Deserve a Lover Whose Every Rise Sets Fiery Dooms Raging Across the Skies’
  Indie Wire
• Paramount Reaches Settlement to End States’ Lawsuit, Paving Way for Merger with Warner Bros. Discovery
  Indie Wire
• ‘Phoolan’ Review: A Biopic About a Rebellious Indian Feminist Is Undone by its Ramshackle Structure
  Indie Wire
• ‘The Further Mis-Adventures of Cliff Booth’ Trailer: Brad Pitt’s Tarantino Stuntman Returns in 1977 Hollywood for Fincher’s Sequel
  Indie Wire
• ‘Paradise Lost’ Review: ‘Train to Busan’ Director Yeon Sang-ho Returns with a Limp and Lurid Grief Drama About Virtual Reality
  Indie Wire
• ‘Lanterns’ Review: Episode 6 Embraces ‘Bad Optics’ with a Clever Revival — Spoilers
  Indie Wire
• Zach Cregger’s ‘Resident Evil’ Grossed More in Its Opening Weekend Than the First Film Made in Its Entire Run
  Indie Wire
• Which Fall Festival Favorites Are Now in the Oscar Race?
  Indie Wire
• Duncan Jones on Why It’s ‘Harder Than Ever’ to Make His Kind of Movies (and Why He Refused to Use AI for His Newest One)
  Indie Wire
• ‘La Bola Negra’ Wins the 2026 Toronto International Film Festival People’s Choice Award
  Indie Wire
• John Wilson’s ‘The History of Concrete’ from Magnolia Becomes IFC Center’s Second Biggest Debut
  Indie Wire