film industry
Edited from decades of footage that were self-shot by Kilmer himself, Val is an extraordinary piece of filmmaking.
Even if audiences choose to return, will the festivals be there for them, or will we see a paradigmatic shift to these industry events lodging themselves online permanently?
With the talent involved and the potential of its revisionist take on Golden Age Hollywood, Netflix’s Hollywood provides minor thrills where it promised major dramatic power.
In 2007, director Oren Peli spawned the multi-film, multi-million-earning Paranormal Activity franchise. Nearly thirteen years…
We were able to interview Hallie McKeig, the Founder Of Creative Soul Management.
As we move into November, Disney+ and Apple TV+ are hounds baying at the door to our wallets. But how much potential do they really have to disrupt this streaming gold rush?
Tarantino isn’t afraid to reshape and play with the truth, making Once Upon a Time in Hollywood one of his boldest and bravest to date.
Is Quentin Tarantino just another white male director carelessly contributing to the gender bias in cinema with Once Upon a Time in Hollywood?
Troupers is an homage to actors over 80 who stuck it out doing what they loved for an entire lifetime. Read our review on this charming documentary.
Cinefemme gathered a group of women filmmakers to dine with the night’s mentor, David Geddes, DP & director of DC’s Legends of Tomorrow.
If cinema is to survive as anything resembling what we recognise it as today, then major theatrical exhibitors need to stop pissing into the howling gale that is the streaming revolution.
We take a look back at motion capture technology, including its beginnings, its present uses, and the recent rises in de-aging technology.
At the 6th San Francisco Dinner with Dames, Cinefemme gathered a group of women filmmakers to dine with George Rush, SF based entertainment lawyer and producer.
With data driving every marketing decision, you would have to assume the five second tease is driving views. Does that mean it’s driving people to the box office? It’s hard to say.
In the battle between Spielberg and Netflix, it is not about the cinematic experience, rather than profitable business plan.