That’s a wrap on Spring 2026’s creative director shuffle. Nicholas Aburn stepped into the top position at Area, while Louise Trotter (a.k.a. one of the few women helming a luxury house) took the reins at Bottega Veneta. All eyes were on Paris Fashion Week as the fashion capital welcomed a …
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Bringing an inspired DJ set to the Pacific Northwest’s Deschutes County Fairgrounds, indie-electronic favorites Passion Pit joined Disclosure, Sylvan Esso, TroyBoi, Big Gigantic, Chromeo (DJ Set) and others for the storied Cascade Equinox festival. Passion Pit front man Michael Angelakos also joined up with hyperpop/dubstep artist Tracey Brakes for an epic b2b during the set.
With its stunning high elevation surroundings as the backdrop, Cascade Equinox featured a wide range of offerings, including a “vendor marketplace, kids zones, a roller rink, workshops, culinary commons, a healing sanctuary, yoga, beer and wine tastings, interactive art installations, and live art.” To add to the mix, live acts included High Step Society, Moon Hooch, New Constellations, Pink Talking Fish, and White Denim.
Special thanks to Jennifer “Sage” Hylwa and Jason Meyers for the images.
The New York Film Festival is wrapping up its first week, which began last Friday with the North American premiere of Luca Guadagnino’s controversial academic thriller “After the Hunt.” The other world premiere that sparked debate was Ronan Day-Lewis’ “Anemone,” which brings his father, Daniel Day-Lewis, out of acting retirement for his first onscreen role since 2017’s “Phantom Thread.”
And speaking of Paul Thomas Anderson, “One Battle After Another” debuted to $22 million domestic in its first weekend at the box office. On this week’s episode of IndieWire’s “Screen Talk” podcast, co-hosts Anne Thompson and Ryan Lattanzio preview second-weekend chances for the action thriller, which is screening in a variety of formats from 70mm IMAX to VistaVision around the country. It’s also a major Oscar player, positioning Anderson to potentially win his first Oscar after years of also-ran nominations on films from “Magnolia” to “There Will Be Blood” and “Phantom Thread.” Anne hears good word-of-mouth from Academy voters, who are turning up for “One Battle After Another” with an enthusiastic response.
With Anne now joining Ryan in New York, we discuss receptions to films including “After the Hunt” (which was mixed out of NYFF opening night but has a chance with Golden Globes voters) and “Anemone.” While Ryan liked Ronan Day-Lewis’ dark, surreal two-hander about estranged British brothers (Sean Bean stars opposite Daniel Day-Lewis) with a few secrets dating back to the Troubles of Northern Ireland, Anne had quibbles about some of the film’s artistic choices that we both share in.
Meanwhile, the talk of the town this week was an AI “actor” named Tilly Norwood, a very much not real person created by artificial intelligence talent studio Xicoia. SAG-AFTRA released a statement decrying the AI performer, for whom the studio has been sharing headshots, selfies, and motion graphics via social media. Will the statement make an impact? As Anne explains, the stable has opened, the horses are galloping out of it, and the AI revolution is here. We can’t stop what’s coming.
As a reminder, Anne Thompson and Ryan Lattanzio will host a “Screen Talk” Live at the New York Film Festival on Monday, October 6 at the Elinor Bunin Munroe Film Center at 4 p.m. at Lincoln Center in Manhattan. Attendance is free, and our special guest is Daniel Battsek, the new president of Film at Lincoln Center, who will join us for a lively discussion with audience questions.
Listen to this week’s “Screen Talk” podcast below.
Ulrich Köhler’s “Gavagai” has debuted its trailer with Variety ahead of the film’s screening on Sunday at the Zurich Film Festival.
International sales for the film, which had its world premiere at New York Film Festival on Saturday, are being handled by LuxBox.
The film unspools during the turbulent shoot of a “Medea” adaptation in Senegal. On set, Maja seeks solace in a love affair with her co-star Nourou. Months later, they meet again at the film’s premiere in Berlin. Old feelings resurface, but a racist incident unsettles their reunion. Tensions rise as everyone tries to do the right thing. While the ancient tragedy plays out on screen, a contemporary drama unfolds.
Dennis Lim, artistic director of the New York Film Festival, commented: “Köhler specializes in cunning, tonally surprising films about cross-cultural disconnection, and ‘Gavagai’ is his most ambitious and expansive film yet—a pinpoint-accurate account of moral crises and social biases, modern and ancient, internal and external.”
The cast includes Jean-Christophe Folly (Nourou), Maren Eggert (Maja), Nathalie Richard (Caroline), Anna Diakhere Thiandoum (Aïta) and Mateusz Malecki (Kolakowski).
The producers are Ingmar Trost and Clement Duboin. The co-producer is Maren Ade. The lead production company is Sutor Kolonko, and the co-production partner is Good Fortune Films.
Köhler’s “Bungalow” (2002) and “Montag kommen die Fenster” (2006) were shown at numerous festivals and received several prizes. “Schlafkrankheit (2011) was awarded the Silver Bear for best director at the Berlinale. “In My Room” (2018) premiered in Cannes’ Un Certain Regard section. “A Voluntary Year” (2019), made in collaboration with Henner Winckler, screened in competition at Locarno.
“Sneakermania” shows no signs of slowing down.
In the upcoming eight-episode Finnish series, produced by Helsinki-filmi and set to be broadcast on YLE in February 2026, teenage sneakerhead Ola is determined to become a fashion influencer.
With his friend Bee, Ola – who lives for Air Jordan 1 Low OG Chicago – is trying to build a following and grow their TikTok channel. Until his former best friend Jay steals his thunder.
“The story shifts from lighthearted, friendly banter to moments of envy and dishonesty. While the tone often stays comedic, the characters face real challenges: moments that test their morals, motives, and the limits of what they’re willing to sacrifice,” said director Ima Iduozee.
One of the main themes is belonging, he stated.
“The desire to be seen, heard and accepted. Social media plays a central role in ‘Sneakermania,’ offering a space to create your self-image and brand, giving you a sense of autonomy over how others perceive you. For Ola, it becomes a way of gaining motion and respect.”
While there’s “a lot of great stuff coming out of Finland right now,” many stories still wait to be told, stressed Iduozee, also a choreographer for the first Finnish Netflix Original series “Dance Brothers.”
“We have so much more to offer than Nordic noir and detective dramas. I wanted to show a version of Helsinki that felt authentic to me. A generation of young creatives who are bold, self-determined and unafraid to go after what they want.”
Sneaker culture, which has evolved into a global phenomenon, felt like a perfect way in.
The series debuts its trailer here:
“For a massive number of young adults, sneakers are much more than shoes. They are a cultural language representing identity, creativity and community,” said Mia Ylönen, head of drama at Helsinki-filmi.
The company has also showcased anticipated thriller “Icebreaker” – awarded MipDrama’s Coup de Coeur – at the Helsinki industry event Finnish Film Affair. Set on a stranded boat in the middle of icy nowhere, it sees its crew members disappear, one by one.
According to Ylönen, “Sneakermania” taps into fashion, music and social media through its “magnetic lead characters that represent Helsinki in 2025.” “It’s a series about ambition, self-expression, fashion and, above all, a story about friendship.”
Led by first-time headwriter Vilja Keskimäki, the story features tracks from Finnish artists Turisti, Averagekidluke and Bizi.
“We brought fashion stylists, designers, dancers and influencers on board early during the production. It was important for us to collaborate with people who truly live the fashion, culture and music of the sneaker world.”
Ola might be “the beating heart and driving force” of the story, but he’s accompanied by a group of young adults.
“They share his passion for sneakers, DIY culture and creative self-expression, and the thrills of finding their place in the world while navigating friendship and ambition,” said Iduozee.
Ylönen added: “I believe Ima is the next best thing to come out of Finland: a young, creatively unique director whose vibrant vision is something we haven’t seen on Finnish screens before.”
“We were looking for the right project and when ‘Sneakermania’ landed on my table, I knew we had the perfect match.”
“Sneakermania”
Courtesy of Helsinki-filmi
Mary Kay Inc., the world’s #1 direct selling skin care and color cosmetics company1 with more than 60+ years of innovation, is reintroducing itself to a new generation with the debut of “Miss Conceptions,” a bold social media series aimed at dispelling myths with humor, honesty and cultural …
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The first trailer for “Spying Stars,” the latest feature from acclaimed Sri Lankan filmmaker Vimukthi Jayasundara, has been unveiled ahead of its world premiere in competition at the 30th Busan International Film Festival.
The sci-fi drama, a France/India/Sri Lanka co-production, follows scientist Anandi as she visits Hanuman Island to perform last rites for her father. Set in a dystopian future plagued by “Illvibe” — a pandemic caused by machine dominance — Anandi finds herself quarantined in a remote hotel where a mysterious star begins following her. She eventually escapes and seeks refuge with a mother and her transgender daughter.
“I chose to construct ‘Illvibe,’ a disease of the future that finds its origins in technology and devices to narrate a film of loss and mourning, an existential common experience of all mankind of today and in future,” Jayasundara says in his director’s statement.
The film stars Indira Tiwari, Hidaayath Hazeer, Saumya Liyanage, Samanalee Fonseka, Shreepura Mithra, and Kaushalya Fernando. Eeshit Narain serves as director of photography, with music by Alokananda Dasgupta.
Jayasundara has established himself as a major voice in international cinema, notably winning the Caméra d’Or at Cannes for his debut feature “The Forsaken Land” (2004). His subsequent films including “Between Two Worlds” (2009) have screened at prestigious festivals including Cannes, Venice, Locarno, and Toronto.
“‘Spying Stars’ is a liberation film that is spiritual in nature,” the director explains. “It asks one question: in a time of pervasive voyeurism and technological control, how do we retain our humanity?”
The film is presented by House on Fire, Eleenora Images, and Film Council Production, with world sales handled by Bangkok-based Diversion. BIFF runs September 17-26.
Watch the trailer here:
New York Fashion Week is finally here, with six days of sartorial newness kicking off on Sept. 11. Its usual suspects line the CFDA’s official calendar — Coach, Tory Burch, Michael Kors Collection and Christian Siriano, to name a few — but we’re equally excited for the new …
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Buzz surrounding the return of Dorothy, Tin Man, Scarecrow and Cowardly Lion may have helped make Sphere Entertainment Co. the best-performing music stock for the week ended Aug. 29. Sphere Entertainment shares rose 6.8% to $45.35 in an otherwise muted week for music stocks.
On Thursday, the Sphere venue in Las Vegas debuted — to both positive and negative reviews — its revamped version of the 1939 film The Wizard of Oz. The premiere was prefaced by a heavy national media campaign that showed both the love for the 1939 original film and curiosity about the state-of-the-art, multi-sensory venue. To date, Sphere had sold 215,000 tickets for The Wizard of Oz at over $100 apiece.
Sphere Entertainment shares have gained 13.7% in the last two weeks, turning a 5.1% year-to-date loss into a 6.8% gain this year. Aside from the attention gained by The Wizard of Oz, the venue has racked up some wins in recent months. The Sphere recently concluded a Kenny Chesney residency in June and will commence with a Zac Brown Band residency in December. In addition, the venue added 14 additional Backstreet Boys performances to extend the group’s well-received run into February 2026.
The Billboard Global Music Index (BGMI), a float-adjusted index of 19 publicly traded music companies, fell 1.5% to 2,979.62 in its second consecutive weekly decline. (The index originally had 20 stocks, but Believe was taken private and no longer trades on the Euronext Paris exchange.) With a majority of music stocks in the red this week, the index’s year-to-date gain dropped to 40.2%.
U.S. indexes fell as core U.S. inflation, which excludes food and energy costs, rose to 2.9% in July, the highest level since February. The Nasdaq composite fell 1.6% to 21,142.01 and the S&P 500 dropped 0.1%. International indexes were mixed. The U.K.’s FTSE 100 fell 1.4% to 9,187.34 but South Korea’s KOSPI composite index rose 0.5% to 3,186.01 and China’s Shanghai Composite Index improved 0.8% to 3,857.93.
Other than Sphere Entertainment, only three stocks had gains above 1%: Cumulus Media (up 6.3%), Anghami (up 4.1%) and MSG Entertainment (up 3.5%). Three of the most valuable music companies had gains of less than 1%: SiriusXM (up 0.8%), HYBE (up 0.5%) and Live Nation (up 0.5%).
With most music stocks losing ground this week, the BGMI was dragged down by the losses of its three most valuable music companies. Spotify fell 1.5% to $682.34, taking the stock 13.1% below the all-time high of $785.00 set on June 27. Universal Music Group dropped 2.7%, bringing its year-to-date gain to 1.0%. And Tencent Music Entertainment sank 3.2% to $24.53, although a blistering first half of 2025 has helped put the stock up 120.0% this year.
Two K-pop companies were among the week’s worst performers. SM Entertainment fell 3.9% to 138,800 KRW ($99.82) and JYP Entertainment was down 5.6% to 72,700 KRW ($52.29). The biggest loser of the week was music streamer LiveOne, which fell 8.3% to $0.55 and extended its year-to-date loss to 59.9%.
Billboard
Billboard
Billboard
The Prince and Princess of Wales were in Scotland over the weekend. They’re actually called the Duke and Duchess of Rothesay in Scotland, although very few outlets have actually called them by their Scottish titles. According to the Telegraph, the Wales/Rothesay family arrived in Balmoral for “the bank holiday,” meaning (I assume) that they arrived at Balmoral last Friday? Then on Sunday, the whole family was photographed in a car, on their way to church. William drove, with Kate riding shotgun, and all three kids in back. Something horrible to note: no one in the car wore a crossbody seatbelt, not even the kids in the back. William and Kate should absolutely wear their seatbelts in the front too.
Meanwhile, the big story of the Rothesays’ first post-Wimbledon public appearance is that Kate has dramatically lightened her hair this summer. We haven’t seen her since July 13, the Wimbledon men’s final, and in that time, she’s been trying a summery blonde shade. I would actually consider this more of a honey/caramel shade, similar to Jennifer Aniston’s long-time “bronde” color. It really does nothing for her?? And it also highlights that even with all of these vacations and “summers off,” Kate should look well-rested and tan. Instead, she looks pale, drawn and completely exhausted.
👑 The Princess appears to be having a blonde moment – and we can expect the rest of the world to follow suit
Read more below ⬇️https://t.co/JUOBCSKrEo pic.twitter.com/CEkKA1k0Ee
— The Telegraph (@Telegraph) August 24, 2025
Passenger princess! Sun-kissed Kate debuts new lighter locks as Prince William drives family to church service in Balmoral
Visit https://t.co/s1vdxIYHYd https://t.co/1WuANpD2gQ
— Scottish Daily Mail (@MailOnlineScot) August 24, 2025
Photos courtesy of Cover Images, Getty.
