Laurene Powell Jobs Invests in Davis Guggenheim’s Concordia Studio

Landlocked by South Africa on all sides, the kingdom of Lesotho is a place of high skies, wide landscapes and narrow prospects for its two million inhabitants: a set of dimensions somehow captured in every exquisitely constructed, square-cut frame of “This Is Not a Burial, It’s a Resurrection.” A haunted, unsentimental paean to land and its physical containment of community and ancestry — all endangered by nominally progressive infrastructure — this arresting third feature from Lesotho-born

Vincent D’Onofrio, Jon Bernthal, Richard Thomas, Linda Emond and Emma Nelson are joining Sandra Bullock and Viola Davis in an untitled Netflix thriller from Graham King.

Sixty years. That’s how long a Louisiana judge sentenced Rob Richardson to serve for armed bank robbery. Garrett Bradley covers more than a third of that term in “Time,” and the cumulative impact — boiled down into an open-minded and deeply empathetic 81 minutes — will almost certainly rewire how Americans think about the prison-industrial complex.

Every summer, more than 1,000 teens swarm the Texas capitol building to attend Boys State, the annual American Legion-sponsored leadership conference where these incipient politicians divide into rival parties, the Nationalists and the Federalists, and attempt to build a mock government from the ground up.

On Jan. 16, the same day Netflix dropped the first trailer for its movie “Lost Girls” — the story of how Mari Gilbert (Amy Ryan), a grieving, furious mother of a missing young woman, revealed that a serial killer was operating on Long Island, N.Y.

Those nostalgic for the fond portraits of eccentric Americana in Errol Morris’ early work — and pretty much everyone else — will be delighted by “Some Kind of Heaven.” Lance Oppenheim’s first feature is a peek at life in The Villages, an increasingly vast Central Florida retirement community where those who can afford it spend their twilight years “being on vacation every day.”

It took four movies before Lee Isaac Chung was ready to tell the kind of story first-timers so often rush to share straight out of the gate. Not a coming-of-age movie so much as a deeply personal and lovingly poetic rendering of his Korean American childhood — specifically, how it felt for his immigrant family to adjust to life in small-town Arkansas — “Minari” benefits from the maturity and perspective Chung brings to the project.

“Charm City Kings,” directed by Angel Manuel Soto and written by Sherman Payne, is an earnest coming-of-age story about a Baltimore 14-year-old named Mouse (Jahi Di’Allo Winston) torn between joining the Midnight Clique, an extreme dirt bike crime gang in stormtrooper-esque shiny white breastplates, or becoming a veterinarian.

Things are looking up! Big Brother alum Elena Davies is ready to put her “most challenging year” behind her after buying her first home.

Five years after A’Ziah Wells King posted the Twitter thread known as #thestory — a tale of how a trip from Detroit to Tampa, Fla., to earn money stripping quickly devolved into a wild ride, featuring a kidnapping, a shooting, sex trafficking and a suicide attempt — the real-life “Zola” is celebrating the film adaptation’s debut.

Amid the snow-covered mountains of Park City, Utah – South African filmmakers, producers, and directors have made a strong representation this year at Sundance – the largest independent film festival in the US.

The best political documentary at Sundance this year does not star Hillary Clinton or AOC, but a bunch of 17-year-old dudes.

Taylor Swift, Selena Gomez and Kanye West have added their tributes to Kobe Bryant following the basketball legend’s death on Sunday (26Jan20).

Beyonce, 38, was a gorgeous sight to see when she showed up to Clive Davis‘ star-studded pre-Grammy Gala in Beverly Hills, CA on Jan. 25.

As a child, when future TV host Fred Rogers would see scary images on the news, his mother would tell him, “Look for the heroes.” If Fred were a boy today, she’d add, “Look for Ken Feinberg.” Feinberg, the lawyer at the center of Sara Colangelo’s “Worth,” specializes in putting a price tag on human tragedy.

The Saudi Crown Prince was responsible for the gruesome murder of journalist Jamal Khashoggi, the director of a film about the death believes.