“Sinners” Makes Oscars History as Full 2026 Nominations Are Announced

The 2026 Oscar nominations are here! Ryan Coogler's "Sinners" leads with 16 noms, making history in the process.

How Weta FX Brought the Villainous Ash People to Life in James Cameron’s “Avatar: Fire and Ash”

Weta FX brought James Cameron's terrifying Ash People to life in #AvatarFireAndAsh—from Varang's war paint to the Nightwraith creature design. VFX supervisors Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett break it down.

“Song Sung Blue” Writer/Director Craig Brewer on Touring Kate Hudson & Hugh Jackman Through America’s Heartland

Song Sung Blue is a story of working-class America, made by working-class America. Writer/director Craig Brewer, best known for helming Hustle & Flow and Dolemite Is My Name, even carried that through to the film’s innovative marketing, taking it on a tour of middle America.

The biographical musical drama, based on the 2008 documentary film of the same name, stars Hugh Jackman and Kate Hudson as Mike and Claire Sardina,

How Costume Designer Deborah L. Scott Dressed the Wind Traders and Ash People for “Avatar: Fire and Ash”

Four decades ago, Deborah L. Scott was on a plane to the middle of nowhere, Alaska, to design costumes for Carroll Ballard’s Never Cry Wolf (1983). The decision changed her career.

“As scared as I was, as ridiculous and unprepared as I probably looked, it was a good idea,” she shares with The Credits. “It’s ok to be unprepared, and stepping out of your comfort zone is good as an artist.” The project introduced her to Steven Spielberg and opened the door to E.T.

“Marty Supreme” Composer Daniel Lopatin on Blending Synths & Orchestra for Timothée Chalamet’s Ultra Ambitious Striver

Oscar-shortlisted composer Daniel Lopatin earned a reputation amongst electronic music fans for his steady stream of experimental solo albums recorded under the name OneOhTrix Point Never. But it’s Lopatin’s pulsating score for Marty Supreme that will surely expose his synth-driven compositions to a broader audience.

Filmed in New York City and set in 1952, writer-director Josh Safdie’s fact-based movie stars Timothée Chalamet as ping-pong hustler Marty Mauser,

Best of 2025: How DP Autumn Durald Arkapaw Captured Black Music’s Timeless Continuum in “Sinners”

It’s that time of year again—when we slow down, look back (overeat), and celebrate our favorite conversations from another surprising, often wonderful, and occasionally wild year in cinema and TV.

In part one of our interview with Sinners cinematographer Autumn Durald Arkapaw, the groundbreaking DP discussed how she leveled up to frame Coogler’s soulful supernatural epic by learning to use the largest film format available. Coogler’s ambitions for his vampire thriller,

Best of 2025: “Sinners” Writer/Director Ryan Coogler on Channeling Louisiana’s Creative Rhythm Into His Period Monsterpiece

It’s that time of year again—when we slow down, look back (overeat), and celebrate our favorite conversations from another surprising, often wonderful, and occasionally wild year in cinema and TV.

Sinners, written, produced, and directed by Ryan Coogler, is hands down one of the year’s biggest cinematic successes. Coogler’s passion project found the filmmaker at the peak of his powers, and fans already primed to see anything from the still young visionary were ready to go once Sinners bowed.

Best of 2025: “One Battle After Another” Production Designer Florencia Martin on Building PTA’s Three-Hour Action Thriller from the Ground Up

It’s that time of year again—when we slow down, look back (overeat), and celebrate our favorite conversations from another surprising, often wonderful, and occasionally wild year in cinema and TV.

Paul Thomas Anderson’s action thriller One Battle After Another is loosely inspired by a section of Thomas Pynchon’s 1990 novel “Vineland,” but this three-hour epic is rooted in the present, a contemporary vision of a heightened clash between far-left and far-right,

Best of 2025: Inside the Breakneck Cut of Paul Thomas Anderson’s “One Battle After Another” With Editor Andy Jurgensen

It’s that time of year again—when we slow down, look back (overeat), and celebrate our favorite conversations from another surprising, often wonderful, and occasionally wild year in cinema and TV.

The best-reviewed movie of the season is also the most relentless. Paul Thomas Anderson‘s Oscar front-runner One Battle After Another races through its two-hour fifty-minute run time propelled by adrenalized performances from Leonardo DiCaprio,

Filming “F1: The Movie”: Stunt Coordinator Gary Powell on Brad Pitt’s Wild Ride From Abu Dhabi to Spa

In the first part of our conversation with stunt coordinator and second unit director Gary Powell, he talked about director Joseph Kosinski’s ambitious vision for Apple’s highest-grossing theatrical release to date, F1: The Movie, starring Brad Pitt (Sonny Hayes) and Damson Idris (Joshua Pearce). The film received unprecedented access to the Formula One organization and was filmed during the 2023 and 2024 seasons at several Grand Prix events,

“Sentimental Value” Production Designer Jørgen Stangebye Larsen on Joachim Trier’s Tender Family Drama

Winner of this year’s Grand Prix prize at Cannes, Joachim Trier’s tender family drama, Sentimental Value (original title: Affeksjonsverdi), is co-written with Eskil Vogt and stars Renate Reinsve (Presumed Innocent); the trio previously collaborated on 2021’s critical darling, The Worst Person in the World, which was nominated for two Oscars, Best Original Screenplay for Vogt and Trier, and Best International Feature. Trier’s latest explores themes of grief,

“Hamnet” Composer Max Richter on the Song That Gave Director Chloé Zhao an Epiphany to Rewrite the Film’s Ending

The bard and his muses live again. Director Chloé Zhao’s Hamnet, the film adaptation of Maggie O’Farrell’s award-winning 2020 historical novel, is enrapturing audiences in theaters now. Zhao both co-wrote the screenplay with O’Farrell and co-edited the film, which follows the passionate but complicated relationship between a young scribe named William Shakespeare (Paul Mescal) and his incandescent wife, Agnes (a phenomenal Jessie Buckley). It is a story loosely based on what is known of Shakespeare’s life.

“Sinners” Writer/Director Ryan Coogler on Channeling Louisiana’s Creative Rhythm Into His Period Monsterpiece

Sinners, written, produced, and directed by Ryan Coogler, is hands down one of the year’s biggest cinematic successes. Coogler’s passion project found the filmmaker at the peak of his powers, and fans already primed to see anything from the still young visionary were ready to go once Sinners bowed. Yet it wasn’t just Coogler fans who flocked to the theaters—critical raves and word of mouth turned Coogler’s original period vampire epic into an early-year smash.

“Hamnet” Costume Designer Malgosia Turzanska Reveals How Leather Wounds and Clay Tell Shakespeare’s Story

Chloé Zhao’s period drama Hamnet follows a spirited young couple in 16th-century England — the earthy, radiant Agnes (a superb Jessie Buckley) and her besotted, occasionally brooding husband Will (an also excellent Paul Mescal), who channels his own formidable gifts onto the page (and becomes, of course, the Bard). Their love is tested in the most extreme ways, as Will’s career aspirations and the death of their young son, Hamnet (Jacobi Jupe),

“Train Dreams”: Behind the Majestic Visuals of Joel Edgerton’s Pacific Northwest Epic

The Train Dreams (now in theaters; streaming on Netflix, November 21) story ends in 1968, but the film about the fictitious logger and railroad worker Robert Grainier chimes with contemporary echoes. Grainier, played by Joel Edgerton, sees a Chinese immigrant being wrestled to the ground by bigots and thrown off a train trestle. He sees a wildfire ravage lives and landscapes in the Pacific Northwest. He helps saw down centuries-old trees in the name of progress.

Bringing Guillermo del Toro’s Creature Into the Light With “Frankenstein” Cinematographer Dan Laustsen

Dan Laustsen likes to make even the most fantastical frame pop with an authentic, organic humanity. The cinematographer extraordinaire and filmmaker Guillermo del Toro wants tangibility, regardless of whether his stories are as slippery and bittersweet as The Shape of Water or as beguiling and deceptive as Nightmare Alley. In the case of Frankenstein, organic is a more-than-fitting approach for the story of men and the monsters within,

How “Frankenstein” Costume Designer Kate Hawley on Dressing Men, Monsters, & Their Mothers

In a film in which a character will never know death, color and life are everywhere. Guillermo del Toro’s adaptation of Mary Shelley’s Frankenstein is a visual feast, yes, but as the director often puts it, it’s all nutritional. A luminous, dreamy red dress from del Toro and costume designer Kate Hawley means more than a pretty image.

The story begins with the mother, Claire Frankenstein (Mia Goth, one of her two roles in the film),

42 Prosthetics, 10-Hour Nights: How Prosthetics Master Mike Hill Turned Jacob Elordi Into the Creature for Guillermo Del Toro’s “Frankenstein”

If ever a man were destined to design a new Frankenstein, it would surely be Mike Hill. The British-born prosthetics and makeup artist behind Guillermo del Toro’s new Frankenstein movie (in theaters now, streaming on Netflix starting November 7) remembers finding his calling at the age of five. “I’d walk to the river in the pouring rain with a little pail and a spade and I’d dig up the clay from deep in the riverbank,

Editing in Secrecy: How Amir Etminan Cut Jafar Panahi’s Palme d’Or Winner “It Was Just an Accident”

“When Mr. Panahi called and invited me to meet him, I didn’t ask any questions because I knew the secrecy and the sensitivity of his projects,” picture editor Amir Etminan tells The Credits through an interpreter. “So I accepted the invitation and went to have a conversation in person.” What followed was a discussion of Iranian writer-director Jafar Panahi’s It Was Just an Accident, an unflinching portrait of trauma,

“Blue Moon” Screenwriter Robert Kaplow on Capturing the Genius and Tragedy of Lorenz Hart in Richard Linklater’s Latest

People still sing, dance, and swoon to “My Funny Valentine,” “Where or Where,” and “Blue Moon.” But mention that those songs were written by Lorenz Hart, and you may get a puzzled “Who?” Luckily for screenwriter Robert Kaplow, whose film Blue Moon stars Ethan Hawke as Hart, at least one crucial person not only knew Lorenz Hart but loved his work.

“Richard Linklater made a film of my novel ‘Me and Orson Welles’,