Steve Pond
Steve Pond
Steve Pond’s inside look at the artistry and insanity of the awards race, drawn from more than three decades of obsessively chronicling the Oscars and the entertainment industry.
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The Emmys in the Shadow of ‘Shōgun’ – How the Unprecedented Has Become Predictable
TheWrap magazine: Five of the 10 biggest single-year winners in Emmy history have come in the last four years
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How Documentary Filmmakers Found New Stuff to Say About Sly Stone, Springsteen and The Beatles
TheWrap magazine: Questlove, David Tedeschi, Thom Zimny and Laurent Bouzereau talk about their music docs
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Bono on His Movie, His Memoir and Being ‘Totally Pretentious’: ‘I Promise I’m Coming Back to Rock ‘n’ Roll’
The U2 frontman says the film “Bono: Stories of Surrender” is part of a new approach he calls “radical intimacy”
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Cannes Film Festival Winners 2025: ‘It Was Just an Accident’ Wins Palme d’Or
Cannes 2025: Other awards go to “Sentimental Value,” “Sirat,” “Sound of Falling” and actors Wagner Moura and Nadia Melliti
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‘The Mysterious Gaze of the Flamingo’ Wins Top Award in Cannes Un Certain Regard
Cannes 2025: Other winners include “A Poet,” “Urchin,” “Once Upon a Time in Gaza” and “I Only Rest in the Storm”
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‘It Was Just an Accident’ Review: Jafar Panahi Returns to Cannes in Person, and in Fine Form
Cannes 2025: The Iranian director, who spent most of the last two decades imprisoned or muffled, marries humanism and anger
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‘Highest 2 Lowest’ Review: Denzel Washington and ASAP Rocky Are Foes to Remember in Spike Lee’s Slick Drama
Cannes 2025: Lee’s update on Akira Kurosawa’s film is an urban thriller that feels different than the work that has defined him
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‘Eagles of the Republic’ Review: Movies and Politics Don’t Mix, Says This Movie About Politics
Cannes 2025: Tarik Saleh’s drama is less interested in the process of filmmaking than in its use in propaganda
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Cannes’ Message So Far: The World’s Going to Hell, but We Love Movies!
Cannes 2025: The overall tone of this year’s offerings is dark, just as it would be if festival-goers left the theaters, went back to their rooms and switched on the TV news
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‘Peak Everything’ Review: Offbeat Canadian Rom-Com Finds Love in the Face of the Apocalypse
Cannes 2025: Director Anne Émond takes the anxieties that underlie any romantic comedy and blows them up to global proportions
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‘My Father’s Shadow’ Review: Cannes’ First Nigerian Movie Mixes Autobiography and Mystery
Cannes 2025: Akinola Davies Jr.’s drama is a rhapsody of sorts, but a rough one that ends in political turmoil and unanswered questions
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‘The Secret Agent’ Review: ’70s Brazilian Romp Includes Wagner Moura and a Rampaging Severed Leg
Cannes 2025: Cohesiveness or coherence are not high on the list of the attributes of Klebel Mendonça Filho’s film, but its messiness is part of its charm
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‘Orwell: 2+2=5’ Review: Angry Documentary Is as Much About Us (and Donald Trump) as About George Orwell
Cannes 2025: Raoul Peck’s film is an artful balancing act that dips in and out of Orwell’s life and work and swings from history to art to the most current of events
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‘Renoir’ Review: Quiet Japanese Drama Looks at Death Through a Young Girl’s Eyes
Cannes 2025: You could call Chie Hayakawa’s understated second feature a coming-of-age film, except that its lead character doesn’t really learn anything
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‘Bono: Stories of Surrender’ Review: U2 Frontman’s Life Story Is Grand and Bombastic, the Way We Like It
Cannes 2025: The singer and his director, Andrew Dominik, use startling visuals and reimagined songs to make this glorious mashup of life and music
