‘BlacKkKlansman’, Raunchy Puppets, Queen Biopic, & More Trailers You May Have Missed

Staying on top of the trailer circuit is a full-time job in and of itself. We're here to help.

Rest assured that the summer movie season doesn't only include Hollywood blockbusters and overly test-marketed entertainment designed for mass consumption. There are a number of festival favorites set to hit theaters very soon, as well as daring new works from celebrated American auteurs and first-time feature filmmakers. It should be a strong season, especially, as you will notice below, a particularly compelling string of weeks in mid-August. Let's dive in.

Sorry to Bother You (dir. Boots Riley)

The talk of this past January's Sundance Film Festival, the first feature from musical artist Boots Riley arrives this summer on the wave of rapturous reviews and mounting anticipation. Starring Lakeith Stanfield as a telemarketer who has to resort to some rather otherworldy (and supremely impressive) techniques to improve his job performance, the trailer implies a film both realistic in its searing social critique and fantastical in the way it sees them through.

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Get to Know the Creative Team Behind ‘Solo: A Star Wars Story’

With one week to go before 'Solo: A Star Wars Story' hits theaters, these are the players behind the camera.

While it may be hard to believe, we're just one week out from another film in the Star Wars canon hitting theaters. The second "Star Wars Story" entry (ie. a film that exists in the Star Wars universe but does not directly intersect with episodes one through nine), Solo tells the origin story of one Han Solo, the guns-blazing, Millenium Falcon-owning, Wookie-befriending pilot originally played by Harrison Ford and now brought to youthful life by Alden Ehrenreich. Other familiar characters are set to return as well, including Lando Calrissian (now played by Donald Glover) and Chewbacca (played by Joonas Suotamo).

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‘A Film is Not Designed to Dictate Anything’: Jean-Luc Godard Returns to Cannes

The legendary French filmmaker used modern technology to return to the legendary French festival.

The great master provocateur and critical rabble-rouser of the French New Wave, Jean-Luc Godard returned to the Cannes Film Festival this week with the debut of his latest feature, The Image Book.

An archival-based essay film that deploys reference points as far-reaching as Michael Bay and Alfred Hitchcock (to say nothing of some sampled gay porn?), the 87-year-old director's latest abandons conventional and mainstream narrative, going for his more recently preferred approach of layered, intertextual storytelling.

It's not a method adored by all—even some of the most devoted of Godardians jumped off their passionate train of fandom several decades back—but for those still intrigued by one of cinema's most challenging and intellectually aggressive voices, a new Godard film is worth celebrating. It's also worth intense deconstruction, and at the post-screening press conference, Godard appeared via the Apple-based FaceTime app to discuss the film with curious and infinitely head-scratching journalists.

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Location Matters: How Matt Porterfield Uses His Hometown to Illuminate Universal Stories

In 'Sollers Point,' writer/director Matt Porterfield returns home to shoot a fourth film in Baltimore.

A delicately concentrated study in naturalism, Matt Porterfield's Sollers Point is as much about its physical setting as it is the characters who inhabit it. Set in Baltimore, Maryland (and its surrounding locales), the film tells the story of Keith, a 26-year-old softspoken, conflicted soul completing his one year of court-ordered house arrest.

Hoping to avoid the troubled crowds he often attracts, Keith swears to get his life back on track. He looks for odd jobs and attempts to make amends with his former girlfriend (Zazie Beetz) and prove to his father (Jim Belushi) that he's neither a disappointment nor a future statistic in a city filled with social unrest.

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Watch: BTS of How a SNL Sketch Goes From Concept to Air in 36 Hours

A Kanye West Tweetstorm and the debut feature from John Krasinski inspired the 'Saturday Night Live' team to act fast.

While it's no secret that the writing and production teams of Saturday Night Live work around the clock to be as topically relevant and humorous as possible, what actually goes into that quick turnaround is often shrouded in secrecy. This is even truer for the show's "non-live" segments, which aren't bound to being set in Studio 8H at Rockefeller Plaza.

Under intense pressure and time constraints, the behind-the-camera staff has to identify, pitch, refine, location scout, shoot, and edit the piece, often within a span of five days. How do they pull it off? This video below reveals the extremely impressive workflow on one such example.

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‘Monsters and Men,’ ‘Crazy Rich Asians,’ Superheroes, & More Trailers You May Have Missed

Staying on top of the trailer circuit is a full-time job in and of itself. We're here to help.

As we gear up for the summer movie season, Trailer Watch returns to highlight a few titles that are poised to break out in a big way.

Below you will find a pretty full-balanced meal: a new addition to the Marvel Cinematic Universe, a moving story about a father and his daughter, two films that highlight police brutality in heartbreaking ways, and a romantic studio comedy that's a big step forward toward furthering inclusion in Hollywood. Which are you most looking forward to?

Leave No Trace (dir. Debra Granik)

After an eight-year hiatus from fiction filmmaking (she made the documentary Stray Dog in 2015), Winter's Bone director Debra Granik returns with another story involving a young girl living in the woods, although this time literally so. Based on the novel My Abandonment by Peter Rock, the film follows a father and daughter (Ben Foster and Thomasin McKenzie) living off-the-grid in an Oregon national park.

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Watch: Everything You Need to Know About Mockumentaries in Five Minutes

Reality can take on many forms, but this isn't one of them.

[Editor's Note: This video essay is part of our "Everything You Need to Know" series created exclusively for No Film School by Senior Post. To revisit the first two entries in the series, click here and here.]

All truths are not created equal, and in the case of the difficult-to-categorize films identified as mockumentaries, all truths are false. Encompassing a style long associated with the work of nonfiction—handheld camerawork, jarringly abrupt edits, fly-on-the-wall scenarios, the breaking of the fourth wall—mockumentaries are often hilarious due to the execution of the form: how could something this absurd be real?

In the third video from our "Everything You Need to Know Series," we break down the history of the genre and its far-ranging examples of challenging cinema "truthiness."

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‘Sometimes Directing is Like Math’: Nancy Meyers on Toggling Between the Page and Camera

The filmmaker behind some of the most popular romantic comedies of the past 40 years reveals what made them work.

Nancy Meyers' films have long provided multiplex audiences with a perspective rarely seen on-screen: a woman's. Heralded for her screenwriting work directed by then-husband Charles Shyer—Irreconcilable Differences, Baby Boom, Father of the Bride, and I Love Trouble—and her Oscar-nominated script for the Goldie Hawn-starring Private Benjamin, Meyers would eventually go on to direct her own screenplays, finding success with efforts ranging from The Parent Trap remake to What Women Want, Something's Gotta Give, The Holiday, It's Complicated, andThe Intern.

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Watch: 3 Ways to Enhance Your Story with Lighting from ‘Jurassic Park’ DP Dean Cundey

Throughout his career, the DP has filmed dinosaurs, pirates, ghosts, and two Lindsay Lohans.

Even if you're unfamiliar with the name Dean Cundey, you've certainly watched a few of the films the great cinematographer has shot. Having been nominated for an Academy Award for Who Framed Roger Rabbit?, Cundey's career includes relationships with some of the most popular American directors of the 20th century: Steven Spielberg on Hook and Jurassic Park, Robert Zemeckis on the Back to the Future trilogy, Roger Rabbit, and Death Becomes Her, Ron Howard on Apollo 13, John Carpenter on Halloween,The Fog, The Thing, Escape from New York, and Big Trouble in Little Trouble in China, and countless others.

In a new video by wolfcrow, the art of Cundey's cinematography is described and justified for its subtle panache and unfussy craftsmanship. No one can light a scene quite like Cundey, and below we break down a few of the DP's trusted techniques.

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‘Most Likely to Murder’ Creators on Why a Vomit Draft is Essential for Starting a Screenplay

After experiencing incredible success writing for television, Dan Gregor and co-writer Doug Mand decided to make their partnership feature-length.

Going home for the holidays can be a dreadful experience, especially when your parents live across the street from a social outcast who may have just killed his own mother. Dan Gregor's Most Likely to Murder, a comedy about a former "high school legend" who comes home for Thanksgiving only to witness, Rear Window-style, a former classmate's heinous crime, dives head-on into this conundrum with hilarity, charm, and a "who's who" of the current American comedy scene.

As played by Adam Pally, Billy is well-meaning but dopey, a loudmouth who used to have it all: sexual escapades with female classmates (he has the VHS tapes to prove it), reefer binges in his upstairs bedroom, and the respect of Kara (Rachel Bloom), the one girl he still has feelings for. Now he works as a custodian in a Las Vegas nightclub, taking out the trash while being bossed around by co-workers. So it's a good thing he's getting a few days off to head back home and see old friends, right?

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