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@mubi’s international film publication, exploring all sides of cinema culture—both online and in a biannual magazine.

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“Fielder’s presence also becomes rather curious: what exactly is he doing here? Is he lying to [Elisabeth] Holmes and [Billy] Evans to get closer to them? What does he want out of this situation? A confession of guilt? If not, then is it something more personal? Equally vexing and central to the experience of the film is the question of why these two people, so obsessively preoccupied with how she’s perceived in the media and on screen, would allow this comedian—known for television programs that are often described for their “cringe” humor and proclivity to put people in somewhat mortifying situations—to film their family at all, let alone at such an emotionally loaded, fragile moment… By inviting Fielder and crew into their home, they’re not only encouraging a close-quarters discomfort (befitting their evident narcissism) but also subordinating themselves to his fixed, unsparing camera, agreeing to be players in Fielder’s ongoing anthropology project.” For Reverse Shot, editor Michael Koresky reviews, without spoiling, Nathan Fielder and Lance Oppenheim’s film You Can See Everything (2026), unpacking the “absurd redundancy” inherent in cinematic realism, and the search for truth.

"Antonioni the Painter" at @galeriecinema ✔️
Mitsuo Yanagimachi’s FIRE FESTIVAL via @thirdwindowfilms ✔️
Sophie Pinkham on the life and career of Oleksandr Dovzhenko for @nybooks ✔️

At the link in our bio, discover these and more essential news, articles, sounds, and videos from the film world in this week’s Rushes.⁠
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(Stills from Nathan Fielder & Lance Oppenheim's YOU CAN SEE EVERYTHING, 2026.) by @mubinotebook

Mark Asch (@i_am_a_lobster) writes on Disney's autoremake cycle, a strategy that threatens to trap audiences in eternal nostalgia and diminishing returns. Read now at the link in our bio. by @mubinotebook

"[Masao] Adachi was both a man unto himself and an uneasy auteur. His filmography is highly diverse in terms of genre and style—encompassing sexploitation, underground cinema, experimental documentary, biopics, and dark comedy—and does not necessarily suggest an artist with a single, singular vision. Rather, such dynamic eclecticism suggests an idiosyncratic director whose trajectory was sometimes haphazard, shifting as he intersected with different artistic and political movements. The very patchy, idiosyncratic nature of his filmography constitutes in itself a kind of core modality, if it may also (like any career) be the arbitrary result of certain circumstances and opportunities..."

William Andrews writes on iconic Japanese director Masao Adachi. Read now at the link in our bio. Photograph by David Matthew Davis. by @mubinotebook

As Ken Russell's THE DEVILS returns to screens, revisit Madelyn Sutton's dark and deep dive into the secretive, sexual and seductive world of Nunsploitation at the link in our bio. by @mubinotebook

On the occasion of MUBI Editions' publication of “The Faust Bible,” @movieposterofthday shares the story behind the original poster for F. W. Murnau's film. Read now at the link in our bio. by @mubinotebook

"It was [Pino] Donaggio’s feeling that Carrie was a film concerned more with the tragedy and drama of Carrie’s existence than horror, and this sentiment is reflected in the romantic Italiana of his locker room music. Instead of commenting on Carrie’s violent trajectory in his opening theme, which many other horror composers would feel obliged to do to immediately establish an atmosphere of dread, Donaggio’s unassuming theme instead implores us to feel empathy for the lonely Carrie..."

Revisit Clare Nina Norelli on Brian De Palma’s CARRIE at the link in our bio. by @mubinotebook

At the link in our bio, Olivier Ronat writes on Japanese director Tai Katō, subject of a new retrospective at the @cinemathequefr. by @mubinotebook

"My films, they keep getting wilder. And it’s the same joy as always. Dream big, but do the doable. That’s the mantra I preach to the young filmmakers with whom I do workshops. Dream as big as you must, but remember you have to do the doable. Even moving a ship over a mountain in the middle of the jungle—it has to be doable. You do not waste your life in something that is clearly not doable."

Werner Herzog meets Leonardo Goi to reflect on his latest film BUCKING FASTARD, a fairytale equal parts weird and romantic starring siblings Kate and Rooney Mara. Read now at the link in our bio. by @mubinotebook

A dance scene with Adèle Haenel encapsulates the emotions and ambiguity of Céline Sciamma's debut feature.

At the link in our bio, Cynthia Dong encapsulates WATER LILIES in one shot. by @mubinotebook

"Realism is not real life, but a stylistic decision—a deceptively liberal one, at that—frequently used and abused to insist that a fictional world is actual rather than manufactured. The circumstances that lead to the Gheorghiu family being investigated and prosecuted in Fjord are so psychologically fraudulent, so clearly avoidable—if only a single one of these characters could act outside of the fate that [Cristian] Mungiu has prescribed for them, the entire conflict would collapse—that the film only functions as a sadistic exercise in engineering doublethink in an audience that it knows has already made up its mind..."

Revisit Blake Williams (@astrostik) on FJORD at the link in our bio. by @mubinotebook

As a new retrospective begins @themuseumofmodernart, revisit editor Claire Atherton—a close collaborator with Chantal Akerman, Éric Baudelaire, and more—in conversation with Laura Davis at the link in our bio. by @mubinotebook