LOS ANGELES — Some of this year’s Oscar-nominated documentary shorts hit so hard, viewers may be grateful to come across one that simply follows donkeys visiting an observatory in the desert — even if it bumps up against the very boundaries of the genre.

‘All the Empty Rooms’

Director Joshua Seftel hadn’t spoken with his former colleague, longtime CBS News correspondent Steve Hartman, in 25 years. Then Hartman, famed for stories of human kindness and compassion, reached out: He and photojournalist Lou Bopp had been documenting bedrooms left behind by children killed in American school shootings.

“I said to him, ‘This could be a great film,’” says Seftel, though Hartman asked not to be in it. “I said, ‘You are the “Good News Guy” and people trust you. If the Good News Guy is telling you he’s got some bad news, people are going to listen.’ ”

The rooms provide silent testament to those who once lived there. One is festooned in SpongeBob memorabilia; another contains the rack on which a girl would arrange her outfits for the week.

“You meet these families and hear the stories and there’s a heaviness” in the rooms, says Seftel. He says he could see them weigh on Bopp and Hartman. A filmmaker friend, on seeing the film, told Seftel, “Steve Hartman is a haunted man.”

‘Armed Only With a Camera: The Life and Death of Brent Renaud’

Brent Renaud and his brother, Craig, made documentaries in Haiti, Egypt, Iraq and other hot spots, and won awards for their portrait of a troubled Chicago school. Then, while covering the war in Ukraine, Brent was killed by Russian soldiers.

“For Brent, it was always a focus on people caught in the middle of conflicts,” says Craig Renaud. “Going back to the front lines over and over again, we often had to be on the ground for months at a time in these war zones.”

Included in the clips of Brent Renaud’s work: a weeping Iraqi woman clutching the bloody jeans of her slain son; Renaud interviewing a Honduran boy embarking on the hazardous trek to the U.S. on his own; and a Somali man telling Renaud, “The way you hold the camera, you’re doing it from your heart.”

It also includes casual mention of his diagnosis as neurodivergent.

“He’s calm as a monk in a firefight,” Craig Renaud says, “but a cocktail party in Brooklyn is absolutely terrifying.”

‘Children No More: Were and Are Gone’

In Tel Aviv, a group of Israeli protesters stands silently, holding posters emblazoned with the faces of Palestinian children who have been killed in Gaza by the Israeli military.

“They didn’t choose to be part of this war,” says Israeli filmmaker Hilla Medalia. “They were killed not because they brought it on themselves, but because someone decided they needed to die.”

Medalia’s film follows activists whose silent vigils draw both support and condemnation. So far, despite sometimes having to abandon their protests when situations become potentially threatening, they remain undaunted.

“Their focus is to stop the war and this war crime and other things that are happening in our name, and to force the general public to confront those images and to look at the kids and to feel for them,” Medalia says. “It’s amazing to me how humanity and compassion become an act of resistance.”

‘The Devil Is Busy’

At a women’s health clinic in Atlanta, a typical day includes religious protesters on megaphones (“All men,” points out co-director Geeta Gandbhir) and women seeking help only to discover their pregnancies are just past the six-week mark, making terminating them illegal in Georgia.

“We decided to focus on the providers,” says Gandbhir. “They’re putting themselves at risk to provide care. What you see are the hurdles they face.”

Co-director Christalyn Hampton says the burdens on these independent clinics have drastically increased as about 50 Planned Parenthood sites closed last year. She points out the spectrum of healthcare provided and the complexity of situations for both patients, many of whom must travel considerable distances, and providers.

“When the technician is giving the young lady a sonogram, the [patient] goes through several emotions: She’s happy, she’s crying, she’s nervous. That speaks to the vulnerability these women feel when they have to make certain decisions. That emotional moment [reminds us] of that human aspect.”

‘Perfectly a Strangeness’

A trio of donkeys traverses a desert to an observatory. Captured with creative camera angles and accompanied by an imaginative score, Alison McAlpine’s film pushes the boundaries of what documentaries are.

While shooting her previous feature in Chile, McAlpine noticed donkeys hanging out around an observatory. “We hired three gentle donkeys [for the film]. It was a combination of trying to direct the donkeys up from the valley to the observatory, and sometimes we just followed the donkeys.”

McAlpine acknowledges that her film has been difficult to categorize. “Sometimes it’s at IDFA, which is an international documentary festival. Sometimes it’s just competing with fiction, where it’s been lucky to win awards sometimes. But what is a documentary? As soon as you put on a lens and a frame, it’s a personal document, not something objective.

“I’ve been moved because people have been touched; they seem to be transported elsewhere, which is what one wants as a filmmaker.”

©2026 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.

LOS ANGELES — To get to the “Sinners” exhibit on the Warner Bros. Studio Tour, you have to navigate past the backlot’s iconic water tower, cross through the New York Street and then skirt city hall and the fountain from the opening credits of “Friends.” Eventually, you wind up at Stage 48, home of the Central Perk Cafe, a gift shop selling all manner of “Friends” bric-a-brac and offering a smattering of knockoff furniture from Monica’s palatial apartment to enjoy.

Comparatively, the newly installed “Sinners” showcase, featuring costumes and a couple of props, is, to use a real estate agent’s euphemism, “cozy,” certainly smaller than Rachel’s closet. On the night of its opening, “Sinners” production designer Hannah Beachler and cinematographer Autumn Durald Arkapaw are inside sitting on a sofa — not the sofa, but close enough. A few hours ago, they were celebrating with their fellow Oscar nominees at the academy’s annual luncheon.

“She’s a regular,” Arkapaw says, her arm around Beachler, who won an Oscar in 2019 for her work on “Black Panther.”

The two women and the rest of the “Sinners” team have been hobnobbing with Oscar and guild voters for months now and talking about their work on the film, which was released in April, for even longer. At the time of this “Sinners” event on the Warner Bros. lot, which included yet another screening of the movie for guild members, the Oscars were still more than a month away.

“I can believe it,” Beachler says. Adds Arkapaw: “Me too. I’m stressing about the stuff they’re having us doing. But I think Teyana Taylor said it best: ‘Don’t be complaining about answered prayers.’”

“Sinners” had a lot of prayers answered when Oscar nominations were announced last month — 16, to be precise.

Now the question is whether that record-breaking haul might be enough to catapult Ryan Coogler’s genre-defying American horror story to a best picture Oscar victory.

When it opened in September, Paul Thomas Anderson’s “One Battle After Another” immediately took the pole position in the best picture race, and it remains the front-runner. But all those “Sinners” Oscar nominations do complicate things. Put it this way: When you submit your movie in 16 different categories and hit in each and every one of them, you have a film boasting broad support across a dozen voting branches. That’s significant.

And if you’re a voter and you weren’t necessarily a fan of the film — or had put off watching it because the horror genre gives you pause — the nominations total does something else. It prompts you to take stock. What is everyone else seeing? Maybe you watch “Sinners” again. Maybe you finally clear the deck and press play for the first time. Perhaps you see that it’s just as much a movie of the moment as “One Battle,” what with the unapologetic, overt racism coming from the White House.

So if you’re on the fence and you do reconsider “Sinners,” maybe it’s not a complete reversal. But it might be enough for you to put the movie higher on your ranked ballot when you vote for best picture.

As you may know, the Academy of Motion Picture Arts and Sciences uses a preferential ballot for the best picture category and only the best picture category. When the academy’s 10,136 voting members mark their ballots this year, they cast a single vote in 23 of the 24 Oscar categories. The nominee with the most votes wins.

For best picture, though, members are instructed to rank the 10 nominated movies. The system, in place since the academy expanded the best picture field from five to 10 nominees in 2009, is designed to reflect the wishes of the greatest number of voters. This means that the winner is sometimes not the movie that is most passionately loved but the picture that is most generally liked — or, if you’re a glass-half-empty kind of person, the picture that is least disliked.

The process works like this: Once voting ends, PricewaterhouseCoopers accountants sort the best picture ballots and place them in stacks based on members’ No. 1 votes. They then eliminate the movie with the fewest first-place votes, giving those votes to each ballot’s second-ranked film. The process continues — smallest stacks eliminated, votes redistributed to the next choice down — until one movie has more than 50% of the vote.

The math to “Sinners” winning best picture necessitates it being the No. 1, 2 or 3 choice on more ballots than “One Battle After Another.” And that plays into what a couple of awards consultants told me about the psychological effect the movie’s record-breaking 16 nominations might have on voters when they rank the nominated movies.

“Maybe it’s not your favorite, but you still rank it high because of that overwhelming level of respect,” says one rival campaigner. “Who knows if the math adds up. But at this point in the season, you’re looking for any advantage you can find.”

A test of that math will come Saturday at the Producers Guild Awards, a ceremony that uses the same preferential ballot system to determine its best picture. The PGA winner more often than not repeats at the Oscars, though in the last decade there have been two notable exceptions — “Moonlight” besting PGA winner “La La Land” in 2017 and, three years later, “Parasite” taking the Oscar over “1917.”

Should “Sinners” prevail at the PGA and then the next night go on to win the cast prize at the Actor Awards (formerly known as the Screen Actors Guild Awards), then the race will be dramatically recast. Both ceremonies take place in the middle of the window of final voting for the Oscars, which runs Feb. 26 through March 5.

“It’s a miracle that we were all nominated,” Beachler says. “That’s rare for everyone to get that recognition.”

For a film with a hero named Preacher Boy, one last miracle certainly isn’t out of the question. And if the last few months have taught us anything, it’s that you underestimate “Sinners” at your peril.

©2026 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.

He reached out to his Elvis experts and quickly heard back.

“This wonderful man called,” Luhrmann says on a recent video call from the Chateau Marmont in West Hollywood. “Ernst [Mikael Jorgensen] is like the scientist of all things Elvis, and he says, ‘I think there are these lost reels.’”

Jorgensen told him that they might not be easy to get, if they’re even gettable at all, Luhrmann says.

“Unfortunately, they’re in the salt mines in Kansas where they keep all the negatives of everything,” he says of the underground vault in Kansas where many Hollywood studios store their original negatives and master copies.

It’s too expensive to go down, Jorgensen told Luhrmann. But maybe you can get to them, he added.

“I think, ‘Well, maybe I can use the footage in the showroom [scenes in Las Vegas],” Luhrmann continues. “Like to sort of deal with budget.

“We met, and it cost a lot to get down there,” he says. “About $100,000 just to go down and look.”

But what he found there was priceless: 65 boxes of never-before-seen footage from the concert documentaries “Elvis: That’s the Way It Is,” shot in 35mm anamorphic film at the International Hotel in Las Vegas in August 1970, and “Elvis on Tour,” filmed at arena shows in New York, Virginia, Florida and Texas in 1972.

Angie Marchese, vice president of archives and exhibits at Graceland, came up with a few more boxes of unseen footage, a stash of Super 8 movies of Elvis that included rare footage of Elvis with his wife, Priscilla Presley, and only child, Lisa Marie Presley.

Now, Luhrmann had 59 hours of extremely rare footage and the irresistible opportunity to do much more than he’d initially considered.

“And then we find this half hour of audio of Elvis just talking about his life,” Luhrmann says of the epiphany that he and longtime editor Jonathan Redmond experienced as they worked through the archival negatives. “I said, ‘This is it. We’ve got to let Elvis just tell his own story.’

“Because Elvis stuff is always someone telling you about it,” he continues. “That was the light bulb moment. It was that and then all the song choices that help tell the story, you know?”

“EPiC: Elvis Presley in Concert” opened in IMAX theaters on Friday, Feb. 20, and opens in movie theaters everywhere on Friday, Feb. 27.

It’s a remarkable look at Elvis, the untouchable icon restored to his flesh-and-blood humanity through a forgotten trove of film footage that had sat for decades in a vault hundreds of feet below the Kansas plains.

In an interview edited for length and clarity, Luhrmann talks about why he wants everyone to see it on the biggest screen possible, what it took to restore the film and audio, how he fell for Elvis as a boy growing up in Australia, and more.

Q: So you must be a busy guy this week.

A: I’m good, man. It’s like “EPiC” weekend, so you do everything you can. By the end, you just hope enough people come to see the man on the big screen.

Q: I saw it earlier this week in IMAX, and it’s so impressive. People are going to come see this.

A: I hope so. I love the fact that you saw it in IMAX. I’m really glad you took the time because I just think the nature of the subject is there’s no screen big enough for Elvis, you know?

Q: So tell me how you started to explore all those boxes of film.

A: Well, we bring the stuff back to Warner’s, and it smells so strongly of vinegar, which means it’s falling apart. And some is missing, and some is mislabeled, and there’s no sound. So the first thing we do is I convince Warner’s to scan it because it’s going to disappear. Then we spent two years finding mag track [magnetic tape used to sync the audio track to the film images]

We were able to get the mag track, which gave us voices and the band. But a lot of the micing on the orchestra, the Sweets [backing vocalists the Sweet Inspirations], and the gospel singers was a bit up and down.

We wanted to do it in five months. It took two years to sync the sound with the pictures.

Q: Your new film – is that all stuff that’s never been seen before? Or does it include material from the original concert films?

A: Yeah, that’s a good question. There will be some bits that are in the previous doc, but there’s a lot in there where people think, “Oh, I’ve seen that before.” And they might have seen that, but they wouldn’t have seen that camera or that take or that night. [Eleven cameras simultaneously shot performances for the 1972 movie.]

And if you notice, his costume changes all the time, and we didn’t care about that. We didn’t care that in one song we got six versions. The third thing is they would have seen online and on YouTube lots of bootleg. There’s a huge black market in stolen stuff. So even with the sound, sometimes we had deal with gangsters in carparks to get a little bit of missing sound.

There are a few actual bits where we’ve gone, “Ah, that’s what we need to join that to those other two shots [by inserting a piece from the ’70s films between newly discovered footage]. It’s very small. I don’t know what the percentage is.

Q: Watching the movie, I was struck by how real and how human he seemed here.

A: That’s it, that’s it. Like he says in the film, there’s the image, and there’s the man. When you see as much material as I have, you really realize that there’s the humor and the goofiness, too. I think that’s him disarming everyone so they get past the icon and they see the man.

Q: What else struck you as you worked through the footage?

A: Some things really jumped out. There’s some things we couldn’t use because it just didn’t have the focus of the story. You realize he just kind of hung with people, and he’s very human, very empathetic, very polite. And he’s always goofing, because I think he’s just damn shy, and he’s trying to disarm everyone.

It’s like Whitney Houston said. Her mom [Cissy Houston] was in the original Sweets the year before. And she meets Elvis, she was probably 10 or something. She said he walked in the room with a fur coat on, and it wasn’t like, “Hello, Mr. Elvis.” She said, you just stare. You freeze and stare. Because of the way he looks, you know? So there was a lot of that

It’s happening quite a bit actually now. People not into Elvis at all, they know the caricature. But they come out of this film, they go, “Who is this guy? I love this guy!” Because he’s human.

Q: Tell me how the unused audio of Elvis talking about his life was recorded.

A: In the tour, there’s a little bit you see, and he looks very tired. He’s talking about, “Well, I like all kinds of music,” and he talks about gospel, and he says, “Look, I’m too tired. I’ll do it in the morning.”

And when he comes back, he says, “Guys, I can’t be on camera. I’ll just talk.” So they never used the talking bit. That’s where he goes, “I got a whipping from my mother,” and that same bit is where he goes, “I was very shy, you know.” About girls liking him after he started singing.

Q: What needed to be fixed or restored in the film and the audio? And how did you go about it?

A: Yeah, one thing I want to be really clear about: there’s not a frame of AI. Some people said, ‘Oh, it’s AI.” No, no, no. There’s no AI, and there’s no visual effects. But [filmmaker] Peter Jackson, the magician, and his wonderful team at Park Road, we gave them the anamorphic.

I don’t know if you know about anamorphic 35mm, but it’s squashed. And when you stretch it, you just sort of head towards a possible 70mm. You get a lot more out of it. What [Jackson] does is, he’s able to go frame by frame and take out aberrations and really help the grain. There’s 8mm footage in that’s the size of two buildings, and it still holds up.

He’s just brilliant at that. Peter, I mean, he’s a savior of many, many things. He did it with the Beatles [the docuseries “Get Back”]. Love that piece.

And with the sound, some of it we had to do remixes, some we take three [versions of] songs and make new works because we couldn’t just do everything straight off the stage. A lot of it is. I mean, “Suspicious Minds” is just remixed.

Q: The editing is such a terrific part of storytelling. How did you and Jonathan go about that?

A: The process was once we said let him tell the story, we worked out parts. Like, “OK, now he’s going to talk about his Hollywood years, now he’s going to talk about relationships, now he’s going to talk about his feelings.”

You know, when he was asked about politics, he says, “Well, I’m just an entertainer.” They seldom play the second clip where he’s asked, “Should other people speak about their politics?” and he says, “Sure.” Then we put “In The Ghetto” and that other lovely song [“Walk a Mile in My Shoes”] where he goes “There are people on reservations and in ghettos and there but for the grace of God go you.” It’s a very empathetic song.

Then take the cut of “Poke Salad Annie,” which I think is brilliant. Jonathan is a brilliant cutter, anyway. He started with U2 when he was a kid, but he’s worked with me for years, and we make these, like, tone poems. Poetry, more than linear. The vibes of the movie. But it had to be guided by Elvis’s story, and the way we did it was by this question: What would Elvis have done?

Q: You don’t use the usual documentary talking heads – were there models for that for you?

A: The only one I can think of that I actually really enjoyed was that documentary [“Listen to Me Marlon”] where they found all these tapes that Brando did. I was a big Brando fan, and at one stage, Marlon Brando was maybe going to be in “Romeo + Juliet,” believe it or not. I have some very treasured letters from Marlon Brando.

I just loved the way you heard Marlon just talking [in the documentary]. It made you fall in love with Marlon all over again, just the way he illuminated things. [He does a quite good impression of Brando talking about Cary Grant.] I love that stuff. I just think you can’t beat it having someone actually tell their story.

Q: What was it like when you showed “EPiC” to Priscilla and Riley?

A: Actually, Priscilla’s only seeing it for the first time next week, and Riley’s about to see it, too. But I want to explain something. First of all, they were so supportive during the making of the [“Elvis” biopic]. But since then, it was a great sadness of what was a beautiful journey. [Lisa Marie Presley, Priscilla Presley’s daughter with Elvis, and Riley Keough’s mother, died in January 2023.]

Right in this building, after the Golden Globes, I remember Lisa Marie saying, “Can you help me down to the car?” And of course, she was gone a few days later. [“EPiC”] is about Elvis, but for Riley, it’s about mom, and for Priscilla, it’s about her daughter. There’s some really poignant unseen 8mm in there that no one’s ever seen of Lisa Marie as a little baby, you know?

I think they need to see it in their own time. Just anywhere that suits them. I mean, I love them, so anytime, anywhere they need it, I’ll make it happen.

Q: As a boy growing up in Australia, how’d you first encounter Elvis and become such a fan?

A: We lived in a very isolated little country town. We had a gas station on the highway through it, and we had a farm. Dad was super industrious. He was in the Vietnam War. So we had artists living with us, and we did everything from command training to ballroom dancing to learning how to shoot film and process photography.

At a certain point, we [owned] the local cinema, and there were Elvis matinees every Sunday. So that was my intro, and I just thought he was the coolest guy in the world, you know? I probably think differently about “Easy Come, Easy Go” now, but then I thought, “Wow, look at that guy in that black sweater.” I wanted to be him.

Then he loomed large, but in life, I ran away and grew and [explored] opera and Bowie and all sorts of different musical forms. He was there, but not in the same way. I’m a great admirer, as I was making films, of “Amadeus,” and a lot of people wanted me to do different musical bios.

Yes, you learn about a lot about Mozart [in “Amadeus”], but it’s really about jealousy then. And I thought, well, if you want to make “Amadeus” for America, it’s Elvis because of this relationship between the Colonel [Tom Parker] and Elvis.

One is the great salesman, promoter, and the other sort of what [the Colonel] thought was a carnival act but turned out to be sort of Orpheus. Sort of Greek, mythical, very sensitive and gifted. A singer, mover, creator. Remember, Elvis didn’t have a choreographer; Elvis didn’t have a stylist.

Q: He just made that up on his own. You see him playing around and seeing what works in “EPiC.”

A: Well, as he says, “I just do what I feel.” And that’s kind of interesting, because that kept the band always having to watch him, and they never knew what he was going to do. Neither did the audience, and that makes it really spontaneous.

PHILADELPHIA — “Sinners,” Ryan Coogler’s vampiric period film starring Michael B. Jordan made Academy Award history last week when it was nominated for 16 Oscars, more than any other film in the history of the award ceremony’s 98-year run.

It toppled the 14 nominations previously received by “All About Eve” (1950), “Titanic” (1997) and “La La Land” (2016). In addition to Michael B. Jordan’s best actor nomination and Coogler’s best director nod, “Sinners” Oscar-winning costume designer, Ruth E. Carter, received her fifth nomination for work on the film.

And six of those costumes are on display at the African American Museum through September in the traveling “Ruth E. Carter: Afrofuturism and Costume Design Exhibit.”

That includes Smoke and Stack’s (twins played by Jordan) memorable 1930s-era three-piece suits, with complementary fedora and newsboy cap, time pieces, and tiepins.

When working on the costumes, Coogler’s only direction to Carter was to dress Smoke in blue and Stack in red, she told The Inquirer in November.

Carter, not one to fret long, dove into her arsenal of research. By the time she began the fittings, she’d amassed an array of blue and red looks befitting of the 1930s sharecroppers-turned-bootleggers and juke joint owners.

“[And] when I put that red fedora on him, Ryan flipped out and said, ‘That’s it!’,” Carter said. “We wanted people to resonate with their clothing and it did.”

The Smoke and Stack effect went beyond “Sinners.” This Halloween there were tons of social media posts of revelers dressed as the mysterious twins.

Also a part of AAMP’s “Sinners” display is the earthy flowing dress best supporting actress nominee Wunmi Mosaku wore in her role as Annie. Annie is Smoke’s lover and a root woman who discovers the vampires in their Clarksdale, Mississippi, town.

Cornbread’s (Oscar Miller) tattered sharecropper outfit is on the dais along with Mary’s (Hailee Steinfeld) cream knit dress with its short sleeved bodice and pussy bow accent. Her matching knit beret and pearls are also on display. In the film, Mary is Stack’s childhood friend, turned girlfriend, turned vampire.

“I immerse myself in the mind, body, and soul of my characters,” said Carter. “Then I see them in my mind, how they move and with research I come up with a look that I feel is unique to them.”

The “Sinners” pieces are among the more than 80 looks featured in “Afrofuturism,” joining outfits from “Malcolm X,” Lee Daniels’ “The Butler,” “Coming 2 America,” “Black Panther” and its sequel, “Black Panther: Wakanda Forever.”

The show, headlining the African American Museum’s Semiquincentennial celebration, will be on display through September.

During her five decades in the movie business, Carter’s more than 60 films are big screen documentations of where Black Americans have been, who they are at the given moment, and who they dream of becoming.

Her work has shaped how the world sees African Americans around the world.

In the 2010s, a friend of hers suggested she plan a museum exhibit around her costumes. After “Black Panther,” she partnered with Marvel and in 2019, “Afrofuturism in Costume Design” debuted at the Savannah College of Art and Design’s Atlanta Campus.

Philadelphia is the exhibit’s ninth — and longest — stop. It’s also the first stop for the “Sinners” costumes.

“I am a griot,” Carter said. “[Throughout my career,] I’ve developed a knowledge base that embraces our culture and speaks to all of us in a positive way.”

“Ruth E. Carter: Afrofuturism in Costume Design” will be on view through Sept. 6, 2026. African American Museum in Philadelphia, 701 Arch St., Thursday through Sunday, 10 a.m. to 5 p.m. Tickets are $20 for adults, $10 for children.

©2026 The Philadelphia Inquirer. Visit inquirer.com. Distributed by Tribune Content Agency, LLC.

That’s why we’re giving you a few “greatest of all time” lists here to choose from, so you can judge for yourself. (The snarky comments in parentheses are ours; we couldn’t resist.)

The Buffalo Bill Center of the West

“Museum curators, historians, firearms experts and film buffs” selected by The Buffalo Bill Center of the West in Cody, Wyo., were given a list of 100 films from which to choose favorites. From those, the center compiled the 20 Greatest Westerns Ever Made. (Personally, I love that voters chose “Blazing Saddles” as No. 7.) See more at centerofthewest.org. (Note: Few of these are available to watch for free; most are rentals on the services listed, which may change without notice; check listings. May be shown on other sites. Current as of Dec. 15, 2025.)

The countdown:

No. 20: “Lonesome Dove” (1989), a miniseries (the center readily admits to breaking the rules to include this one), starring Robert Duvall and Tommy Lee Jones. Where to watch: free with subscription to Amazon Prime Video, Tubi, Peacock and other streaming services.

No. 19: “The Treasure of the Sierra Madre” (1948), starring Humphrey Bogart and Walter Huston. Not rated. Running time: 126 minutes. Where to watch: Rent on Prime Video, Apple TV.

No. 18: “Once Upon a Time in the West” (1968), starring Henry Fonda and Claudia Cardinale. Not rated. Running time: 175 minutes. Where to watch: Pluto TV, or rent on Prime Video, Apple TV, YouTube and others.

No. 17: “She Wore a Yellow Ribbon” (1949), starring John Wayne and directed by John Ford. Not rated. Running time: 104 minutes. Where to watch: Rent on Prime Video, Apple TV, YouTube and others.

No. 16: “Winchester ’73 (1950), starring Jimmy Stewart. Not rated. Running time: 92 minutes. Where to watch: Rent on Prime Video, Apple TV and others.

No. 15: “Stagecoach” (1939), starring John Wayne and directed by John Ford. Not rated. Running time: 96 minutes. Where to watch: Free on Tubi, Prime Video and HBO Max and other services (with subscription), and for rent on Apple TV.

No. 14: “Dances With Wolves” (1990), starring and directed by Kevin Costner. Rated: PG-13. Running time: 181 minutes. Where to watch: Hulu, HBO Max, Prime Video and Apple TV (with subscription).

No. 13: “Quigley Down Under” (1990), starring Tom Selleck and Alan Rickman. Rated: PG-13. Running time: 120 minutes. Where to watch: Free on Tubi and Prime Video (with subscription), for rent on Apple TV and other services.

No. 12: “The Magnificent Seven” (1960), starring Yul Brynner, Steve McQueen and Charles Bronson. Not rated. Running time: 128 minutes. Where to watch: AMC+ and Prime Video, or rent at MGM+, Apple TV and other services.

No. 11: “McLintock!” (1963), starring John Wayne and Maureen O’Hara. Not rated. Running time: 127 minutes. Where to watch: Free on Tubi, Pluto TV and Prime Video (with subscription), or rent at Apple TV.

No. 10: “The Man Who Shot Liberty Valance” (1962), starring John Wayne and Jimmy Stewart and directed by John Ford. Rated: PG-13. Running time: 123 minutes. Where to watch: Prime Video, YouTube, Apple TV and others, with subscription.

No. 9: “High Noon” (1952), starring Gary Cooper and Grace Kelly. Rated: PG. Running time: 85 minutes. Where to watch: Free on Pluto TV, with subscription on Prime Video and AMC+, and for rent at Apple TV.

No. 8: “Butch Cassidy and the Sundance Kid” (1969), starring Paul Newman and Robert Redford. Rated: PG. Running time: 110 minutes. Where to watch:  Prime Video,  YouTube, Netflix and AMC+ (subscriptions) and for rent at Apple TV.

No. 7. “Blazing Saddles” (1974), starring Gene Wilder and Cleavon Little. Rated: R. Running time: 95 minutes. Where to watch: HBO Max, or for rent at Apple TV and Prime Video.

No. 6: “The Searchers” (1956), starring John Wayne and directed by (you guessed it) John Ford. Not rated. Running time: 119 minutes. Where to watch: For rent at Prime Video, YouTube and Apple TV.

No. 5: “The Good, the Bad and the Ugly (1966), starring Clint Eastwood. Rated: R. Running time: 178 minutes. Where to watch: Prime Video, YouTube or AMC+ (subscription), or rent at Apple TV.

No. 4: “Unforgiven” (1992), starring Clint Eastwood, who took home Best Picture and Best Director Oscars for it. Rated: R. Running time: 130 minutes. Where to watch: Rent on Prime Video, YouTube or Apple TV.

No. 3: “True Grit” (1969), starring John Wayne and Kim Darby. Rated: PG-13. Running time: 110 minutes. Where to watch: Netflix, Prime Video or AMC+ (with subscription), or rent at Apple TV.

No. 2: “Shane” (1953), starring Alan Ladd and Brandon De Wilde. Rated: G. Running time: 118 minutes. Where to watch: Rent with Prime Video, YouTube and Apple TV.

No. 1: “Tombstone” (1993), starring Kurt Russell, Val Kilmer, Sam Elliott and Bill Paxton (and narrated by Robert Mitchum!). Rated: R. Running time: 130 minutes. Where to watch: Hulu (subscription, or rent at Prime Video, Apple TV and YouTube. “If I’m going to tell a person to watch a single Western, because it is all they can stomach, care about, muster, last day on Earth, there is a good chance it would be Tombstone. It’s your huckleberry,” said Danny M. of the Cody Firearms Museum in his vote. What he said.

Streaming services

When reading these, consider the source — meaning these all showed on these streaming services when the lists were published. (Cause I certainly don’t remember “The Last Son” from 2022 or “Bandidas” from 2006, and I’m betting you won’t, either.)

Hulu (Posted April 2025)

“Tombstone” (1993), about the Gunfight at the O.K. Corral in Tombstone, Ariz., in 1881. Starring: Val Kilmer as Doc Holliday and Kurt Russell as Wyatt Earp. Rated: R. Running time: 130 minutes. Where to watch: Hulu (subscription, or rent on Prime Video, Apple TV and YouTube.

“3:10 to Yuma” (2007), starring Russell Crowe and Christian Bale. Rated: R. Running time: 122 minutes. Where to watch: Hulu, Prime Video and Peacock (with subscription), or rent on Apple TV.

“Dances With Wolves” (1990), starring (and directed by) Kevin Costner, and winner of seven Academy Awards. Rated: PG-13. Running time: 181 minutes. Where to watch: Hulu, HBO Max, Prime Video and Apple TV (with subscription).

“The Last Victim” (2021), starring Ron Perlman. Rated: R. Running time: 103 minutes. Where to watch: For rent on Prime Video and Apple TV; check listings for Hulu availability.

“Stagecoach” (1939), starring John Wayne. Not rated. Running time: 96 minutes. Where to watch: Hulu, Tubi, Prime Video and HBO Max (with subscription), and for rent on Apple TV.

“The Good, the Bad, and the Ugly” (1966), starring Clint Eastwood and Eli Wallach. Rated: R. Running time: 178 minutes. Where to watch: Prime Video, YouTube or AMC+ (subscription), or rent at Apple TV. Also on Hulu with Live TV add-on.

“The Last Son” (2021), starring Sam Worthington and Machine Gun Kelly. Rated: R. Running time: 96 minutes. Where to watch: For rent on Prime Video and Apple TV.

“The Old Way (2023), starring Nicholas Cage. Rated: R. Running time: 95 minutes. Where to watch: For rent on Prime Video and Apple TV.

“How the West Was Won” (1962), starring Gregory Peck, John Wayne and James Stewart. Rated: G. Running time: 164 minutes. Where to watch: Rent on Apple TV or Amazon Prime.

“Hostile Territory” (2022), starring Brea Bee and Matt McCoy. Rated: R. Running time: 94 minutes. Where to watch: Free on the Roku Channel and Tubi, on Prime Video (subscription) and for rent on Apple TV.

“Jane Got A Gun” (2015), starring Natalie Portman. Rated: R. Running time: 98 minutes. Where to watch: Free on the Roku Channel, Hulu, Prime Video and Pluto TV, for rent on Apple TV.

“Bandidas” (2006), starring Salma Hayek and Penelope Cruz. Rated: PG-13. Running time: 93 minutes. Where to watch: Hulu, and for rent at YouTube, Apple TV and Prime Video.

“True Grit” (2010 version), starring Jeff Bridges, Matt Damon and Hailee Steinfeld. Rated: PG-13. Running time: 110 minutes. Where to watch: Free on Pluto TV, and with subscription to Netflix, Paramount+, Prime Video and AMC+, or rent on Apple TV.

“Cry Macho” (2021), starring and directed by Clint Eastwood. Rated: PG-13. Running time: 104 minutes. Where to watch: Netflix and Max (subscription) and for rent on Prime VIdeo, Apple TV.

“Blazing Saddles” (1974), starring Gene Wilder and Cleavon Little. Rated: R. Running time: 95 minutes. Where to watch: HBO Max, or for rent at Apple TV and Prime Video.

“Open Range” (2003), starring Robert Duvall, Kevin Costner (who also directed) and Annette Bening. Rated: R. Running time: 139 minutes. Where to watch: Netflix, or rent on Prime Video and Apple TV.

“Butch Cassidy and the Sundance Kid” (1969), starring Paul Newman and Robert Redford. Rated: PG. Running time: 110 minutes. Where to watch:  Prime Video,  YouTube and AMC+ (subscriptions) and for rent at Apple TV.

“Butcher’s Crossing” (2022), starring Nicolas Cage. Rated: R. Running time: 107 minutes. Where to watch: Netflix, Hulu and Disney+, and to rent on Prime Video and Apple TV.

Netflix (Posted Dec. 4, 2025)

“The Battle of Buster Scruggs” (2018), starring Liam Neesen, James Franco and Tyne Daly. (It’s a Coen brothers film, so buckle up.) Rated: R. Running time: 134 minutes. Where to watch: Netflix

“El Camino: A Breaking Bad Movie” (2019), starring Bryan Cranston and Aaron Paul. (It’s a Vince Gilligan movie, so beware.) Rated: TV-MA. Running time: 122 minutes. Where to watch: Netflix.

“The Harder They Fall” (2021), starring Jonathan Majors and Regina King. Rated: R. Running time: 139 minutes. Where to watch: Netflix.

“The Highwaymen” (2019), starring Kevin Costner and Woody Harrelson. Rated: R. Running time: 132 minutes. Where to watch: Netflix.

“Mudbound” (2017), starring Mary J. Blige. Rated: R. Running time: 135 minutes. Where to watch: Netflix.

“The Power of the Dog” (2021), starring Jesse Plemons, Benedict Cumberbatch and Kirsten Dunst. (Jane Campion won a Best Director Oscar for it). Rated: R. Running time: 128  minutes. Where to watch: Netflix.

“Concrete Cowboy” (2021), starring Idris Elba and Caleb McLaughlin. Rated: R. Running time: 111 minutes. Where to watch: Netflix.

“Train Dreams” (2025), starring Joel Edgerton and Felicity Jones. Rated: PG-13. Running time: 103 minutes. Where to watch: Netflix.

Viewer reviews

From Rotten Tomatoes’ Top 100 best-reviewed Western movies of all time. (Although the site says it only chose “classical period films,” the animated “Spirit” from 2002 is No. 100, so do with that what you will.) For the other 90 on this list, go to rottentomatoes.com.

No. 1: “The Good, The Bad and The Ugly” (1966), starring Clint Eastwood and Eli Wallach. Rated: R. Running time: 178 minutes. Where to watch: Prime Video, YouTube or AMC+ (subscription), or rent at Apple TV. Also on Hulu with Live TV add-on.

No. 2: “The Treasure of the Sierra Madre” (1948), starring Humphrey Bogart and Walter Huston. Not rated. Running time: 126 minutes. Where to watch: Rent on Prime Video, Apple TV.

No. 3: “High Noon” (1952), starring Gary Cooper. Rated: PG. Running time: 85 minutes. Where to watch: Free on Pluto TV, with subscription on Prime Video and AMC+, and for rent at Apple TV.

No. 4: “Stagecoach” (1939), starring John Wayne and Claire Trevor. Not rated. Running time: 96 minutes. Where to watch: Hulu, Tubi, Prime Video and HBO Max (with subscription), and for rent on Apple TV.

No. 5: “Rio Bravo” (1959), starring John Wayne and Dean Martin, directed by Howard Hawks. Not rated. Running time: 141 minutes. Where to watch: Rent on YouTube, Apple TV, Netflix and Prime Video.

No. 6: “Hell or High Water” (2016), starring Jeff Bridges and Chris Pine. Rated: R. Running time: 102 minutes. Where to watch: Hulu, Prime Video, Paramount+, or rent at Apple TV.

No. 7: “True Grit” (2010), starring Jeff Bridges and Matt Damon. Rated: PG-13. Running time: 110 minutes. Where to watch: Free on Pluto TV, and with a subscription to Netflix, Paramount+, Prime Video and AMC+, or rent on Apple TV.

No. 8: “Unforgiven” (1992), starring Clint Eastwood and Gene Hackman. Rated: R. Running time: 130 minutes. Where to watch: Rent on Prime Video, YouTube or Apple TV.

No. 9: “My Darling Clemetine” (1946), starring Henry Fonda and Linda Darnell. Not rated. Running time: 97 minutes. Where to watch: Rent on Prime Video or YouTube.

No. 10: “The Searchers” (1956), starring John Wayne and Natalie Wood. Not rated. Running time: 119 minutes. Where to watch: Netflix, or rent at Apple TV or Prime Video.

The new “Disneyland Handcrafted” documentary on the one-year blitz to create the Anaheim theme park will debut Jan. 22 on YouTube and the Disney+ streaming service.

The blue carpet premiere of “Disneyland Handcrafted” took place on Thursday, Jan. 8​​ at the Walt Disney Studios Lot in Burbank.

ALSO SEE: Meet the ‘unsung hero’ who helped Walt Disney build Disneyland

Think again if you think you’ve seen and read everything about Disneyland and know every corner of the park inside and out. “Disneyland Handcrafted” will make you realize you simply don’t and you haven’t.

I was mesmerized by every second of “Disneyland Handcrafted.” That’s in part due to the cinema verite-style of filmmaking employed by Iwerks that eschews the typical talking heads cutaways that are popular in today’s documentaries in favor of bathing you in nonstop footage that makes you feel like a fly on the wall of a seemingly impossible undertaking.

You are completely immersed in the yearlong making of Disneyland thanks to excerpts from 100 hours of raw and rarely seen footage from the Walt Disney Archives shot by a team of cameramen tasked by Walt Disney to capture the construction of Disneyland.

You quickly realize how unlikely it was that Disneyland ever got finished and made it to opening day.

You also realize how few OSHA rules and regulations there were in the 1950s with film crews riding untethered atop moving trains, workers shimmying down I-beams and visitors standing on the deck of the Mark Twain Riverboat sans any guardrails.

Legend always told us that Disneyland was woefully unprepared for opening day. “Disneyland Handcrafted” shows us why. The whole thing was just barely held together by bailing wire, duct tape and Band-Aids.

ALSO SEE: Disneyland had a nightmare start in 1955, but ‘Walt’s Folly’ quickly won over fans

The film makes you realize just how close Disneyland came to never happening. A couple of months before the grand opening there was almost nothing there. A few weeks out, the park was nowhere near ready to swing open the gates to the waiting public.

“Disneyland Handcrafted” starts with an idyllic scene a year after the park opens with all the happy faces and bustling crowds we know today. A little young and fresher, but recognizable by anyone who has ever been to Disneyland.

Then the film bounces back to a year before the park opens and there’s nothing there but dirt where an Anaheim orange grove once stood. As each month passes you start to quickly realize how little progress is being made. Three months before the park opens there’s still almost nothing there.

Walt remarks on there being nothing but holes and piles of dirt and laments: “There isn’t one thing that any human being would spend 15 cents to come and see.”

It’s at that moment that you realize this thing we know today as Disneyland came amazingly close to never happening. That everything everyone said about Walt’s Folly was true. That Disneyland was destined to be the biggest bust in Hollywood history. That Walt was certifiably crazy.

And then in the last couple of months the whole project quickly comes together right before our eyes. One of the things we find out is just how much work on the theme park attractions was done at the Disney studios — something Iwerks cleverly withholds until late in the movie.

Disneyland wasn’t ready by opening day. Not even close. But Walt insisted on opening anyway. Disneyland looked chaotic during the 90-minute live broadcast on ABC — but it also looked insanely enticing. The kind of chaotic madness you just had to see for yourself. And they came – with a million visitors within the first two months and 5 million in the first year.

“Disneyland Handcrafted” makes you realize that Walt truly did risk it all. Walt asks at one point: “What’s the worst thing that can happen? That I go broke? I’ve been broke five times in my life. One more won’t hurt.”

Creative risk was ingrained in Walt’s DNA. In all the things he’d ever done. Why not push all the chips into the middle of the table on his biggest dream of all?

Iwerks spoke before the premiere about a note she got from Disney CEO Bob Iger after he’d screened an early draft of the film.

“It’s great, but you need more conflict,” Iger wrote to Iwerks.

Iwerks listened to Iger. There’s a ton of conflict, tension and pressure in “Disneyland Handcrafted.” Even though you know how the story ends, you still wonder how they pulled it all off. The film makes clear how unlikely Disneyland was to be completed and how remarkable it was that it was finished on time — unfathomable, impossible and downright crazy.

The craziest part of the film takes place during the final week before Disneyland opened. Just as the work crews were making the final push, Walt hosted an anniversary party for his wife in the park with hundreds of visitors and the ABC TV crew showed up to go through rehearsals for the live broadcast. Obstacles were literally everywhere preventing the work crews from making it to the finish line — from partygoers on the Mark Twain Riverboat to TV cables strewn across every route throughout the park.

“Disneyland Handcrafted” is a fantastic film that takes all the outtakes from ABC’s 1954-55 Disneyland TV show that ended up on the cutting room floor and turns them into an amazing story about how close Walt came to failing. It’s also a testament to the hundreds of craftsmen who toiled right up to the final moments to turn Walt’s impossible dream into an improbable reality.

“Disneyland Handcrafted” will change your whole perspective on how Disneyland came into being and make you appreciate what the park has become today.

At their best, they serve as time capsules, preserving pivotal moments in culture while peeling back the layers of the artists who helped shape them. From intimate portraits of reinvention to deep dives into eras that altered the course of popular music, the genre continues to evolve alongside the stories it tells.

In 2026, a new slate of music documentaries promises to do just that, spotlighting artists at moments of transformation, reckoning, and creative rebirth. Whether revisiting legendary careers or examining the fleeting intensity of modern pop, these films offer music lovers a chance to experience the stories behind the sound.

Here are 11 music documentaries to add to your watchlist in 2026.

Ann Wilson- In My Voice

Rock & Roll Hall of Fame inductee Ann Wilson is ready to tell her story in her own words. Wilson’s upcoming documentary, “Ann Wilson- In My Voice,” chronicles the life of one of the most iconic singers who brought us “Crazy On You,” “Barracuda,” and “Magic Man.”

The documentary’s announcement states that the film draws from a “personal archive of home movies, photographs, journals, and never-before-seen footage.” Wilson will give additional commentary from friends, family members, music executives, and fellow bandmates.

“This film is my story in my own words, told the way I’ve always wanted to tell it. I can’t wait to take you behind the scenes of my music and my story,” Wilson wrote in an Instagram post about the film.

Although the post mentioned it is slated for this year, no details have been shared on an exact release date.

The Best Summer

Tamra Davis, known for her insightful documentary on Kathleen Hanna of Bikini Kill and Le Tigre, is back with a new project that also dusts off rare archival footage. The film features behind-the-scenes looks at some of the most prominent up-and-coming indie-rock and punk bands of the 90s. Some of the acts include the Beastie Boys, Sonic Youth, Foo Fighters, Pavement, Rancid, Beck, The Amps, and some more Bikini Kill.

The inspiration for the film came after Davis evacuated from the Palisades fires last January and discovered a box of videotapes she shot in 1995 at Summersault, a little-known Australian indie music festival.

“The Best Summer” tells an oral and visual history of the tour, featuring performances, candid interviews, and never-before-seen backstage footage. The documentary serves as a nostalgic time capsule of archival footage from 30 years earlier, capturing a moment in time before the groups’ launch into stardom.

According to Billboard, Davis’ film will be available to view online after its Sundance premiere between Jan. 22-Feb. 1.

Broken English

The British Invasion is often associated with the groups that led the charge onto American charts, including The Beatles, The Rolling Stones, The Who, The Kinks, and others. Among the leading female acts of the British Invasion was the late singer and actress Marianne Faithfull. While she was a popular figure in the musical movement taking over America, much of her success was overshadowed by personal problems in the ’70s, when she became anorexic, homeless and addicted to heroin.

Faithfull’s signature, distinctive, melodic, high-register vocals had defined her career, but her voice was permanently altered by severe laryngitis and her persistent drug abuse. After nearly a decade, Faithfull made a musical comeback in 1979 with the release of a critically acclaimed seventh studio album, “Broken English.” The album signified a resurgence of her musical career, earning her a Grammy Award nomination for Best Female Rock Vocal Performance, and is now the title of the upcoming documentary.

“Broken English” stars Faithfull (before she passed away last year at 78), alongside Tilda Swinton, George MacKay, Sophia Di Martino, Zawe Ashton, and Calvin Demba. Additional appearances include Nick Cave, Warren Ellis, Jehnny Beth, Courtney Love, Suki Waterhouse, and Beth Orton.

The documentary dramatizes Faithfull’s life and career by presenting real events and framing them within the fictionalized group, known as the “Ministry of Not Forgetting,” composed of Swinton and MacKay, to explore and correct the often-misrepresented legacy of the singer.

Although the film was released at a few film festivals last year, its U.S. theatrical debut is scheduled for March 20.

The Disciple

Wu-Tang Clan is among the most prolific rap groups in the genre’s history. In her directorial debut, Joanna Natasegara dives into the legends and myths surrounding Wu-Tang Clan’s 2015 album “Once Upon a Time in Shaolin.” There was only ever one copy of the album created, an intentional choice by RZA, the leader of the group, and Dutch Moroccan rapper and producer Cilvaringz, who felt the streaming age was cheapening music.

Natasegara tells the story of how Cilvaringz, as an outsider, worked his way into Wu-Tang’s inner circle to craft the album that sparked discussions about art’s material value and controversy over who gets to own rare art.

The only copy of the album was sold in 2015 for $2 million to Martin Shkreli, the disgraced CEO of Turing Pharmaceuticals. It remains the most expensive piece of music ever sold, after NFT company PleasrDAO bought it for $4 million. The album can only be legally played at private listening parties and is barred from use for any commercial purpose until 2130.

Hit Me Hard and Soft: The Tour (Live in 3D)

Billie Eilish, known for megahits such as “Lovely,” “Bad Guy” and “Birds of a Feather,” is teaming up with director James Cameron for her next documentary project. According to The Hollywood Reporter, Eilish first teased the project over the summer during a sold-out concert in Manchester, England, but couldn’t share many details beyond the fact that it was a 3D collaboration with the Oscar-winning director known for “Titanic,” “The Terminator,” and the “Avatar” franchise.

“So you may have noticed that there are more cameras than usual in here,” she told the crowd at the time. “Basically, I can’t say much about it, but what I can say is that I’m working on something very, very special with somebody named James Cameron, and it’s going to be in 3D. So, take that as you will, and these four shows here in Manchester, you and I are part of a thing that I am making with him. He’s in this audience somewhere, just saying. So don’t mind that, and also I’ll probably be wearing this exact outfit for like four days in a row.”

Eilish’s previous documentaries include “Billie Eilish: The World’s a Little Blurry,” directed by R.J. Cutler, and the concert movie “Happier Than Ever: A Love Letter to Los Angeles.”

“Hit Me Hard and Soft: The Tour (Live in 3D)” is scheduled to be released in theaters on March 20.

Take That

When it comes to classic ’90s boy bands, the English group Take That is one of the stars. The group successfully climbed the charts with their combination of catchy pop hits with heartthrob appeal. However, just a little over a decade into their budding career that captured millions, the band split. Now, a three-part Netflix documentary, dubbed “Take That,” will take fans and viewers back to the group’s beginnings in the early ’90s, through the present day, and chart their rise, reunion, and transition into a three-piece act.

The documentary features interviews with the three remaining musicians, Gary Barlow, Howard Donald and Mark Owen, while former bandmates Robbie Williams and Jason Orange will be featured in archival footage. The series was directed by David Soutar, who has worked on music documentaries for acts such as Ed Sheeran and Bros. “Take That” will stream on Netflix on January 27, 2026.

Antiheroine

Few figures loom as large — or as polarizing — in alternative rock history as Courtney Love.

The former “Hole” singer, songwriter, and actor helped define the sound and attitude of 1990s alt-rock, often commanding as much attention for her public persona as for her music. “Antiheroine,” a new documentary slated to drop this year, aims to shift that narrative by allowing Love to tell her story on her own terms.

Set against the backdrop of her life in London, where Love relocated in 2019, the film traces her evolution as an artist, mother, and cultural figure. While her marriage to Nirvana frontman Kurt Cobain inevitably factors into the story, the documentary positions it as only one chapter in a much larger, more complex life shaped by fame, loss, addiction, and survival.

The film features appearances from longtime peers and collaborators, including Green Day frontman Billie Joe Armstrong, former R.E.M. singer Michael Stipe, and Hole bandmates Melissa Auf der Maur and Patty Schemel.

“Antiheroine” is scheduled to make its world premiere at the Sundance Film Festival between Jan. 22 and Feb. 1.

The Moment

“The Moment” captures Charli XCX at the height of her pop-culture takeover, offering a stylized, mockumentary-style look at a fictionalized version of her explosive summer 2024 rise. Conceived by Charli and directed by longtime collaborator Aidan Zamiri, the film blends real concert footage with scripted scenes to explore fame, pressure, and the chaos behind the scenes.

Rather than presenting a straightforward portrait of stardom, the documentary leans into the strange in-between spaces of pop life, backstage hours, rehearsals, and the emotional whiplash of being both celebrated and scrutinized in real time. It’s a self-aware examination of what it means to “be the moment,” and the inevitability that it won’t last forever.

The film features a stacked cast of cameos, including Alexander Skarsgård, Kylie Jenner, Rachel Sennott, Rosanna Arquette, and Jamie Demetriou, adding to its sharp, satirical edge. The Moment is set to premiere at the Sundance Film Festival before arriving in theaters worldwide in late January.

Man on the Run

The newest Paul McCartney documentary takes fans on a ride of his creative rebirth in the years following the breakup of The Beatles, tracing his transition from one of the most famous musicians in the world to an artist rebuilding himself on his own terms. The documentary focuses on the formation of Wings with his wife, Linda McCartney, and the challenges of defining a new musical identity in the 1970s.

Directed by acclaimed filmmaker Morgan Neville, the film draws from extensive interviews with McCartney, his personal journals, and Linda McCartney’s photographs, offering an intimate look at a period often overshadowed by Beatlemania. Rare archival footage and previously unseen material help illuminate the doubts, risks, and reinvention that shaped McCartney’s solo career.

Man on the Run premiered in 2025 and will screen in select theaters before arriving worldwide on streaming beginning Feb. 25, 2026.

Earth, Wind & Fire

A new documentary directed by Questlove will explore the legacy and lasting cultural impact of Earth, Wind & Fire, one of the most influential bands in American music history. Founded by Maurice White, the group helped shape the sound of funk, soul, R&B, and pop while delivering a message rooted in spirituality, unity, and joy.

The film examines the band’s expansive body of work through rare and previously unseen archival material, drawing from visual, audio, and written records with the full support of the band and White’s estate. Rather than functioning as a traditional career overview, the documentary aims to contextualize Earth, Wind & Fire’s music within the broader cultural and social movements that surrounded it. Following acclaimed projects such as Summer of Soul and Sly Lives! (aka The Burden of Black Genius), Questlove brings his historian’s eye to a story that has long deserved deeper exploration.

The Earth, Wind & Fire documentary is set to air on HBO sometime later this year.

Bowie In Berlin

“Bowie In Berlin” studies one of the most transformative periods in David Bowie’s career, when he retreated from fame and relocated to Berlin between 1976 and 1978. Seeking distance from the pressures of stardom and a reset both personally and creatively, Bowie’s time in the city would ultimately lead to the creation of Low, Heroes, and Lodger, collectively known as the Berlin Trilogy.

The documentary uses archival footage and rare interviews with four women who played pivotal roles during Bowie’s Berlin years, offering an intimate perspective on a side of the artist rarely seen by the public. Their reflections frame a period of deep artistic reinvention, as Bowie shed his theatrical personas and began performing as himself rather than through characters.

Directed by longtime Bowie documentarian Francis Whately, the film places Berlin at the center of Bowie’s regeneration, capturing a moment when he hit a personal low while simultaneously producing some of the most influential work of his career.

“Bowie In Berlin” is set to air on BBC Two and BBC iPlayer in autumn 2026.

“Hamnet” won best picture, drama at the ceremony Sunday night.

Entering the night, “One Battle After Another” topped the list of nominations with nine, followed by “Sentimental Value” with eight.

Comedian Nikki Glaser hosted the ceremony from the Beverly Hilton in Beverly Hills. The night marked Glaser’s second consecutive year as host.

The first award of the night went to Teyana Taylor, who won female supporting actor, motion picture for “One Battle After Another.”

The Golden Globes bill themselves as Hollywood’s booziest bash. The awards show was broadcast on CBS and is available to stream through Paramount+.

Here’s a list of winners at Sunday’s Golden Globes:

Motion picture, drama

“Hamnet”

Motion picture, musical or comedy

“One Battle After Another”

Male actor, motion picture, drama

Wagner Moura, “The Secret Agent”

Female actor, motion picture, drama

Jessie Buckley, “Hamnet”

Female actor, motion picture, musical or comedy

Rose Byrne, “If I Had Legs, I’d Kick You”

Male actor, motion picture, musical or comedy

Timothée Chalamet, “Marty Supreme”

Female supporting actor, motion picture

Teyana Taylor, “One Battle After Another”

Male supporting actor, motion picture

Stellan Skarsgard, “Sentimental Value”

Motion picture, non-English language

“The Secret Agent,” Brazil

Motion picture, animated

“KPop Demon Hunters”

Director, motion picture

Paul Thomas Anderson, “One Battle After Another”

Screenplay, motion picture

Paul Thomas Anderson, “One Battle After Another”

Cinematic and box office achievement

“Sinners”

TV series, drama

“The Pitt”

TV series, musical or comedy

“The Studio”

Male actor, TV series, drama

Noah Wyle, “The Pitt”

Female actor, TV series, drama

Rhea Seehorn, “Pluribus”

Female actor, TV series, musical or comedy

Jean Smart, “Hacks”

Male actor, TV series, musical or comedy

Seth Rogen, “The Studio”

Limited series, anthology series or made for TV movie

“Adolescence”

Male actor, limited series, anthology series or made for TV movie

Stephen Graham, “Adolescence”

Female actor, limited series, anthology series or made for TV movie

Michelle Williams, “Dying for Sex”

Male supporting actor, television

Owen Cooper, “Adolescence”

Female supporting actor, television

Erin Doherty, “Adolescence”

Original song, motion picture

“Golden” from “Kpop Demon Hunters”

Original score, motion picture

Ludwig Göransson, “Sinners”

Stand-up comedy performance

Ricky Gervais, “Mortality”

Podcast

“Good Hang With Amy Poehler”

LOS ANGELES (AP) — Nikki Glaser went hard then eased up in her monologue to open Sunday’s Golden Globes.

In her earliest jokes she suggested stars in the room might be in the Epstein Files and took a shot at CBS, the network airing the show.

“There are so many A-listers, and by A-listers, I do mean people who are on a list that has been heavily redacted,” she said. “And the Golden Globe for best editing goes to the Justice Department.”

She segued into mocking the recent woes at CBS News and its killing of a critical “60 Minutes” story about the Trump Administration sending immigrants to a prison in El Salvador.

“The award for most editing goes to CBS News,” she said. “Yes, CBS News: America’s newest place to see BS news.”

She didn’t bring up Venezuela, a subject she told The Associated Press this week she was considering mentioning, but worried it would already be old news in the chaotic moment. And there was no mention of ICE.

Glaser also told the AP she was struggling to find a joke about Julia Roberts, saying she was so beloved and respected that nothing Glaser tried with her comedy club test audiences was landing.

She found a way to come at it sideways.

“Just like the podcasters nominated tonight, I should not be allowed to be this close to Julia Roberts,” she said, and got the big laugh she was looking for.

It was Glaser’s second time hosting the show. She was quickly rehired after getting strong reviews in her first outing last year. She was hired the first time after the ruthless roast she gave the attendees of the Netflix roast of Tom Brady. She’s been kinder on the Globes, but her jokes still had some bite.

She made the obligatory joke about Leonardo DiCaprio dating young women.

“You’ve worked with every great director. You’ve won three Golden Globes and an Oscar,” she said. “And the most impressive thing is that you were able to accomplish all of that before your girlfriend turned 30.”

She then went meta and apologized for being so obvious.

“Leo, I’m sorry I made that joke, it’s cheap. You know what, I tried not to, but like, we don’t know anything else about you, man. Like, there’s nothing else, like open up!” she said, getting a bigger laugh than she did for the first joke, especially from DiCaprio himself.

She focused on the lean frame of Timothée Chalamet in her inevitable joke about the nominee — and later winner — for “Marty Supreme,” calling him “the first actor in history to have to put on muscle for a movie about ping pong. This is true. He gained over 60 ounces.”

During the show, she stood in the audience and gave a presentation on the ballroom’s layout.

“To my right are the tables for ‘Hamnet,’ ‘All Her Fault’ and ‘Bugonia,’” she said, “an area we’re calling ‘traumatized woman alley.’ We’ll never find out where ‘traumatized men alley’ is because they’re not allowed to tell us.”

Like last year when she merged “Wicked” and “Conclave” into the aborted gag song “Popeular,” she started at one point to sing a deliberately hacky song.

This time she pretended to accidentally say “K-Pong Demon Hunters” before shedding her dress to show athletic wear underneath, grabbing a ping pong paddle-shaped microphone and merging “Marty Supreme” with “KPop Demon Hunters” to the tune of the latter’s best original song winner “Golden.”

“Marty” co-star Fran Drescher soon stepped out to cut Glaser off, saying in her famous nasal rasp, “You have to stop singing, your voice is so annoying.”

But Glaser was also on the receiving end of one joke, from Judd Apatow, who told a story before presenting best director.

“Nikki Glaser used to be our babysitter,” he said. “That’s true. She was our babysitter. And she’s like, ‘I do standup comedy.’ And then I went online to watch her set and it was all about smoking reefer and having weird sex and then she stopped being our babysitter.”

Ariana Grande, Teyana Taylor, Timothée Chalamet and a sea of other stars said goodbye to color at this year’s Golden Globes, opting instead for black. And many in the crowd stuck with tried and true old Hollywood glamour Sunday.

But even in basic black, the red carpet had plenty of personal flourishes and playful embellishments.

Risk-takers Taylor, a winner for “One Battle After Another,” and Jenna Ortega went with “whale tails,” aka the tops of thongs, peeking out the backs of their black gowns. Taylor did it with her custom slinky Schiaparelli gown that showed off a deep low-cut back with a glittery low-hanging bow thong. Ortega, keeping it goth, wore a Dilara Findikoglu gown with black shoulder tassels and a black thong.

“I thought that was such a cheeky callback to Y2K fashion,” InStyle Fashion Director Kevin Huynh said. “I was just like, wow, you wouldn’t expect that on a red carpet.”

Grande left behind her “Wicked” character’s signature pink color for a black Vivienne Westwood couture dress but brought back her ponytail. Other notable celebrities in black included Ayo Edebiri, Selena Gomez, Miley Cyrus and Mia Goth.

Edebiri chose a black off-the-shoulder Chanel dress embellished with jewels on the shoulders from Matthieu Blazy’s Métiers d’Art 2026 show.

Celebrities held onto their gowns and watched their steps as they posed for photos on high stairs that served as the red carpet. Like the Met Gala, they lined up at the bottom and had to perilously climb their way up.

The 83rd Golden Globes gives a glimpse into how celebrities will showcase their original take on fashion as the awards season progresses. Since 1944, the show has honored the best in film and television.

The carpet, at The Beverly Hilton in Beverly Hills, California, is a chance for nominees to make a statement, though some are beholden to fashion houses who pay them as ambassadors.

Several, including George Clooney, wore Giorgio Armani. The fashion world lost Armani in September, but his eponymous brand lives on.

“It was nice to see so many attendees, including Julia Roberts and Kate Hudson, wearing the brand and pay tribute,” said Véronique Hyland, fashion features director for Elle.

Pops of color hit the carpet

Not all celebrities followed the black dress trend.

Host Nikki Glaser, who held hosting duty for the second time, wore a strapless satin blush-pink corseted satin gown with a full skirt by Zuhair Murad. Emma Stone stunned in a butter yellow Louis Vuitton skirt set.

“Sinners” star Wunmi Mosaku stunned in a flowy yellow Matthew Reisman gown. The mother-to-be revealed her baby bump on the carpet. Mosaku’s co-star Hailee Steinfeld showed off her pregnant figure on the carpet in a peach colored gown.

Stars shone in metallics. “Sentimental Value” actor Renate Reinsve twirled on the carpet in a shimmery silver tasseled dress by Nicolas Ghesquiere for Louis Vuitton. Her co-star Elle Fanning’s Gucci dress was embroidered with Norwegian flowers in honor of their Norwegian drama film.

Rising star Chase Infiniti reflected back the carpet and all its stars in her mirrored corseted gown by Nicolas Ghesquiere for Louis Vuitton.

“She’s now Louis Vuitton ambassador, which I think kind of shows her potential as a star,” Vanity Fair style writer José Criales-Unzueta said. “So much of what happens behind the scenes helps define what we’re looking at, whether it’s a deal, whether it sponsorship, whether it is brand ambassadorship.”

Claire Danes eschewed the academic, laid-back tailored looks of her “Beast in Me” character for an effortlessly elegant, couture gown designed by her close friend Zac Posen for GapStudio. Posen and Danes’ friendship and creative collaboration began in high school.

Posen began working on Danes’ Golden Globe gown in November. As both creative director for Gap and GapStudio designer, Posen told The Associated Press that elevating the American essential into eveningwear is part of his creative process for the brand.

For Danes’ look, Posen transformed the concept of the classic Gap pocket T-shirt into an off-white silk jersey couture gown with subtle bugle beaded detailing and embroidery. The shimmering dress featured a low scoop back and front pocket detail.

“Claire has a great elegance to her and is deeply inherently sophisticated, but yet cool,” Posen said. “Those elements fit perfectly with one of our icons that has built and defined our brands, the pocket tee.

Is sheer dressing still in?

Celebrities are keeping the sheer dressing trend alive with no signs of it slowing down. Lisa of Blackpink wore a black sheer Jacquemus dress, and Jennifer Lopez posed in a see-through dress by Jean-Louis Scherrer.

Jennifer Lawrence walked the carpet in a floral sheer dress by Sarah Burton at Givenchy and accessorized her look with a glamorous floral silk stole.

“Just to go out in a naked dress that leaves very little to the imagination is one thing but what Jennifer Lawrence did was such a romantic approach to it,” Huynh said. “I think that really says a lot to Sarah Burton, the designer of Givenchy. She is a woman designing for women.”

Men choose traditional looks

The male nominees didn’t stray too far from traditional looks. Colman Domingo pared down his typical colorful suits for a black suit by Valentino adorned with silver leaf brooches down his lapel. Timothée Chalamet, a winner for “Marty Supreme,” has become one to watch for his fashion choices. Departing from his past colorful looks, Chalamet wore a black velvet vest and jacket from Chrome Hearts with black Timberland boots. Chalamet’s partner of three years, Kylie Jenner, did not walk the carpet with the actor, but viewers captured her in a custom silver column look by Ashi Studio. It was hand-embroidered with a fan-shaped crystal bead neckline.

After his viral premiere orange look for “Marty Supreme,” Criales-Unzueta said Chalamet decided on a more traditional movie star style by choosing all black.

“Heated Rivalry” star Hudson Williams brought the cummerbund back but with a laid-back twist. The breakout star paired a white-peak lapel dinner jacket with an unbuttoned silk shirt. Williams, along with his co-star Connor Storrie, were presenters during the ceremony. Storrie wore a black tuxedo jacket by Saint Laurent, with black tie and shades.

“It’s really just sexy takes on classic menswear with just those little bit of edge to things,” Huynh said.

Jenna Rosenstein, beauty director for Harper’s Bazaar, noted Storrie’s hair transformation. He plastered his trademark curly locks into a shaggy, retro-inspired mullet. Among the women, beauty highlights included the swoopy bobs of Edebiri and Gomez, she said.

“If there’s one thing you should invest in after this carpet, it’s a really good round brush, a can of hairspray and a statement lipstick,” Rosenstein said.

AP writer Leanne Italie contributed to this report.