All articles by Geoffrey Macnab
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NewsOdd Slice Films adds IFFR Tiger title ‘La belle année’ to 2026 slate
EXCLUSIVE: ‘La belle année’ is a documentary essay film by first-time Swedish filmmaker Angelica Ruffier.
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Features‘Magellan’ is Lav Diaz’s most ambitious film yet – and he’s already assembled a sequel about the Portuguese explorer’s wife
The historical epic, which premiered in Cannes last year, is getting a limited theatrical release in the US from January 9 through Janus Films
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NewsMooky Greidinger understood to be in the running to buy Showcase’s UK cinema circuit
An announcement on the sale of the Paramount-owned Showcase chain is expected soon.
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Features75 films to tempt festival directors in 2026
Screen’s network of correspondents selects a snapshot of arthouse and independent films poised for selection by A-list film festivals.
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FeaturesCurzon’s development partnership with Cinéart and Madman is widening its remit: “We’ve got about 12 projects locked in”
Upcoming projects include Peter Hoar’s ‘A Waiter In Paris’ and Ibsen adaptation ‘Ghosts’ from May el-Toukhy.
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News“Robust measures” in place to prevent film tax credit fraud following allegations against some producers
A small number of UK producers have been accused of making fraudulent claims for UK film tax credit support.
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NewsItaly's Luminalia acquires Mozambique Tiger title ‘O Profeta’
EXCLUSIVE: Italian outfit Luminalia is focusing on films from sub-Saharan Africa
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Features“The streamers are scared of this film”: Eugene Jarecki on making and releasing his Julian Assange documentary ‘The Six Billion Dollar Man’
Despite a buzzy premiere at Cannes, the documentary filmmaker struggled to sell the film’s US rights and is releasing it himself in the UK.
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Features“I didn’t have grey hair before this”: Four filmmakers behind Oscar international feature hopefuls on working with their child leads
‘The President’s Cake’, ‘Orphan’, ‘The Left-Handed Girl’ and ‘The Love That Remains’ all showcase child protagonists.
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FeaturesJafar Panahi on ‘It Was Just An Accident’ and making films his way - “no matter if I’m banned or not”
It Was Just An Accident pivots from revenge thriller to a humanist study of modern Iran. Jafar Panahi tells Screen what drives his filmmaking choices.
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FeaturesHow steely defiance helped Annemarie Jacir keep ‘Palestine 36’ on track in the face of tragedy
The historical epic is Jacir’s biggest project to date and is Palestine’s Oscar entry.
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FeaturesRounding up the Bafta foreign-language film contenders that aren’t competing for Oscar
The majority of films vying for Bafta’s film not in the English language award this year were not submitted by their country to the international feature Oscar.
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NewsBerlin techno drama ‘Rave On’ gets international buyers on their feet
EXCLUSIVE: The film mixes a fictional narrative with documentary-style footage from Berlin’s rave scene.
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NewsIDFA wraps on an upbeat note with larger audiences
IDFA remains Europe’s preeminent documentary event.
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FeaturesDocumentary sellers and distributors at IDFA call for new ways to engage audiences
Maria Vera of Kino Rebelde and Martina Droandi of Odd Slice Films are energised by doing things differently.
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FeaturesWhy the filmmakers of Norwegian romantic drama ‘My First Love’ believe the set was” the nicest one ever”
Mari Storstein’s debut fiction feature is now making its world premiere at the Tallinn Black Nights film festival.
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News‘A Fox Under A Pink Moon’ wins best international film at IDFA 2025
Iranian directors win the top two best film awards at IDFA 2025.
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Features"We enable filmmakers to tell creative stories on their own terms,” says IDFA Bertha Fund’s Selin Murat
Selin Murat, former IDFA markets manager, took over the IDFA Bertha Fund earlier this year.
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FeaturesWhy Victor Kossakovsky wants ‘Trillion’, about a woman throwing tiny objects into the sea, to only be seen in cinemas
”Documentary as a form of art will exist only when we respect image, not story,” he says.
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NewsProducers should unlearn old bad habits to make collaborations fairer, say IDFA filmmakers
Directors from the Global South who work with European producers can often feel short-changed by the lack of budget transparency.