Features

Angst and destruction are central recurring themes of the 98th Academy Awards, with multiple nominees using fire as a symbol of humanity’s fatal disregard for the planet.

The cracks in the inheritance of DNA, relatives, and property are at the heart of this critically acclaimed Norwegian tragicomedy. 

In a world where production capability is ubiquitous and content costs nothing, creative vision is the only thing that matters, according to VFX pioneer and Hollywood consultant Barbara Ford Grant.

With global 5G coverage now surpassing 50% of the world’s population, but consumer willingness to pay barely shifting, operators at MWC argued that the next chapter must be defined by utilisation.

More than 200 industry leaders gathered at BBC Broadcasting House for the 2026 IBC Accelerators Kickstart Day, that took place on 25 February.

Digital creators, television producers, platforms, distributors, buyers, and brands across all genres gathered at the IET and Savoy Hotel this week to attend the second-ever iteration of MIP in London.

As minority communities face attack in the US, two new films screened at Sundance Film Festival offer powerful takes on Latino American and Chicano culture.

Consumers have a lot of choices these days when it comes to streaming video content. Indeed, the sheer number of available services can seem overwhelming, leaving customers with often difficult decisions to make about which services to choose, especially when they already have several other demands on their wallets. In this piece, Content Everywhere companies explore what streaming providers can and should be doing to retain existing customers and attract new ones where possible.

Investments in university-led facilities and studio partnerships throughout the UK have seen virtual production, real-time engines and hybrid pipelines move from the margins into mainstream curricula. But is higher education matching the skills demand from the industry? Michael Burns reports.

As studios begin to embrace the potential of vertical micro-dramas, should their rise be dismissed as merely a fad or a profound shift in the production, consumption and gender-bias of global storytelling?