Editor Parker Laramie explains how frontier drama Train Dreams walks the line between naturalism and magical realism.

Buffeted by economics and squeezed by Big Tech, the last thing America’s broadcasters wanted was to have their news operations muzzled or business threatened with political interference, yet that’s the realpolitik of the US TV entering NAB Show NY.

The Cannes Palme d’Or-winning critique of Iran’s police state was made in secret as an act of defiance. IBC365 sits down with the film’s Editor Amir Etminan to learn more about the fearless filmmakers’ process.

Editor William Goldenberg and Director Paul Greengrass elaborate on the plot of The Lost Bus, a white-knuckle ride disaster movie with a burning environmental message.

The Danish auteur is back with a new movie, a prominent role in a computer game, and the same confrontational attitude to formulaic art.

For Ben Wheatley’s experimental, low-budget ‘midnight movie’, DoP Nick Gillespie incorporated a mix of formats, DIY effects, and back projection techniques to evoke classic cinema.

The fate of public service broadcasting was transmuted into an existential threat to British culture, politics, and prosperity at the RTS Cambridge Convention.

Cinematographer Callan Green breaks down the colourful visual aesthetic of the action-comedy sequel Nobody 2.

During the Content Everywhere session “Next Gen Streaming Infrastructure: How the Cloud is Coming of Age” at the IBC2025 Conference, key industry players observed that broadcasters are becoming increasingly confident and reliant on the cloud.

Three-time Academy Award-winning editor Thelma Schoonmaker (ACE) treated IBC2025 to an intimate and insightful overview of her storied career.