Olivia Colman goes vulpine, Rupert Grint’s newborn is a monster and Joko Anwar makes a warmhearted violent ghost story set in an Indonesian prison

If I’d ever wanted children, the films showing at the 59th edition of the International Fantastic film festival of Catalonia in the coastal town of Sitges, south of Barcelona, would have soon set me straight. This year’s recurring themes were explosive parturition, chewed-up nipples and the fruit of the womb turning out to be at best sociopathic, at worst inhuman.

The theme was celebrated in an evil-kiddy exhibition at the Miramar Cultural Centre, marking the 50th anniversary of Narciso Ibáñez Serrador’s “fantaterror” classic Who Can Kill a Child?, some of which was filmed in Sitges itself. The expo traced the subgenre from 1956’s The Bad Seed, via Rosemary’s Baby and The Exorcist, to this year’s Nightborn, in which poor Rupert Grint, as the hapless husband, is no match for the developing folk-horror bond between his depressed wife, their newborn “child”, and the spooky forest surrounding their house. Finnish director Hanna Bergholm, in her introduction, confessed it was inspired by her experiences of motherhood. Only up to a point, one hopes.

The Married … With Children actor says the news is ‘unnerving’ and ‘really confusing’

• Sign up for the Breaking News US newsletter email

After becoming a prominent advocate for multiple sclerosis awareness and chronicling her struggles in an emotional memoir published in March, the Emmy-winning actor Christina Applegate has revealed she does not have the debilitating autoimmune disease after all.

Applegate, 54, made the stunning announcement in an episode of her podcast MeSsy, recorded with fellow actor Jamie-Lynn Sigler, posted to YouTube on Tuesday.

• Netflix's film chief Dan Lin is out after two years.
• He's the latest top exec to exit following a 6% cut at the streamer, its biggest since 2022.
• New content chief Peter Rice will oversee film until a successor to Lin is announced.

Film head Dan Lin is out at Netflix, the latest exec to be ousted in the wake of the streamer's biggest layoff since 2022.

Lin was hired as film chair in 2024 with a mandate to bring greater cost discipline and variety to Netflix's films, which had focused on big-budget output under his predecessor, Scott Stuber. Lin cut big upfront paychecks to actors, reduced staff, and reorganized his department. He oversaw a slate that included Oscar-winning "KPop Demon Hunters," "Happy Gilmore 2," and "Frankenstein."

Lin's exit is the latest big shocker at Netflix. Also out in recent days was chief content officer Bela Bajaria, who was replaced by Hollywood veteran Peter Rice, a former exec at Disney and Fox.

Rice will oversee film until a new head is announced, Netflix said in a statement confirming Lin's departure.

Last week, Netflix laid off 1,000 employees, or about 6% of global head count. That was the streamer's largest cull since 2022, when the company lost subscribers for the first time in more than a decade.

The streaming giant has been hampered by slowing engagement growth and a stock price that has declined more than 40% over the past year. The streamer is contending with the rise of free, ad-supported streaming led by YouTube and the popularity of social video. In recent months, Netflix has turned to podcasters and creators to bulk up its library.

Netflix is set to report third-quarter earnings after the bell on Tuesday.

Actor experienced a ‘medical emergency’ on flight during which she allegedly injured crew members, statement says

Actor Selma Blair did not mean to hurt anyone during the recent flight which led to her arrest on allegations that she assaulted a pair of cabin crew members, a police officer and a nurse, her representatives said on Friday in a statement that characterized the episode as a medical emergency.

The lengthy statement also dismissed prior media coverage of Blair’s arrest after a Delta Air Lines flight from Los Angeles to New York as unsympathetic and inaccurate, singling out reporting from several outlets alleging that she tried to open the door of the airplane that she and her fellow passengers were on.

Film interviewing military insiders about mass killing of civilians in Gaza wins widespread praise around the world

Critics around the world have hailed the award-winning documentary NAZA as a “brilliant and harrowing” film that is “impossible to ignore”.

NAZA, which is produced by the Guardian and details Israel’s mass killing of civilians in Gaza, was released in UK cinemas this week and will be shown in more than 50 countries. As well as its global cinema releases, NAZA will be available free on the Guardian’s website from late November.

As violent spirits are unleashed in Sky’s Possession, observers see confident creatives reclaiming the island’s narratives in a form of ‘cultural reparation’

A woman opens a 300‑year‑old box, unleashing a violent spirit – it is the spirit of colonialism and oppression roaring back to life. It is a pivotal scene in Sky’s supernatural series Possession and symbolises a wider shift in Jamaica’s film industry, where directors are increasingly using the landscape to tell Jamaican stories – including those that confront enslavement, trauma and historical memory.

The series is about a biracial British lawyer who travels to Jamaica to investigate a multimillion-pound inheritance dispute, only to uncover a dark, vengeful spirit tied to the plantation’s brutal colonial past.

Cristian Mungiu’s Cannes winner echoes the news story of a Romanian couple whose children were taken by the Norwegian government. As it heads to London film festival, two writers explain how the film exposes real hypocrisies

When Cristian Mungiu’s Fjord was shown in Romania as a one-day preview this June, the reception was extraordinary. Across 53 towns and 96 cinemas, the film reportedly pulled in over 40,000 viewers in a single night, a number arthouse cinema rarely sees in Romania. But the response here had little to do with cinema. It felt instead like a reopening of a familiar fault line about the clash of values within the EU itself.

The 1926 film of Goethe’s tragic tale of a man who sells his soul to the devil remains a spectacular feat of German expressionism

The centenary of FW Murnau’s silent fantasy-melodrama from 1926 is the occasion to ponder this mysterious film, taken from Goethe’s 19th-century depiction of the alchemist and natural philosopher who sells his soul to the devil but, in a very high-minded climax of German romanticism, is redeemed by love. (Not love of God precisely, but love of a good woman; the word “Liebe” finally appears at the centre of Murnau’s radiating vision of concentric circles conjured by the heavens, which annul his debt to the Evil One.) It is therefore very different from Christopher Marlowe’s scarier and more unforgiving account of Doctor Faustus.

Murnau’s Faust is (obviously) concerned with and animated by evil, and there are echoes of his Nosferatu, made four years previously. In this film, Faust, having struck his bargain on a provisional 24-hour basis with Mephisto, finds that he is scared of a crucifix, like a vampire. It is also very much a film of Weimar Germany with its mad energy and streaks of garish satire and black comedy; the book-burning scene in which Faust immolates all his necromancy volumes, along with the Bible, is one which resonated with later events. (Perhaps it indirectly inspired Klaus Mann’s novel Mephisto, later to be filmed by István Szabó.)

Manville’s academic psychologist finds herself trapped in a tower block wasteland in 1980s Warsaw. Bizarre and surreal details add to the sinister vibe

Part cold war thriller, part Kafkaesque reverie, this movie takes us back to the sinister drear of Poland in 1981, when General Jaruzelski has just introduced martial law in reaction to the dangerous new mood of freedom occasioned by the Solidarity trade unions. The director is Kasia Adamik, daughter of The Green Border’s Agnieszka Holland; the film is adapted from a story by Olga Tokarczuk, called Professor Andrews Goes to Warsaw.

Lesley Manville plays Professor Andrews, an academic clinical psychologist (like Tokarczuk) from Britain with testy, peremptory mannerisms; her indulgence is a fondness for taking Polaroid photos. She has attained a certain level of celebrity for a book on dreams, despite claiming that she never dreams herself. Andrews has been invited to give a lecture in Warsaw, during which she begins to outline views on mental illness not unlike those of Laing or Foucault; but her speech is chaotically disrupted by students shouting that Poland itself is an oppressive asylum.

Kevin Dupzyk’s profile of Sam Rockwell, a “legendary scene-stealer” now in his fourth decade of work, is a crisp and entertaining one-act, with journalist and actor holed up in a spare Manhattan greenroom. Dupzyk studies Rockwell while Rockwell studies the room, testing the durability of his own idiosyncratic observations—about Red Bull and loss and rain—to see what they might yield in a conversation with a stranger. Dupzyk had wanted to “gin up some action for this story,” but it’s strangely compelling to watch Rockwell’s gaze prowl the room, to see what lodges in the filter of his creative process.

Rockwell is a good tennis player. And like any good athlete, he trains. For as much as he appears to get by on natural charm and charisma, he is an actor’s actor, a true believer, in his words, an “acting nerd.” Research. Running lines. Exerci—

“Do you know what a gibbon is?” Rockwell asks.

“Like, a monkey?” I say, confused.

Pat Caldwell is 69 years old and, as Chris Stanton gushes in this uproarious Q&A, “a legend to IMAX nerds.” Caldwell loves Vision3 film stock, hates Joker: Folie à Deux, and has discovered more than one dead body in a movie theater. His decades-long career as a projectionist includes a stint at a Tennessee porn theater with “very good equipment,” and he once spent half a year screening Lawrence of Arabia four times daily. When Stanton reached out to Caldwell on the occasion of The Odyssey, he may have landed the year’s most entertaining interview.

So Sam taught me how to run the projectors, and he got drunk, passed out on the couch. And after the concession stand in the box office closed, I would go up and run the rest of the movies for him. This went very nicely until one night there’s a knock at the door. I opened the door and here’s this old man standing there. And I said, “Well, who are you?” He says, “I could ask the same question. Who are you? I’m the business agent of the local projectionists’ union.” I explained what was going on. He woke up Sam, chewed him out. And the next day they made me an apprentice. I trained for a year with no pay at all the local theaters in Nashville.

What moves the star of Jackass to risk his life for our entertainment? This “very serious investigation” involves interviews with friends and family, a surf trip to Malibu, a gag with a fake raccoon, and a stop at In-N-Out:

He nosed the car into the drive-through line, drawing stares as he nosed—some for the vehicle, some for the driver. Mostly male stares. A teen-age boy stepped up to the passenger window and leaned in to take his order.

“One hamburger with tomato, lettuce, and mustard,” Knoxville said. “Fries, please. And a cup of water.”

“Onion?”

“No, sir.”

The teen-ager squinted. “You look familiar. Are you famous, by any chance?”

“Actually, completely by chance!” Knoxville improvised.