Tom Cruise for ‘Digger’ at CinemaCon 2026. Photo Credit: David Jon @davidjonphotography.
Preview:
Warner Bros. has made its big presentation to the 2026 CinemaCon crowd.
Among the movies touted were ‘Supergirl’ and ‘Dune: Part III’
The likes of Tom Cruise and James Gunn showed up to lobby exhibitors.
After a hugely successful 2026 in terms of both box office and awards, Warner Bros. arrives at CinemaCon with a bigger story looming over its head –– the future. With the Paramount merger inching closer, there will of course be questions about the new regime’s plans, even as the likes of David Ellison maintain that the studio’s output will be boosted.
Host Patton Oswalt at CinemaCon 2026. Photo Credit: David Jon @davidjonphotography.
With Patton Oswalt as the host (who joked that he wanted to join the DC Universe), this is what was presented…
Before any of the big announcements, we got word from Warner Bros. film bosses Michael De Luca and Pam Abdy that the studio is launching a new label called Warner Clockwork, whose first production is ‘Anora’ director Sean Baker‘s next project, ‘Te Amo!’.
A sizzle reel celebrating last year’s accomplishments was followed by an even more exciting one for 2027, including some big casting news dropped for ‘The Lord of the Rings: The Hunt for Gollum’…
We’ve been waiting for you, precious. The Lord of the Rings: The Hunt for Gollum only in theaters 17 December 2027. pic.twitter.com/FuD8Bh8cpl
(L to R) Tom Cruise and director Alejandro G. Iñárritu for ‘Digger’ at CinemaCon 2026. Photo Credit: David Jon @davidjonphotography.
Tom Cruise and Alejandro G. Iñárritu kick off the 2026 portion of the show with their collaboration, ‘Digger’. Cruise heaped praise on his director, with the filmmaker explaining that he got the idea for the new movie nine years ago and started discussing it with the actor seven years ago. Cruise, according to him was the only choice.
The movie tells of most powerful man in the world as he embarks on a frantic mission to prove he is humanity’s savior before the disaster he’s unleashed destroys everything.
(L to R) Ewan McGregor as Greg Platt, Christian Convery as Brian Platt, Maisy Stella as Audrey Platt and Anne Hathaway as Denise Platt in in ‘The End of Oak Street’, a Warner Bros. Pictures Release. Photo Credit: Photo Courtesy Warner Bros. Pictures.
It features the Platt family, who band together to navigate their new surroundings after a cosmic event transports their suburban neighborhood to someplace unknown. Anne Hathaway and Ewan McGregor lead the cast, but the presentation was mostly an extended trailer.
The New Line segment was kicked off with the next ‘Evil Dead’ movie, this one directed by Sébastien Vanicek, but again it was largely limited to some early footage, which featured some familiar ideas, including the Book of the Dead.
A scene from 2026’s ‘The Cat in the Hat’. Photo: Warner Bros.
The audience were all supplied with Thing wigs, trumpeting the arrival of a trailer for the new animated take on the Dr. Seuss classic. This one features Bill Hader as the voice of the cat.
Next up was DC Studios, with producer and co-CEO Peter Safran on stage to introduce it (director and co-chief James Gunn is a little busy, as production on the ‘Superman’ follow-up ‘Man of Tomorrow’ starts next week.
The first project to cover was ‘Clayface’, about the Batman antagonist, which Safran described as more focused on character than genre. He showed off the first footage from the movie.
(L to R) Jason Momoa, director Craig Gillespie, Milly Alcock, and producer Peter Safran for ‘Supergirl’ at CinemaCon 2026. Photo Credit: David Jon @davidjonphotography.
While we have to wait until October for ‘Clayface’, the next DC Studios film out of the gate is ‘Supergirl’, starring Milly Alcock as Superman’s wilder cousin. She, director Craig Gillespie and co-star Jason Momoa (playing outer space vigilante Lobo) took the stage to talk up the film –– Momoa on a motorcycle! A new scene from the movie was screened.
(L to R) Nicole Kidman and Sandra Bullock for ‘Practical Magic 2’ at CinemaCon 2026. Photo Credit: David Jon @davidjonphotography.
Nicole Kidman and Sandra Bullock showed up to tout the witchy sequel, mentioning their shared appreciation for director Susanne Bier and how the production rebuilt the original movie’s house. What can we expect? “Midnight margaritas, jumping off the roof, and also have our past catching up with us,” according to Kidman. “We have our destinies, and the family. I think it’s going to be really, really fun.”
After some talk about how the characters are inspiring, the first teaser trailer was shown.
Timothée Chalamet for ‘Dune: Part Three’ at CinemaCon 2026. Photo Credit: David Jon @davidjonphotography.
The big finish was, somewhat naturally, the new ‘Dune’, with director Denis Villeneuve taking the stage accompanied by Fremen warriors. Villeneuve said he made the movie “1,000%” for the fans, and the audience was treated to the first seven minutes of the movie.
Accompanied by the likes of Zendaya, Momoa and notorious opera-disliker Timothée Chalamet, Villeneuve showed off a battle scene that promises some suitably epic action.
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And that’s all, folks!
(L to R) Tom Cruise and Jason Momoa at CinemaCon 2026. Photo Credit: David Jon @davidjonphotography.
Following last year’s decent if unspectacular return to Oscar standard behavior, the 2025 ceremony was one heralded with some trepidation. There was a new host (comedian and talk show veteran Conan O’Brien), the need to pay tribute to Los Angeles in the wake of the devastating wildfires and speculation as to whether many of the categories would break the way they have in other awards shows.
As it turned out, it was a giant night for one movie which, while it had certainly been seen as a major contender, hadn’t been performing that way elsewhere. Some history was made and while the speeches had a political flavor at times, the show itself largely eschewed politics (beyond one smart gag about a certain sitting president and his attitude to Russia).
All said and done, despite a hefty running time (three hours and 45 minutes all told), this year’s Academy Awards is likely to be seen as largely a success. Read on for more of our thoughts…
Jon M. Chu’s adaptation of the long-running stage musical may only have picked up a couple of trophies on the night (more on one of them below), but following a middling montage celebrating movies set in Los Angeles, the movie’s stars, Ariana Grande and Cynthia Erivo, kicked off the show properly with a blast of nostalgia and then smart use of ‘Wicked’s standout song.
The pair began with “Somewhere Over the Rainbow” before segueing into “Defying Gravity” and the stylish presentation combined with powerhouse pipes proved to be just the right mix of celebration and spectacle.
There were the usual concerns in some quarters when Conan O’Brien was announced as this year’s Oscars host –– would he be too intellectual for audiences, was he enough of a “name”? As it turns out, he might just have scored a regular gig (assuming he wants this much pressure every year). Because by all estimations, he was a stellar emcee for the night.
Opening with a ‘Substance’ gag that was fairly expected but still played well, O’Brien’s monologue set the right tone: witty, entertaining and as usual, full of his trademark self-deprecating humor.
From threatening long-winded speeches with ‘Conclave’ star John Lithgow looking sad and disappointed to ejecting a tracksuit-clad, cheery Adam Sandler from the audience, he was assured and calm.
There were also solid gags about Timothée Chalamet’s yellow suit and bike safety, and a funny bit about promising to show stars’ early headshots if they rambled (Chalamet again, with an ultrasound image).
Later in the show there was the crack at Trump via a mention of ‘Anora’ (“I guess Americans are excited to see somebody finally stand up to a powerful Russian”) and a promise that the show was not made using A.I. (“We would never do that; we used child labor — hey, they’re still people!”)
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Yet despite a funny musical number (featuring a dancing Deadpool and a ‘Dune’ sandworm on piano) about not wasting the audience’s time, the show still ran very long, though that was more on the producers than the host. Which bring us to…
Perhaps the most egregious example of padding was the choice of the tribute to the music of James Bond. Introduced by former ‘Die Another Day’ star Halle Berry, it was a mishmash of performance art (Margaret Qualley showing off her well-honed dancing abilities) and karaoke night for the likes of Doja Cat and Lisa from Blackpink.
It’s a little ironic that the celebration of the venerable espionage franchise comes just as it has been fully swallowed up its corporate overlords at Amazon.
Also given special memorial treatment was music icon Quincy Jones, but despite a classy intro from Whoopi Goldberg and Oprah Winfrey, the choice of “Ease on Down the Road” from ‘The Wiz’ was a vaguely confounding one.
Still, if the opening montage fell flat, the respect for First Responders (who have been more a staple of recent award shows than Karla Sofía Gascón) worked much better. Initially seeming like a now-traditional wave-and-accept-applause moment, O’Brien and his writing team turned it around by having fire officers and others read out jokes he thought were too mean, including LAFD Captain Eric Scott kicking off the bit with, “well, our hearts go out to all of those who have lost their homes… and I’m talking about the producers of ‘Joker 2.’ ”
If last year was all about big-budget blockbusters with “Barbenheimer,” 2025 was the year indies struck back.
Sean Baker’s ‘Anora,’ whose combined budget ($6 million) and box office ($40.9 million worldwide) would barely cover some of the salaries for some of the giant movies, went on to take five statuettes, including Best Picture, Best Director for Baker (who also scored Best Original Screenplay and Editing) and Mikey Madison named Best Actress.
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Baker became the first person since Walt Disney in 1954 to win four Oscars in one night (and the first for one movie they have personally directed), and showed that the Academy was ready to root for the little guys again.
Madison’s win was something of a surprise itself –– while she’d been going toe-to-toe with ‘The Substance’ star Demi Moore all awards season –– there had been a narrative of Moore’s legacy forming around the Best Actress gong. Yet it was Madison who ended up taking the stage for a teary, heartfelt speech.
Madison wasn’t the only winner to express her feelings. While the Oscar stage is no stranger to strong emotion, there was the usual blend of politics and heart-string plucking.
Baker used his various triumphs as a combined rallying call to support movies big and small and for seeing films in theaters in this age of shrinking windows and streaming dominance.
Best Documentary Feature ‘No Other Land’s Palestinian co-director Basel Adra called for an end to the ethnic cleansing of Palestinians, while his Israeli collaborator Yuval Abraham insisted that there can be peaceful solution to the war in Gaza that honors both Palestinian and Israeli people, adding that “the foreign policy in this country is helping to block this path. Can’t you see that we are intertwined? That my people can be truly safe and Basel’s people can be truly free?”
There were shoutouts to sex workers and immigrant children, while Team ‘Brutalist’ (especially composer Daniel Blumberg) seemed surprised and overawed by their wins, giving real, nervy speeches.
Kieran Culkin accepts the Oscar® for Actor in a Supporting Role during the live ABC Telecast of the 97th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 2, 2025.
And then there was the comedic speech of the night, with predicted Best Supporting Actor winner, ‘A Real Pain’s Kieran Culkin proving once more to be anything but on stage. He was enthusiastic and funny, and got further laughs by pointing out to his wife, Jazz Charton that they’d talked about having more children after his Emmy win, and that she’d mentioned she’d only consider a fourth child if he won an Oscar. Whoops!
Culkin wrapped up his moment in the spotlight with:
“You remember that, honey? You do? Then, I just have this to say to you, Jazz, love of my life, ye of little faith. No pressure. I love you. I’m really sorry I did this again. And let’s get crackin’ on those kids. What do you say? I love you!”
Best reaction to that? Culkin’s former ‘Succession’ co-star J. Smith Cameron, who played the long-suffering Gerri Kellman to his foul/motormouthed Roman Roy, offering the perfect tweet:
For the most part this year, the presenters did not embarrass themselves and the bits were relatively painless.
We got Ben Stiller slowly being swallowed by scenery to introduce Best Production Design, June Squibb admitting she’s being played by ‘Nosferatu’ star Bill Skarsgård in prosthetics whenever she’s at an event and Robert Downey Jr. following Conan’s comedic lead and then going sentimentally honest handing out Best Supporting Actor.
Some awards, such as Best Costume Design were presented by the stars of the nominees’ movies, and that proved to be a mixed bag, since they worked on an emotional level, but tended to drag a little. Thank goodness then, for John “I love a roomy cassock” Lithgow and ‘Wicked’s Bowen Yang bringing the funny.
A highlight? Rock icon Mick Jagger taking the stage to present Best Original Song, full of jokes about how Bob Dylan was asked to do his job first (which was true; the Academy offered the subject of ‘A Complete Unknown’ to host and perform, and he turned them down).
Was this the start of a stealth campaign to get Jagger a belated, throwback Oscar for ‘Freejack’? Your guess is as good as ours. And our guess is, “maybe?”
Sean Baker wasn’t the only filmmaker making history on Oscar night. ‘Wicked’ costume maestro Paul Tazewell became the first black person to win his category, making emotional note of the fact.
And while we all knew she would scoop her trophy (despite, er, being much more a lead than a supporting turn), Zoe Saldaña was gracious in victory and was clearly moved by becoming the first American of Dominican descent to win an Oscar as one of two for ‘Emilia Pérez.’
‘Flow’ surprised in the Animated Feature category, and became the first Latvian Oscar winner. “Ball’s in your court, Estonia,” quipped O’Brien after the team left the stage.
Proving that stars don’t have to just recreate classic scenes for Super Bowl commercials, ‘When Harry met Sally’ leads Billy Crystal (no stranger to Oscar hosting, he quipped “I used to work here,” following Ryan’s question of how long ago with “nine tuxedos…”) and Meg Ryan came on stage to give out Best Picture.
They were a classy, classic wrap to a successful event, which ended with ‘Anora’s Best Picture triumph.
(L to R) Mikey Madison as Ani and Mark Eydelshteyn as Ivan in ‘Anora’. Photo: Courtesy of NEON.
‘Anora’ is perhaps the biggest movie yet from independent filmmaker Sean Baker, whose past works include ‘Tangerine,’ ‘The Florida Project,’ ‘Starlet,’ and ‘Red Rocket.’ Directing, writing, and editing his films himself, and using innovative techniques like shooting an entire movie on an iPhone (as he did with ‘Tangerine’), Baker brings an authenticity to his movies that reflects his passion for focusing on people living and working on the fringes of society – which in several of his films includes sex workers.
The latter are front and center in ‘Anora,’ whose title character is a stripper at a Brooklyn club who is not above getting together with clients after hours for more intimate encounters if the money is right. One such encounter leads Anora on an adventure that finds her having to reassert her own right to happiness and self-determination, all while involved in a mix of screwball farce, chase movie, and class-based drama that goes in some unexpected directions and will leave you both out of breath and moved.
Story and Direction
(L to R) Sean Baker and DP Drew Daniels on the set of ‘Anora’. Photo: Courtesy of NEON.
Ani (Mikey Madison), whose full name is Anora, is a young Russian-American stripper who lives in Brooklyn’s Russian-heavy Brighton Beach community and is steered toward her club’s Russian clients because she can speak their language. One such client, a seemingly shy yet charismatic young man named Ivan “Vanya” Zakharov (Mark Eydelshteyn), arrives with fistfuls of money and loads of charm, and is immediately smitten with the alluring Ani.
It’s not long before Ivan invites Ani to his home for more private activities, and to be his “girlfriend” for a week – for which Ivan is willing to pay what to Ani is an exorbitant amount of money. His palatial home and endless supply of cash belie the fact that Ivan doesn’t “do” anything – while ostensibly in the U.S. to study, he is living off his parents’ largesse. The next week is a blur for Ani of constant sex, drugs, partying with Ivan and his friends, and even spontaneous trips – the last of which, to Las Vegas, ends with Ani and Ivan impulsively eloping.
It’s only after they get home, however, that Ivan’s parents – powerful, highly-placed Russian oligarchs — get wind of what’s happened through Toros (Karren Karagulian), Ivan’s handler, who is then tasked with having Ani and Ivan stay put until Ivan’s furious parents can arrive and get the marriage annulled. Ivan instead flees the house, so Toros and his two associates, Garnick (Vache Tovmasyan) and the surprisingly sensitive Igor (Yura Borisov), with Ani in tow, are forced on an all-night search for the drunken, dissolute, spoiled man-child. Meanwhile, Ani fights back ferociously, both physically and verbally, against potentially being forced to give up both her privileged new life and what she perceives as true love.
(L to R) Sean Baker, Mikey Madison, and Mark Eydelshteyn on the set of ‘Anora’. Photo: Courtesy of NEON.
Right out of the gate, Baker keeps ‘Anora’ moving at a furious clip, yet manages to never lose sight of the relationship at the heart of the story and the character at the center of that impetuous romance. Ani and Ivan share enough quiet moments together to at least give the impression that there is a true connection between them, although that’s interspersed with the frantic whirlwind of partying, sex, and hedonism that makes one wonder whether these two really have something or are just flying along on a rocket of youthful energy fueled by unlimited cash.
The pace doesn’t let up for the initial meltdown – when the beleaguered Toros and his goons show up – and even as Ivan flees like a child running from his parents in a tantrum, Ani shows another side of herself: cursing, screaming, fighting physically with enough raw strength and anger to hurt both of the tough-looking Russian guys sent to intimidate her. The initial confrontation between this petite young woman and these brawny men is a brilliantly edited combination of slapstick and heartfelt anger, with Madison leaving it all on the battlefield.
‘Anora’ sags a bit during the elongated second act, in which Ani, Toros, Igor, and Garnick hit just about every hangout in Brooklyn and Manhattan in search of Ivan – when it’s pretty obvious where they should look first. At 138 minutes, ‘Anora’ is a tad long, and this middle section could have easily benefited from being trimmed down, although in fairness the glimpses we get of life in Brighton Beach – one of Brooklyn’s most rugged immigrant communities, nestled in the shadow of Coney Island – are vivid and colorful.
It’s in the final act, with the arrival of Ivan’s haughty, entitled parents, that ‘Anora’ gets back to full power. As they attempt to have the marriage annulled, and force Ani into a seemingly no-win situation, certain characters are revealed for who they are (some surprisingly, some not), and the true message of ‘Anora’ comes poignantly through: to the people with the money and power, most of us are nothing but disposable servants and playthings. It’s a harsh lesson that Baker effectively portrays with the humanity and compassion he’s brought to all his work.
The Cast
(L to R) Mikey Madison as Ani and Mark Eydelshteyn as Ivan in ‘Anora’. Photo: Courtesy of NEON.
Right from the start, this is Mikey Madison’s show: previously known for playing Pamela Adlon’s daughter on the FX series ‘Better Things,’ as well as a role in 2022’s ‘Scream,’ Madison delivers a tour de force here, whether she’s making her sales pitch in Russian, seductively grinding for her clients at the club, plunging headlong into her new life as (essentially) a trophy wife, or fighting with everything she’s got to not have that life ripped away from her at a whim. Ani/Anora is simply an incredibly layered and complex character, possessed of both warmth and a singular, ferocious will to survive and assert her rights. That she does so with the odds stacked so heavily against her is one of her most endearing qualities.
The rest of the cast is a mix of Russian and Armenian actors, with Mark Eydelshteyn right on target as the spoiled, dissolute Ivan and Yuri Borisov, in his American debut, giving surprising depth and profundity to the quiet Igor. As with his previous projects, Baker casts not just the right faces – from lived-in to impassive – but gets actors who transmit the right amount of humanity and frailty no matter how tough they may seem.
Final Thoughts
(L to R) Mark Eydelshteyn as Ivan, Mikey Madison as Ani in ‘Anora’. Photo: Courtesy of NEON.
With ‘Anora’ having won the Cannes film festival’s highest, honor, the Palme d’Or, earlier this year, and the movie coming out right as awards season is heating up, there should be no question that Sean Baker’s film will be in the thick of the race. His eye for people working and struggling on the margins of society remains one of the most important in film today, and he would be a lock for best director, best original screenplay, and best editing nominations in our view.
As for Mikey Madison, it’s equally a no-brainer that she should land a berth in the best actress race. While a bit self-indulgent at times, ‘Anora’ is a thoroughly original combination of character study, chase movie, bedroom farce, and working-class comedy-drama that (if some of its subject matter doesn’t turn off those notoriously staid Academy voters) should rank as a top contender and one of the best films of the year.
‘Anora’ receives 8.5 out of 10 stars.
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What is the plot of ‘Anora’?
A Russian-American stripper named Anora (Mikey Madison) — or Ani for short – goes on a whirlwind romance with the son (Mark Eydelshteyn) of wealthy Russian oligarchs and ends up eloping with him. His parents find out about the marriage and plan to dissolve it – but Ani intends to fight to keep her man.
Mikey Madison stars in ‘Anora’. Photo: Courtesy of NEON.
Moviefone recently had the pleasure of speaking with Mikey Madison about her work on ‘Anora’, collaborating with director Sean Baker, preparing to play her character, and physically preparing for her action sequences.
You can read the full interview below or click on the video player above to watch our interviews with Madison, Mark Eidelshtein, Vache Tovmasyan, and Karren Karagulian.
Mikey Madison as Ani in ‘Anora’. Photo: Courtesy of NEON.
Moviefone: To begin with, filmmaker Sean Baker wrote the role of Anora with you in mind. Knowing that, was there added pressure for you while playing this part?
Mikey Madison: Oh my gosh, yes. To have a director like that approach me and want to work with me, I’ve never had that experience before. I did put a lot of pressure on myself to do this character justice and to live up to any expectations that he had of me. I think that I channeled that into just the immense amount of preparation I put into the character, all the mental preparation and the research, and then all the physical preparation I did, and the dance rehearsal. I think I overcompensated by doing all of that and then obviously learning Russian.
(L to R) Mikey Madison as Ani and Mark Eydelshteyn as Ivan in ‘Anora’. Photo: Courtesy of NEON.
MF: Can you talk about how you prepared to play this role?
MM: Everything. I think I went into the process and the preparation quite naively. I had been to a couple clubs and watched how women danced and moved. I did not expect it to be so physically demanding and difficult. It is the most physically challenging thing I’ve ever had to do, but it looks so effortless, which is the purpose of it. It’s supposed to be very sexy, effortless and erotic, and all the while you’re just holding yourself up, your upper body with your inner thighs. So, that to me was so challenging and really informed the way that I approached the character and what some of her mentality would be, and just how psychological that job is as well. You must be very intuitive to be in that line of work. Then the Russian was very difficult. It’s a very complicated language. I could go on and on, but my eyes were open to the kind of world that she lives in.
(L to R) Sean Baker, Mikey Madison, and Mark Eydelshteyn on the set of ‘Anora’. Photo: Courtesy of NEON.
MF: Finally, can you talk about how Anora defends herself in the movie and preparing for the fight scenes?
MM: It was very fun. It was funny, and very challenging. I was exhausted at the end of the day and covered in bruises that we were just covering up every day on set. But I knew that I did my job at the end of the day when I would just slump into bed because I knew I was exerting all the energy that I had into this sequence and her fight, and I wanted her to fight hard, and I wanted her to fight dirty and scrappy. So, I needed to just jump into it as much as I could. But oh God, yeah, there was so much laughing going on in that scene because there’s aspects of it that are just ridiculous. We had one take where I kick a character’s head into the glass table, and it shatters. One take to do it. So, it was so hard not to laugh afterwards because it was ridiculous just kicking this grown man through a table, but awesome.
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What is the plot of ‘Anora’?
Mikey Madison captivates as Ani, a young sex worker from Brooklyn whose life takes an unexpected turn when she meets and impulsively marries Vanya (Mark Eydelshteyn), the impetuous son of a Russian billionaire. However, when Vanya’s parents catch wind of the union, they send their henchmen to annul the marriage, setting off a wild chase through the streets of New York.
Slab City is a kingdom of squalor in California, but writer-director Sean Baker brings to life a diamond in the rough in his latest short film “Snowbird.”
Incredibly, its vibrant, mystifying landscape and quirky culture was captured entirely on an iPhone–as Baker previously did with his critically praised indie comedy “Tangerine.”
The film, released on YouTube on Monday, is a collaboration with fashion brand Kenzo, featuring clothes from the design house’s spring-summer 2016 collection by creative directors Humberto Leon and Carol Lim.
Speaking to The New York Times, Baker said he found a fashion film “so appealing” because “there would be a narrative and because I would be able to experiment.”
Adding, “This was the first time I was actually excited by a project I was being commissioned for.”
WATCH: “Tangerine” Director commander viagra et cialis Sean Baker on Shooting Film Entirely on iPhone
The 11-minute story follows a young woman, played by model Abbey Lee of “Mad Max: Fury Road,” as she interacts with her fellow residents of the desert campsite. Andy Warhol model Mary Woronov, “The Mob Squad” actor Clarence Williams III and real-life Slab City dwellers round out the cast.
The title “Snowbird” refers to Slab City’s seasonal inhabitants–mostly retirees, homeless folk and people who prefer to live on the fringe of society. With temperatures that reach 120-degrees during the summer, Slab City is only tolerable for most people during cooler climates, like in the winter.
Located 156 miles northeast of San Diego, the site is uncontrolled and has no electricity, running water, sewage or trash disposal. The squatters take up residence in RVs and utilize solar power and generators for energy. Slab City derives its name from abandoned World War II barracks.
In a previous interview with cialis pas cher boulogne billancourt Made in Hollywood, Baker explained his novel filmmaking approach using smartphones. “We did it out of budgetary constraints, quite honestly,” he explained at the time. “I’m on my fifth feature film and I’m out of favors—I couldn’t ask for the big cameras.”
