Skip to content

Hot Shoe

Filmmaker Magazine

19 stories

Filmmaker MagazineCinemaSpa Eclectics: At Karlovy Vary The Karlovy Vary International Film Festival has walked an improbable path of occupation, compromise, and survival.

Filmmaker MagazineCinemaWeaving The Odyssey When Christopher Nolan hired Jennifer Lame to edit Tenet, his 2020 sci-fi action thriller, she’d never worked on a project quite like it before.

Filmmaker MagazineCinemaRemembering Sam Neill I never got to meet Sam Neill, but I thought of him as a neighbor for a very specific reason: like me, he had sat in the front row to watch a movie at the Eglinton Theatre.

Filmmaker MagazineCinemaNo Picnic Feasts at Film Forum In 1985, downtown cinephile Phil Hartman used profits from the Great Jones Cafe, a beloved Cajun-inspired NoHo bar he cofounded two years earlier, to direct his first—and, to date, only…

Filmmaker MagazineCinemaDo You Love Me Reassembles Lebanon’s Cultural Memory Lana Daher’s debut feature, Do You Love Me (2026), is a kaleidoscopic exploration of Lebanon’s cultural memory.

Filmmaker MagazineCinemaFull Sail University Teams Sweep All Three Major Awards in Coca-Cola Refreshing Films Program [Sponsored] Full Sail University teams swept the competition in the 2026 Coca-Cola Refreshing Films program, earning top honors across the nationwide filmmaking contest.

Filmmaker MagazineCinemaThe Emmys’ Locks, Hopefuls, and Snubs This morning, Emmy winners Liza Colón-Zayas (The Bear) and Jeff Hiller (Somebody Somewhere, nominated again this year for his guest role in Pluribus) announced the nominees for the 78th Emmy Awards…

Filmmaker MagazineCinemaTake Care: Georgia Bernstein on Night Nurse I could tell by the title sequence alone—the camera gliding along a body, following the path of a telephone cord—that Night Nurse (2026) would not be like the other movies I had been seeing at…

Filmmaker MagazineCinemaThe Los Angeles Film School: Craft your story, leave a legacy [Sponsored] There’s no industry more sought after than entertainment. Industry hopeful dream of being top-tier directors, thought-provoking screenwriters, or successful producers.

Filmmaker MagazineCinemaScary Movie and the Wayans’ Spoof Empire The latest installment in the Scary Movie franchise is the sixth, though the numeral is pointedly left off the title. This is a form of protest.

Filmmaker MagazineCinema“We’re Magnifying Stupid”: Jeff Tremaine on Jackass: Best and Last In Jackass: Best and Last (2026), some of the cast get unexpectedly wistful about the possibility that this will be the final chapter of the brilliantly sophomoric series.

Filmmaker MagazineCinemaFix Your Heart or Die: Adrian Chiarella on Leviticus Leviticus (2026), Adrian Chiarella’s debut feature, begins with an archetypal horror image: a “little death” that begets a big one.

Filmmaker MagazineCinemaSlow Burn: Dispatch from Cannes The wearied refrain—Cannes 2026 was a ho-hum edition, no masterpieces to see here, take the earlier flight home—obscured the quiet revolution taking place in film after film.

Filmmaker MagazineCinemaLive From Cine Gear Expo 2026 If NAB Show seems to inspire a mini–existential crisis in me each year, as I am forced to reckon with cinema’s diminishing relevance amidst other growth arenas in video, Cine Gear Expo invites more…

Filmmaker MagazineCinemaColbert, Kimmel, and the Battle of Late Night While covering the Academy Awards may have its challenges, the Emmys are a much bigger venture. Twenty-three awards will be handed out at the Primetime Emmys on September 14, honoring nominees across…

Filmmaker MagazineCinemaThe Gotham EDU Announces 2026 EDU Film and Media Career Development Program Cohort The Gotham, Filmmaker’s publisher, announces today the cohort of the 2026 edition of The Gotham EDU Film and Media Career Development Program.

Filmmaker MagazineCinemaI Shot I Shot Andy Warhol Before she brought the charismatic serial killer Patrick Bateman to life in American Psycho (2000) Mary Harron devised a portrait of another kind of New York pathology with I Shot Andy Warhol (1996).

Filmmaker MagazineCinema“I Hope They Boo”: Tim Heidecker and Eric Wareheim Take Cannes Laurel and Hardy, Martin and Lewis, Nichols and May… Tim and Eric. A double-act for the ages, Tim Heidecker and Eric Wareheim first teamed up as students at Temple University in Philadelphia, and…

Filmmaker MagazineCinemaTaiwan International Doc Fest: The Island a Stage In 1998, the Taiwan International Documentary Festival held its first edition, a decade after martial law was lifted in the island nation.

On the calendar

· Trade shows and launch events, this week's stories from each corner of the industry, and what its press is covering.

On view

This week, from that corner the newest stories from the corner of the industry you picked

The wire their own posts, translated

How pictures get made in 2026 from the industry's own reports

Sources

Fetched every three hours, linked to the original

About

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo