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Steven Soderbergh famously had a year when everything seemed to go his way as a filmmaker and it culminated in March 2001 when the Louisiana native arrived at the 73rd Academy Awards with two nominations for best director (for the narco-epic Traffic and the rousing bio-pic Erin Brockovich) and took him the trophy (for Traffic) despite the considerable competition. What’s less well known is the ordeal that led up to that golden year, an ordeal that Soderbergh describes as nearly catastrophic career experience.

The Limey, now regarded as a classic of modern California noir, has just been released for the first time in the Digital 4K Ultra HD format by Lionsgate to mark the film’s 20th anniversary. The remastering process forced Soderbergh to return to the scene of the crime. He found a movie that is inventive and stylish and filled with...

Netflix has released its list of everything new coming to the streaming service in January, and everything that’s leaving at the end of the month.

Of all the Netflix originals to look forward to next month, “Messiah,” out Jan. 1, is not to be missed. It follows CIA officer Eva Geller (Michelle Monaghan), who uncovers information about a man (Mehdi Dehbi) who claims to be the son of God. As he gains followers who believe he is the Second Coming, Geller races find out whether he really is a divine entity — or just a con artist set on dismantling the world’s geopolitical order

Other Netflix originals to look out for include “Anne With an E: The Final Season,” a modern retelling of “Anne of Green Gables,” out Jan. 3, “Cheer,” out Jan. 8, a cheerleading documentary series from the director of “Last Chance U,” Season 6 of “Grace and Frankie,” out Jan.

The upcoming third season of Netflix’s “Anne With an E” will be its last, a spokesperson for the streaming service confirmed to TheWrap.

The final season debuts Jan. 3.

Based on the Canadian novel “Anne of Green Gables” by Lucy Maud Montgomery, the story was reimagined by series creator Moira Walley-Beckett. The coming-of-age story follows Anne Shirley-Cuthbert (Amybeth McNulty), a fierce, starry-eyed, irrepressible 14-year old, and explores themes of identity, prejudice, feminism, bullying, gender parity and empowerment, according to Netflix.

Also Read: 'Sex Education' Season 2 Gets Premiere Date From Netflix

“We’ve been thrilled to bring the quintessentially Canadian story of ‘Anne with an E’ to viewers around the world. We’re thankful to producers Moira Walley-Beckett and Miranda de Pencier and to the talented cast and crew for their incredible work in sharing Anne’s story with a new generation. We hope fans of the show love this...

A follow-up course in Sex Education has been added to Netflix’s winter curriculum: The streamer announced Monday that Season 2 of the acclaimed British comedy will drop all eight episodes on Friday, Jan. 17.

Netflix unveiled the premiere date along with the following mural, which features the show’s main characters: Otis (played by Asa Butterfield), Eric (Ncuti Gatwa), Maeve (Emma Mackey), Jackson (Kedar Williams-Stirling), Aimee (Aimee Lou Wood), Adam (Connor Swindells), Ola (Patricia Allison) and Lily (Tanya Reynolds).

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Netflix has announced that the second season of its British comedy Sex Education will premiere on January 17, 2020.

“Get in losers, the new term is starting,” Netflix UK & Ireland tweeted on Monday, announcing the return of the Eleven Film show, starring Gillian Anderson and Asa Butterfield.

Get in losers, the new term is starting. Sex Education s2 streaming 17 January 2020. pic.twitter.com/itDARGz5ba

— Netflix UK & Ireland (@NetflixUK) November 25, 2019

In the high school drama’s second season, Butterfield’s character Otis Milburn must master his newly discovered sexual urges in order to progress with his girlfriend Ola, played by Patricia Allison, while also dealing with his now strained relationship with Maeve, played by Emma Mackey.

At the same time, Moordale Secondary is in the throes of a Chlamydia outbreak and Milburn is coming to terms with his mother’s new relationship. Anderson plays Milburn’s mom, Jean, and Mikael Persbrandt features as her lover Jakob.

SplitThe Israel Film Archive’s curated program at the International Short Film Festival Oberhausen this year contained the first-ever screenings outside of Israel of David Avidan’s ribald, provocative, heretical, language-fed and machine-made cinema-poems. One of the country’s most avant-garde poets in the 1960s, in a time when Israel was still a cultural backwater struggling to define itself, Avidan had the courage to go against the grain of Israeli poetry to define himself as a transmedia artist, a futurist, and internationalist poet. The perspective of Avidan’s films is simple: that of revolt. In this his cinema most closely resembles that of Jean-Luc Godard’s more cantankerous films—whatever anyone could postulate, Avidan’s position could always be summarized as “no.” This stance of negation that links Avidan and Godard in their fundaments also emerges from the same source: it is language which nourishes both of their cinematic ideas.

The stories are legion, and they are remarkably similar. Some begin in a Buffalo, New York, concert hall in 1978; others in a five-star hotel in Venice in 1998. But it usually starts with a seemingly benign offer of help, or a friendly chat, or a meeting about the next step in someone’s career. Then maybe, suddenly, there’s only one room on a business trip because of a booking “mistake.” Or a lunch meeting mysteriously gets moved to a penthouse suite. Or an insistence that this man, a modern-day movie...

As an early supporter of the feminist movement and gay rights as well as a multihyphenate actress-playwright-director-producer-singer, Mae West (born in 1893) was always ahead of her time. She also knew how to generate controversy to her advantage. Using the pseudonym Jane Mast, West wrote and starred in her own plays, including the 1926 Broadway show Sex that landed her in jail on charges of corrupting the morals of young people. As the starlet famously said, “When I’m good, I’m very good; but when I’m bad, I’m better.”

Signing a contract with Paramount Pictures in ...

As an early supporter of the feminist movement and gay rights as well as a multihyphenate actress-playwright-director-producer-singer, Mae West (born in 1893) was always ahead of her time. She also knew how to generate controversy to her advantage. Using the pseudonym Jane Mast, West wrote and starred in her own plays, including the 1926 Broadway show Sex that landed her in jail on charges of corrupting the morals of young people. As the starlet famously said, “When I’m good, I’m very good; but when I’m bad, I’m better.”

Signing a contract with Paramount Pictures in ...