Cinema News

February 18, 2026 | View in browser

By Matt Brennan

Editor in Chief, The Envelope

We're in something like award season no man's land right now: the whirlwind of the Oscar nominees luncheon is behind us, but most of the major precursors have yet to be handed out. Which leaves less for the pundits to chew on, perhaps, though it also means there's finally some spare time to catch up on your reading.

I'm Matt Brennan, editor in chief of The Envelope. Let me be of some assistance.

Cover story: 'Sentimental Value'

After an entire award season's worth of conversations about one of the top contenders, it's rare to hear a new one this late in the game. But when I ran in "Sentimental Value" director Joachim Trier last week, he happily shared his point of view on an anecdote his editor, Olivier Bugge Coutté, recently shared with The Envelope about killing one of Trier's darlings. "He was right," Trier admitted with a half-rueful smile, after describing the elaborate aerial shot over a theater audience with which he originally intended to open the film.

Such candor is also a mark of contributor Bob Strauss' interview with Trier and star Stellan Skarsgård about making the year's most-nominated international feature, from their discussion of the stroke that permanently altered the actor's process to bon mots about the film's depiction of Netflix, demanding directors and more. I was most tickled by Skarsgård's, um, unvarnished description of the small screen: "The narrative form of television is based on you not watching," he tells Strauss. "It explains everything through dialogue so you can make pancakes at the same time."

Digital cover: Kate Hudson

When contributor Amy Amatangelo sent me her pitch for a story on "Song Sung Blue," it swiftly answered the question I want every pitch to answer: Why are you the right person to write this story?

"I am a lifelong Neil Diamond fan," she wrote. "My dad loved him. I saw him in concert as a child. My dad and I danced to 'Beautiful Noise' at my wedding."

So it was a no-brainer to set her up with this week's digital cover star, nominated for playing one half of the film's Neil Diamond tribute band. "Although she's had a slew of successes in the interim," Amatangelo writes of the 25 years since "Almost Famous," "it can sometimes seem that we've underappreciated, and perhaps underestimated, Kate Hudson."

'Train Dreams'' not-so-secret weapon

Speaking of pitches, the most frequently suggested subject for coverage since the Oscar nominations (not-named-Chalamet-or-DiCaprio division) may be "Train Dreams" cinematographer Adolpho Veloso. Which already made the Brazilian's wizardry one of the industry's worst-kept secrets. Count contributor Emily Zemler's profile among the final nails in the coffin.

"Capturing the enormous trees that would have existed in the early 20th century was a challenge," she writes of the film, which spans the life of an itinerant logger in the Pacific Northwest. "The production went to protected parks, where they had to be cautious about not affecting the environment. 'How do you shoot a movie where they're supposed to be cutting those trees, but they cannot even get close to those trees?' Veloso says. 'It was almost like shooting stunts.'"

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