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‘Pan’s Labyrinth’, ‘The Fast and the Furious’ In Cannes Classics

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Pan’s Labyrinth and The Fast and the Furious are set to roar back onto the Croisette as part of this year’s Cannes Classics lineup, a typically eclectic mix of restored masterpieces, rediscoveries and film heritage tributes that underscores the section’s growing clout within the festival’s official selection.

Nearly two decades after its launch, Cannes Classics has become a cornerstone of the Cannes program, spotlighting restoration work from archives, studios and cinematheques around the world. This year’s edition, dedicated to the memory of production designer Dean Tavoularis (The Godfather, Apocalypse Now), will present 22 feature restorations, three shorts and six documentaries, alongside two contemporary films.

Guillermo del Toro’s Pan’s Labyrinth will screen as a pre-opening selection in a newly restored 4K version, marking the 20th anniversary of its Cannes debut, where it famously drew a record-breaking 22-minute standing ovation. Del Toro will be on hand for the screening. At the other end of the Croisette spectrum, Rob Cohen’s street-racing hit The Fast and the Furious gets a midnight slot at the Grand Théâtre Lumière, with cast members Vin Diesel, Michelle Rodriguez and Jordana Brewster attending.

The restored lineup spans continents and eras, from Artavazd Pelechian’s quartet of films in the Pelechian Project to Andrzej Wajda’s Man of Iron, Luchino Visconti’s The Innocent and Akira Kurosawa’s Sugata Sanshiro. Also featured are new restorations of Moonlighting from Jerzy Skolimowski and Metti una sera a cena, with Dario Argento set to present.

Beyond the restorations, Cannes Classics continues to lean into documentary storytelling about cinema itself. This year’s selection includes portraits of Bruce Dern in Dernsie: The Amazing Life of Bruce Dern, with Dern and his daughter Laura Dern attending, and David Lean in Maverick: The Epic Adventures of David Lean. Other titles explore the legacies of Vittorio De Sica and Chris Marker, while Irish documentarian and Cannes regular Mark Cousins returns with The Story of Documentary Film (The 70s).

The section will also host two new works: Bérenger Thouin’s The Golden Age, a sweeping fictional portrait of a woman navigating the 20th century, and Jean-Gabriel Périot’s A Life, A Manifesto, a documentary tracing the life of critic, filmmaker and revolutionary Michèle Firk.

Three short films will screen in a special program featuring Jia Zhang-Ke, Dustin Yellin and Amirhossein Shojaei, with talent including Zhao Tao, Paul Rudd and Darren Aronofsky expected on the Croisette.

Screenings will take place across the Buñuel and Agnès Varda theaters as well as at the Cinéma de la Plage.

Full lineup:

Restored prints:
Pan’s Labyrinth (Guillermo del Toro, 2006)
The Fast and the Furious (Rob Cohen, 2001)
Pelechian Project (Artavazd Pelechian, 1966–1975)
Sierra de Teruel (Espoir) (André Malraux, 1938)
Moonlighting (Jerzy Skolimowski, 1982)
Metti una sera a cena (Love Circle) (Giuseppe Patroni Griffi, 1968)
Amma Ariyan (Report to Mother) (John Abraham, 1986)
Farewell My Concubine (Chen Kaige, 1993)
Man of Iron (Andrzej Wajda, 1981)
Eva (Maria Plyta, 1953)
The Devils (Ken Russell, 1971)
La casa del angel (The House of Angel) (Leopoldo Torre Nilsson, 1957)
La ciociara (Two Women) (Vittorio De Sica, 1960)
La dérive (The Drift) (Paula Delsol, 1964)
La symphonie pastorale (Pastoral Symphony) (Jean Delannoy, 1946)
L’innocente (The Innocent) (Luchino Visconti, 1976)
Lu Bing Hua (The Dull-Ice Flower) (Yang Li-Kuo, 1989)
Machine Gun Kelly (Roger Corman, 1958)
Meeuwen sterven in de haven (Seagulls Die in the Harbour) (Roland Verhavert, Rik Kuypers, Ivo Michiels, 1955)
Sugata Sanshiro (Akira Kurosawa, 1943)
Tilaï (Idrissa Ouedraogo, 1990)
The Stranger (Orson Welles, 1945)

Documentaries:
The Story of Documentary Film (The 70s) (Mark Cousins, 2026)
Dernsie: The Amazing Life of Bruce Dern (Mike Mendez, 2026)
Maverick: The Epic Adventures of David Lean (Barnaby Thompson, 2026)
Vittorio De Sica – Staging Life (Francesco Zippel, 2026)
Mon Coluche à moi (My Coluche) (Michel Denisot, Camille Bruere, Julie Lazare)
Nostalgia for the Future (Brecht Debackere, 2026)

Contemporary films:
The Golden Age (Bérenger Thouin, 2026)
A Life, A Manifesto (Jean-Gabriel Périot, 2026)

Short films:
Goodnight Lamby (Dustin Yellin, 2026)
Torino Shadow (Jia Zhang-Ke, 2026)
Playground (Zamine Bazi) (Amirhossein Shojaei, 2025)

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Neil Patrick Harris Set For ‘Damn Yankees’ Broadway Revival

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Whatever Lola wants, Broadway provides! A Damn Yankees revival is set for the Great White Way in Spring 2027, with Neil Patrick Harris as the devilish Mr. Applegate.

On Sunday, the Tony-winning actor arrived at Yankee Stadium in the Bronx to announce the revival in a press conference, along with co-stars Julianne Hough and Austin Scott, who have been cast Mr. Applegate’s seductive assistant Lola and the susceptible young baseballer Joe Boyd.

Beginning previews at the Marquis Theatre on March 24, 2027, one day before the first Yankees game of the season, the official opening night is set for April 20.

Directed and choreographed by Sergio Trujillo, additional casting will be announced soon for the latest update of Richard Adler, Jerry Ross, George Abbott and Douglass Wallop’s 1955 musical comedy, featuring a new book by Will Power and Doug Wright, with additional lyrics by Lynn Ahrens.

Set in 2000, this version of Damn Yankees sees impassioned Baltimore Orioles fan Joe Boyd makes a deal with charming stranger Lola to give him and his team a second chance. But he’s not quite prepared for the consequences of his wish.

Watch the press conference below:

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Indie Film Box Office: ‘Your Mother Your Mother Your Mother’ Opens Strong

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Bassam Tariq’s Mahershala Ali-starring TIFF favorite Your Mother Your Mother Your Mother had a strong limited opening as distributor Amazon MGM launched the awards contender into a platform release hewing to the path of American Fiction..

Also this weekend, A History of Concrete had a terrific expansion, as did If I Go Will They Miss Me. Late summer phenomenon Buddy is still scaring up box office.

Your Mother Your Mother Your Mother launched in six theaters in New York and Los Angeles to $199k ($33.1k per screen average). The awards contender by Tariq (Mogul Mowgli) is Certified Fresh at 97% on Rotten Tomatoes with strong exit polling that showed a 60% ‘excellent’ with an 89% in the top two boxes and an overall 80% ‘definite recommend.’ Ali stars as Latif, a devoutly religious hitman who struggles to balance work, faith and fatherhood. When his wife dies, he embarks on a desperate journey across Houston to protect his children.

A hefty 47% of the audience for the action drama was 25–34. Some 72% is non-white with at 41% African American, 18% Hispanic, and 19% Asian.

Tariq (Mogul Mowgli) “has a unique voice” with a young cinephile audience,” says Amazon MGM Studios head of domestic theatrical distribution Kevin Wilson. “And having [Ali] as an actor is making a lot of people pay attention.”

Comps aren’t obvious but he says the best one may be 2023 multi-Oscar-winner American Fiction by Cord Jefferson, starring Jeffrey Wright. The comedy-drama had a strong limited opening ($224k) followed by a slow rollout. Your Mother Your Mother Your Mother is eyeing 15 locations next week including Atlanta, Chicago, Washington, D.C. and Austin, playing in particular to non-white audiences who championed the movie’s debut. It will hit the top 10 to 12 markets, 30 to 40 screens, the following week, and move into moderate release Oct. 16 with 500 to 800 locations.

Platform rollouts are heavily reliant on word of mouth. “The best thing is other moviegoers telling their friends how good the film is,” Wilson says. Both Your Mother Your Mother Your Mother and American Fiction are from Amazon MGM’s Orion Pictures banner, which has had a great run under President Alana Mayo with titles from Nickel Boys and Till to Bottoms and Women Talking.

New indie releases: Ha Chan,Shake Your Booty! from Sony Pictures Classics directed by Josef Kubota Wladyka opened to $236.6k on 540 screens.

The Stunt Driver from IFC Films, by Michael Dowse starring Jay Baruchel, debuted with $102k at 670 locations.

Deep In The Heart 2: A Texas Rivers Story, directed by Ben Masters and narrated by Ethan Hawke, grossed an estimated $60k from 80 theaters across the state, as per mtuckman Media. This is a follow-up to 2022 doc Deep in the Heart: A Texas Wildlife Story, narrated by Matthew McConaughey, that grossed $480k.

Janus Films presented the 4K re-release of Douglas Keeve’s UNZIPPED exclusively at the Film Forum in NYC to $24k including sold out Q&As. The doc chronicles the launch of Isaac Mizrahi’s legendary Fall 1994 collection. Expands nationwide in October.

Sumerian Pictures opened Sundance comedy The Incomer on two screens (NYC and LA), grossing an estimated $18.2k.

Greenwich Entertainment’s The Scout is eyeing a $14.5k, also at Film Forum exclusively. The debut feature from Paula González-Nasser adds LA next week.

Holdovers: John Wilson’s comedic documentary The History Of Concrete from Magnolia Pictures had a strong expansion to 50 screens (from 1), grossing an estimated $350k for a cume of $511k. Expand to over 50 markets next week.

If I Go Will They Miss Me from Rich Spirit, starring Danielle Brooks and J Alphonse Nicholson and directed by Walter Thompson-Hernandez, is reporting $158k in week 3 on 101 screens for a $758k cume. Many engagements saw higher box office this weekend over last despite fewer shows due to a rush of new releases, indicating strong word of mouth.

American Doctor from Watermelon Pictures passed the half million mark with $23k at 30 theaters. The cume to date is $556.7k for the Gaza-set documentary that opened August 14.

R-rated kids show horror satire Buddy from Roadside Attractions is looking at another $717k from 709 runs for a cume pushing $26.4 million since its August 28 opening.

Daniel And The Fiery Furnace from faith-based distributor EKKL Entertainment is reporting a $1.5 million second weekend on 1,301 screens for a $6.2 million cume.

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Robert Pattinson’s Batman Would Be Tough to Exist in James Gunn’s DCU

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Robert Pattinson doesn’t see his version of Batman interacting with other DC superheroes within James Gunn‘s cinematic universe.

While Batman and Superman have one of the most famous friendships in DC Comics, the Primetime star recently explained to LADbible why it would be “tough” for director Matt Reeves’ version of Bruce Wayne to exist in Gunn’s DCU, such as with David Corenswet’s Superman.

“I think it would be kind of tough to have this version of Bruce outside of that world. It’s one of the only characters, I guess because of the length of the shoots but also it’s such a specific kind of [style], the tone of it gets inside you,” Pattinson said. “I remember that happened to me the last time I did it, it took a while. You’re just in the dark, the whole time. Both mood-wise and light-wise, I can’t see anything for like months. It does affect you; like you feel strange afterwards.”

Reeves’ The Batman, released in 2022, is a darker take on the iconic character, as it’s a grounded psychological crime noir rather than a typical superhero action pic. The film sees Pattinson’s Batman investigate Gotham’s hidden corruption after a sadistic serial killer begins murdering key political figures.

Pattinson reprised his character for Reeves’ The Batman Part II, which is currently in production and set to hit theaters on Feb. 18, 2028.

The Odyssey actor recently teased to Collider that the sequel is “a real left turn from the first” movie, adding that “it’s so ambitious.”

“The first one was a different take on a Batman movie, and this one is another… It’s a real left turn from the first one, but somehow it keeps elements of the kind of feel of it,” he explained. “But it just feels really ambitious, and I’m excited to see how it turns out.”

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