Reviews Lifestyle The New Sober Boom Getting Hooked on Quitting Education Liberal Arts Cuts Are Dangerous Is College Necessary? Finance Dying Parents Costing Millennials Dear Gen Z Investing In Le Creuset Crypto Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC

Lifestyle The New Sober Boom Getting Hooked on Quitting

Getting Hooked on Quitting

Education Liberal Arts Cuts Are Dangerous Is College Necessary?

Liberal Arts Cuts Are Dangerous

Is College Necessary?

Finance Dying Parents Costing Millennials Dear Gen Z Investing In Le Creuset

Dying Parents Costing Millennials Dear

Gen Z Investing In Le Creuset

Crypto Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC

Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC

SEC vs Celebrity Crypto Promoters

‘Dark’ Personalities Drawn to BTC

Reviews Lifestyle The New Sober Boom Getting Hooked on Quitting Education Liberal Arts Cuts Are Dangerous Is College Necessary? Finance Dying Parents Costing Millennials Dear Gen Z Investing In Le Creuset Crypto Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC

Lifestyle The New Sober Boom Getting Hooked on Quitting

Getting Hooked on Quitting

Education Liberal Arts Cuts Are Dangerous Is College Necessary?

Liberal Arts Cuts Are Dangerous

Is College Necessary?

Finance Dying Parents Costing Millennials Dear Gen Z Investing In Le Creuset

Dying Parents Costing Millennials Dear

Gen Z Investing In Le Creuset

Crypto Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC

Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC

SEC vs Celebrity Crypto Promoters

‘Dark’ Personalities Drawn to BTC

“Remake” will shift your perspective on grief

In his magnificent documentary, Ross McElwee evaluates the role of his films in the life and death of his son

Published July 24, 2026 10:30AM (EDT)

Early in his extraordinary new documentary, “Remake,” seasoned filmmaker Ross McElwee reminisces with his young son, Adrian, about their travels together, presenting McElwee’s films at various festivals around the world. “What’s your favorite place that we’ve been to, Adrian?” McElwee asks his son in the archival footage. Adrian recalls a snafu from the Munich Film Festival, but can’t quite remember the details. McElwee explains that the numbers on his film reels were mislabeled, causing extended confusion as they tried to put the footage back in the correct, chronological order. Still a child, Adrian looks off into the distance, biting his gelato spoon while registering the information.

Then the footage burns out, replaced by shots of Adrian across his youth, preserved in celluloid amber: raking leaves on an autumn afternoon, waving a sparkler around in the summertime, looking at himself in the mirror as a baby. McElwee’s voice, more mature and stoic than before, fades in. “The story I thought I was telling with my filmmaking, the stories of lives lived over decades, is now disjointed, confused — the reels are all out of order,” he says. “First there is a father, and he has a son: me. But then it starts all over. I am now father, and I have a son: you. But something goes awry. Something goes off-script. And then, suddenly, you’re gone.”

“Remake” is McElwee’s first film in 15 years, appearing like a jewel out of a mountain of life’s rubble. His extended absence from filmmaking was necessitated by........

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