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The rollout, which kicks off exclusively at the IFC Center in New York City, is “spearheaded by The Guardian and mk2, who have assembled a team of U.S. and international partners and consultants to bring the film to audiences as quickly as possible,” according to a release.

The documentary will expand to Los Angeles and other markets on Oct. 9 and then roll out nationally.

It’s looking like a busy fall for theatrical releases of documentaries: buzzy nonfiction titles set for October openings include Alex Gibney’s “Musk” on Oct. 9 and Nathan Fielder and Lance Oppenheim’s Elizabeth Holmes doc “You Can See Everything” on Oct. 16.

Directed by Yuval Abraham and Rachel Szor, the two Israeli directors of the Oscar-winning documentary “No Other Land,” “NAZA” won a special jury prize at the recent Venice Film Festival. Its North American premiere is at The New York Film Festival on Sept. 26.

“No Other Land” was released in the U.S. through Cinetic with bookings by Michael Tuckman Media rather than using a traditional distributor.

Shot at night on the rooftops of Tel Aviv, “NAZA” reveals in detail the systems behind “Israel’s calculated mass killing of Palestinian civilians in Gaza,” according to the synopsis. NAZA is the military acronym used by Israeli intelligence to describe the number of civilians it expects will be killed in an airstrike.

Directors Abraham and Szor said in a statement, “We made this film out of a sense of obligation to use our position as Israeli filmmakers and journalists to examine the systems behind the mass killing of Palestinian civilians for which our country is responsible. While filming members of Israel’s military on rooftops at night in Tel Aviv over the past three years, we found ourselves asking the very questions that were asked by our grandparents’ generation and throughout the 20th century: how does one group of people allow the total dehumanization of another? What do the inner workings of such a system look like? Many of the revelations in the film were published almost immediately as we learned of them, in the months following the October 7th attacks, by The Guardian (one of NAZA’s producers), in collaboration with reporting partners +972 Magazine and Local Call. The film lets us explore something deeper than we could in our investigative journalism alone: not only the words being said but also those that are not said, the silence. It is up to all of us to break that silence.”

“NAZA” is produced by The Guardian and James Wilson (JW Films) and executive produced by Jonathan Glazer. %!s()

Spain’s San Sebastián Film Festival looks set to capture this momentum and also play a key role in Spain’s global breakout.  

“I’m 64. I’ve been programming cinema since I was 28. Spanish cinema has never been so powerful, with so many important international films,” says San Sebastían festival director José Luis Rebordinos. 

One reason, Rebordinos says, is the work of Spain’s broadcasters and streamers. This year’s San Sebastián is a case in point. Of pay TV/SVOD services, Movistar Plus, the biggest Spanish operator, has three titles in major sections at San Sebastián: “La Bola Negra,” a Neflix U.S. pickup, “El Castillo” and “5 Minutes More,” and Netflix Spain has one: “After Society.” 

A Movistar Plus Original like previous Cannes competition contenders “Sirāt” and “The Beloved,” “La Bola Negra” weaves the travails and legacy of Spain’s gay experience in 1932, Spanish Civil War-torn 1937 and 2017, picking up on four pages in an unfinished novel by revered poet-playwright Federico García Lorca. Javier Calvo and Javier Ambrossi direct.

“Above all, what we’re trying to do is to bet on the best talent, not on genres or formats but creators with their own voices,” says Movistar Plus director of contents Juan Andrés García Ropero.

“La Bola Negra” is also a reflection of the extraordinary ambitions of both Movistar Plus and Los Javis — as Calvo and Ambrossi are known in Spain. Its budget has been reported as anywhere between €14 million ($16 million) and €18 million ($20 million), which can only be achieved in Europe via a daring and bullish backing by a major player. 

Those ambitions are now scaling globally. “La Bola Negra” is already being talked up by awards pundits as a frontrunner to score an international feature nomination, plus possible recognition in other Oscar categories. 

Netflix, having picked up the U.S. and Canada at Cannes, has set a 47-day U.S. window between theatrical and streaming for “La Bola Negra,” from Oct. 16 to Dec. 1, the longest for any movie in the streaming giant’s history.

“La Bola Negra’s” screening at San Sebastián, theatrical bow in Spain via Elástica on Sept. 25 and its North American premiere at the Toronto Intl. Film Festival will be a further test of the film’s audience appeal.  

“Given its production standards, how it’s shot and told, ‘La Bola Negra’ becomes a great event. It will make a lot of noise in San Sebastián and I’m convinced it will mark a milestone in Spanish cinema, a great success for Movistar Plus and and Los Javis, taking them to another dimension,” predicts García Ropero. 

One large question at this year’s San Sebastián fest is whether six-part Movistar Plus series “El Castillo,” co-created by Isabel Peña, Rodrigo Sorogoyen’s career-long co-scribe, can now take Peña’s career to the next level. 

“El Castillo” follows Spain’s sex trade as it transforms from small road-side establishments to macro-brothels and nationwide organized crime. It‘s Peña‘’’s first solo outing.  

Building good word-of-mouth in the run-up to San Sebastián, “El Castillo” weighs in as an authentically tawdry chronicle told from a three viewpoints: sex worker Claudia, a single mother from Colombia, voracious prostitution kingpin Manuel and young inspector Liesa, part of a police special unit determined to bring Manuel down.

“Again, I think ‘El Castillo’ will make a lot noise and prove a conversation-driver at San Sebastián,” says García Ropero.

Feature “5 More Minutes” also looks like a step-up for writer-actor Berto Romero. A top Spanish standup, he has risen in the Movistar Plus ranks from star turns on late-night shows to a first fiction series, shepherding comedy “Look What You’ve Done,” and then “The Other Side,” a comedic-horror-thriller. 

In comedic sci-fi thriller “5 More Minutes” an on-the-rocks couple are caught in time loop at a rural getaway. 

“It’s not easy to blend comedy and fantasy,” says García Ropero. “Berto likes this mix of different genres and ‘5 More Minutes’ is a magnificent example.”

“Using the conventions of genre to subvert them, reshape them, and lead audiences to places other than where they expect to go is, to me, a fascinating way of telling stories,” adds Berto Romero.

With “Beyond Society,” Netflix is in business with a top-tier creative Spanish creative.

Created by Spain‘s high-grossing director, J.A. Bayona, and Carles Torrens, “Beyond Society,” a three-part nonfiction follow-up to “Society of the Snow,” also underscores the fluid migration between film and TV of many of Spain’s top cineastes. The doc series seeks narrative and emotional closure for Bayona and the cast of the film as they visit the scene of the 1972 Andes Flight 571 crash, subject of the narrative feature “Society of the Snow.”

“It was there that we realized just how closely the true story and the people who lived through the tragedy were already intertwined with the fictional characters we had created,” Bayona has commented. “Beyond Society” traces the 50 years following the tragedy, giving voices to the survivors and the relatives of the deceased and how that flight forever marked the lives of a community. %!s()

The firm was representing Combs, 56, in a $100m civil defamation lawsuit stemming from his conviction last year in a sex-trafficking and racketeering case that also saw him acquitted of the most serious charges.

Combs, Tremonte said in the filing seeking to withdraw as counsel as reported by NBC News, “has not paid a substantial balance of attorney’s fees, costs, and expenses” stretching more than six months.

“The firm’s representation has been rendered unreasonably difficult by Mr Combs’s lack of cooperation, resulting in a breakdown in attorney-client communications and rendering Sher Tremonte incapable of continuing to provide effective legal services to Mr Combs,” the filing, in US district court in the southern district of New York, said.

For four of the months, it said, Combs has “declined to make himself available for timely, substantive and direct communications about his cases”.

In a statement provided by his representatives to the news outlet, Combs accused his lawyers of overcharging, and said that he fired them.

“I made the decision to switch lawyers because I won’t let anyone take advantage of me by overcharging me and running up bills that were never approved,” he said. “This is strictly a business matter, and any talk about unpaid fees is just part of our dispute over those unapproved charges.”

In an email to NBC, Tremonte rejected Combs’s claims and insisted his company had represented its client “zealously and very efficiently”.

“As stated in our court filings, we are withdrawing from representing him because he has not paid his long-overdue invoices and has become uncooperative,” Tremonte said.

“Any suggestion that we overcharged him is simply false.”

Earlier this year, prosecutors in Los Angeles said they were mulling filing new sexual assault charges against Combs, who is currently incarcerated at New Jersey’s Fort Dix federal correctional institution.

Record producer Jonathan Hay has publicly accused Combs of “assault, sexual harassment, false imprisonment and infliction of emotional distress” during a 2020 collaboration relating to the estate of the late songwriter Christopher Wallace, better known as the rapper Notorious BIG.

Hay sued Combs and the Wallace estate for defamation in Los Angeles county superior court last year, and Wallace’s son, CJ Wallace, countersued Hay in an action in Florida.

In separate proceedings that gave rise to the payment dispute with Sher Tremonte, Combs is suing Courtney Burgess, a music manager who told a grand jury in 2024 that the hip-hop mogul gave him flash drives containing video of Combs sexually assaulting minors and fellow celebrities.

Earlier this month, TMZ reported, a judge allowed Combs’s case to proceed against Burgess, his lawyer Ariel Mitchell, and the media company Nexstar, which featured Mitchell on its NewsNation show vouching for Burgess’s assertions about the videos.

Combs has accused the pair of spreading “outlandish claims” and “wild lies” against him.

• This article was amended on 18 September 2026. An earlier version wrongly stated that Combs sued record producer Jonathan Hay for defamation. Hay is the plaintiff.

Aubrey Gemignani | NASA | Getty Images

SpaceX has expanded its contract with NASA and will conduct an additional three crewed Dragon flights to the International Space Station through 2030, netting Elon Musk's company up to $946 million upon completion.

The award for flight support brings SpaceX's total missions under the Commercial Crew Transportation Capability contract to 17 operational flights, the space agency said in a statement on Friday, and "helps NASA to maintain access to the space station with two unique commercial crew industry partners."

Boeing is also providing flights to the ISS for NASA via its Starliner, which is expected to fly without people on board in a few months, and to conduct crewed missions starting in the third quarter of 2027.

SpaceX will provide "ground, launch, in-orbit, and return and recovery operations, cargo transportation for each mission, and a lifeboat capability while docked to the International Space Station," NASA said.

SpaceX went public in June in the largest IPO on record. The company counts on government contracts from NASA and the Department of Defense to bolster its core launch business. Under this contract with NASA, SpaceX will have earned $5.92 billion from the space agency.

NASA's Crew 13 launch with SpaceX is expected in October, and Crew 14 is looking to fly next spring. Beyond its NASA flights, SpaceX is reportedly winding down its Dragon program, which began flying humans just six years ago. The company aims to use its Starship rocket, which is still in development, for most future launches.

WATCH: Likelihood of Tesla and SpaceX merging

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Pitt will produce the sequel alongside Dede Gardner and Jeremy Kleiner on behalf of Plan B, with Berger on board as executive producer.

The original “World War Z,” based on Max Brooks’ bestselling 2006 novel, “World War Z: An Oral History of the Zombie War,” made more than $540 million at the global box office. The film, directed by Marc Forster, starred Pitt as Gerry Lane, a former United Nations employee, in a race against time to stop a zombie pandemic. At CinemaCon in April, Paramount announced that a sequel was finally in active development after multiple attempts to get another movie off the ground, including a version from Pitt’s frequent collaborator David Fincher, which was scrapped in 2019.

The “World War Z” update comes amid Pitt’s press tour for his latest Paramount movie, “Heart of the Beast,” in theaters next Friday. The survival thriller, directed by David Ayer, follows a Special Forces officer and his combat dog who, after a devastating plane crash, get stranded deep in the Alaskan wilderness. Pitt will then reprise his Oscar-winning role in Netflix’s “The Further Mis-Adventures of Cliff Booth,” directed by Fincher from a screenplay by Quentin Tarantino. The movie debuts in Imax theaters globally on Nov. 25, then begins streaming on Dec. 23. Next up is “The Rider,” which Pitt and Berger wrapped filming on earlier this year; the movie is currently in post-production.

Pitt is represented by CAA and Brillstein Entertainment Partners; Berger is represented by CAA, Range, Casarotto Ramsay & Associates, and Hanson Jacobson; and Kelly is represented by UTA, Casarotto Ramsay & Associates, and Davis Law Group.

Deadline first reported the update on the sequel’s development. %!s()