Who knew demon hunting could be so catchy? A K-Pop animated film is smashing Netflix records while the Venice Film Festival brings both cinematic brilliance and real-world protests. Plus, the Oscar race is already getting intense with early international feature submissions. Which story has you most intrigued?

The global entertainment landscape is currently buzzing with several significant developments, from the unexpected triumph of a K-Pop animated sensation on streaming platforms to the unfolding drama at a prestigious European film festival, and the early contenders emerging for a coveted international cinema award. These diverse narratives collectively underscore the dynamic shifts within the film industry and the ever-evolving nature of global entertainment, capturing worldwide attention and sparking crucial conversations.

At the forefront of the streaming revolution is “KPop Demon Hunters,” an animated feature that has achieved unprecedented “Netflix Success,” captivating an estimated 250 million viewers globally since its June launch. This film’s ridiculously catchy hooks and compelling premise—following K-Pop superstars who moonlight as demon hunters—have propelled it to become Netflix’s most popular film ever, surpassing established blockbusters. Remarkably, the movie demonstrates an unusual resilience in audience retention, with virtually no decline in viewership week after week, a true rarity that delights executives focused on subscriber engagement and co-viewing.

Despite its massive streaming footprint, the film’s theatrical box office performance was shrouded in mystery, with reports indicating Netflix instructed exhibitors to shield ticket sales data. This strategic opacity, characteristic of the streaming giant, further highlighted the film’s immense popularity when “KPop Demon Hunters” was officially confirmed as a major hit. Its blend of popular music culture and demon-hunting action positions it perfectly as a potential launching pad for a major “Global Entertainment” franchise, tapping into an insatiable worldwide demand for K-Pop and compelling storytelling.

Meanwhile, the historic “Venice Film Festival” commenced with a series of high-profile premieres and appearances by top-tier auteurs such as Paolo Sorrentino and Yorgos Lanthimos. However, the initial days of the festival were dominated not by cinematic reviews, but by anticipated political activism. Protests related to ongoing global conflicts materialized on opening night, with hundreds of political and grassroots organizations planning an “anti-genocide march” to draw international attention to human rights issues amidst the glamour of the Lido.

This socio-political backdrop at the “Venice Film Festival” was further amplified by the inclusion of Kaouther Ben Hania’s Gaza-set drama, “Four Daughters,” in the official competition. The film, which depicts the tragic killing of a six-year-old girl, received a significant show of support from Hollywood luminaries including Brad Pitt and Joaquin Phoenix. The convergence of cinematic artistry and real-world protests at Venice underscores the festival’s role not just as a cultural event, but as a platform for global discourse, even as other highly anticipated films like Luca Guadagnino’s “Queer” prepare for their debuts.

Beyond Venice, the “Oscar International Feature” race is already heating up, with nine submissions pouring in since Monday for the 2025 Academy Awards. Film industry enthusiasts are closely watching these early contenders, hoping to replicate the success of past winners. Notable entries include a buzzy Cannes pic co-written and edited by a previous awards season dominant director, which follows a single mother’s journey to open a night market stall in Taipei, showcasing diverse global narratives.

Other significant “Oscar International Feature” submissions include Joachim Trier’s “Armand” from Norway, following his prior nomination for “The Worst Person in the World,” and Kaouther Ben Hania’s aforementioned “Four Daughters” from Tunisia. These early selections, alongside picks from Japan, Canada, and Jordan, highlight the rich tapestry of international cinema vying for global recognition. The robust early competition sets the stage for an exciting awards season, eagerly tracked by those within the “Film Industry.”