Old favourites Shaun the Sheep, Dune, Jane Austen and Godzilla join Charles de Gaulle, the Peasants’ Revolt and queer identity in Spain

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• Big tech goes to Hollywood: is Silicon Valley ready for a silver-screen reckoning?

All release dates are UK and subject to change

Willem Dafoe is typically grizzled and poetic for this study of a near-retirement postal worker who, it turns out, was a beatnik rhymester of cachet – but no lasting renown – back in the day, and who has now been rediscovered by a new generation of literary hipsters. Director Kent Jones, adapting a novella by Arthur “La Ronde” Schnitzler, was the longtime head of the New York film festival; he might be in for a spot of late fame himself. AP
• 4 September

Its moguls are ripe subjects for drama, and there is huge anticipation for forthcoming features The Social Reckoning and Artificial. But other projects have failed as the film industry is increasingly colonised by IT empires

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‘I know there are easier enemies to make,” tech reporter Jeremy Allen White tells his colleague in a recent trailer for The Social Reckoning. “The mafia would be an easier enemy to make,” comes the reply. They’re talking about Mark Zuckerberg’s Meta, but they might as well be discussing big tech as a whole. As The Social Reckoning promises to underline, it’s become clear that these people are not on our side – “us” being the whole of humanity except billionaire tech overlords and their mates. But for an industry that loves a clear-cut baddie, Hollywood has barely landed a blow on the tech industry. Now it finds itself in mortal danger of being absorbed by it. Is it too late to fight back?

The Social Reckoning’s predecessor, The Social Network, showed how this kind of thing is done. It was pacy, buzzy and full of weirder-than-life characters – not least the young Zuckerberg, portrayed by Jesse Eisenberg as an obnoxiously smart mogul-in-the-making, whose mission to connect the world stood in stark contrast to his own social deficiencies. Directed by David Fincher and co-written by Aaron Sorkin, it was also a commercial and critical hit, winning three Oscars. But a big part of what made The Social Network work, and makes its sequel such a threat, is that it was about the actual, real-world Silicon Valley, which is where a lot of recent entertainment has gone wrong.