Rob London

Published Sep 23, 2026, 12:00 PM EDT

A cinematic obsessive with the filmic palate of a starving raccoon, Rob London will watch pretty much anything once. With a mind like a steel trap, he’s an endless fount of movie and TV trivia, borne from a misspent youth of watching monster movies on TV, perusing the sun-faded goods at the local video rental shop, and staining his fingers with ink from the Video Movie Guide. Areas of interest include science fiction, film noir, horror flicks, ’70s disaster pictures, Bond movies, ’90s action, giant robots, dinosaurs, super heroes, and the exuberantly schlocky output of Cannon Films. He also enjoys both Star Trek and Star Wars when they’re good, and maybe even more when they’re bad. As a Canadian, he also has a vested interest in Canadian movies and TV shows, especially the cheesier ones dubbed “Canuxploitation.”

An expert on Marvel Comics, he has also written for the Official Handbook of the Marvel Universe, and is a member of the Marvel Research Team. He can frequently be found pontificating on comic-book continuity or bemoaning the misfortunes of the Toronto Maple Leafs on his Twitter account.

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Before his death in 2023, Norman Lear was one of the titans of American television. Now, one of his last projects is coming to home video next month: the Argentinian romantic drama Before We Forget. Collider is proud to exclusively present a new trailer for the film, which will be released on digital and DVD on October 20. Before We Forget, which was also released at festivals under the name Duino, was co-written, co-directed, and stars Juan Pablo Di Pace (Mamma Mia!). He co-wrote and co-directed with Andrés Pepe Estrada. Lear executive produced the film with Jim Burba, Kent Robert Gibbons, Bob Hayes, Margret H. Huddleston, Massimiliano Milic, Brent Miller, Stephanie Slack; Di Pace produced it with Guillermo Escalona, Amanda Lenker Doyle, and Alvaro R. Valente.

In our exclusive trailer, we cut between the past and the present; in the past, Matias (newcomer Santiago Madrussan) is an Argentinian student at an international school in Duino, Italy, in 1997; he befriends Swedish student Alex (Oscar Morgan, A Knight of the Seven Kingdoms), and that soon deepens into something more. However, Alex’s sister, Kathrine (Julia Bender, Maleficent: Mistress of Evil), also has feelings for Matias. Now, 20 years later, Matias (Di Pace) is a film producer looking to make a movie about his boyhood experiences, and comes across an old VHS tape of him and his friends. As he recalls his time with them, he looks to reconnect with a now-grown Alex (August Wittgenstein, Das Boot) and Kathrine (Krista Kosonen, Backrooms). This time, he’ll have a chance to rewrite his story’s ending.

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

A screenwriter and producer, Lear broke out in 1971 with All in the Family, a sitcom that tackled the leading social issues of the day head-on. More hits, all distinctly politically charged, followed, including Sanford and Son, Maude, The Jeffersons, and Good Times. He also ventured on to the silver screen, executive producing The Princess Bride and Fried Green Tomatoes. Lear was a dedicated progressive activist, founding People for the American Way to counteract right-wing groups like the Moral Majority. He continued working right up to his 2023 death; several of his final projects, including the sitcoms ***Boots ***and Clean Slate, were released posthumously.

Before We Forget will be released digitally and on DVD on October 20. Stay tuned to Collider for future updates.

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Juan Pablo Di Pace