Joel and Ethan Coen are considering a return to Minneapolis for a potential reunion movie, eight years after their last joint film, Netflix’s “The Ballad of Buster Scruggs.” For now, however, the filmmakers are stopping well short of confirming which project — if any — will move forward.
The brothers discussed their possible comeback while receiving a career tribute at Lyon’s Lumière Film Festival. They revealed that several prospective projects are set in Minneapolis, where they previously shot 1996’s “Fargo” and 2009’s “A Serious Man.”
“We haven’t discussed it in terms of plot or narrative or what kind of movie,” Ethan said. “But we’ve discussed going back because there are certain crew people we missed.” He appeared alongside Joel, festival chief Thierry Fremaux and film journalist Didier Allouche.
Joel offered a similarly cautious update, explaining that the ideas have not yet developed into a definite next film.
“Yes, there are a couple of other stories that we’ve thought about that would take place in Minneapolis, which is where we come from,” he said. “So we’ll see if they haven’t sort of germinated to the point where we would go, you know, that’s what we’re going to do next, or we’re even going to definitely do.”
A challenge from Frances McDormand
The Minneapolis conversation followed a playful prompt from Oscar-winning actor Frances McDormand, Joel’s wife of 42 years. During the Lumière ceremony, she urged the brothers to complete an unofficial trilogy that began with “Fargo” and “A Serious Man.”
“I think Fran wants to see it,” Joel joked. “We’ll see if we can accommodate her.”
Although the Coens have pursued separate directing projects since “The Ballad of Buster Scruggs,” they said they never stopped writing together. Joel directed “The Tragedy of Macbeth,” starring McDormand and Denzel Washington, while Ethan made “Drive-Away Dolls” and “Honey Don’t!” Both of Ethan’s films were co-written with his wife and longtime collaborator Tricia Cooke.
Their shared archive includes several scripts that remain unproduced. “We’ve written a lot of scripts that we’ve never made,” Ethan said, before Joel joked that they could no longer find one of them on their computer.
At least one prospective Minneapolis story has encountered a more serious problem. Ethan said its central role had been conceived for an actor who has since died, leaving the brothers uncertain whether the project can still work.
Another screenplay, written while the brothers were each making a separate film, now feels disconnected from the present. Ethan said it addressed cultural issues that have since moved on, making the script seem more like a period piece. His proposed solution was a title card placing the story “Sometime during the Obama administration.”
Politics, streaming and the theatrical experience
Despite the satirical qualities of their work, the brothers said they do not approach their movies as direct commentary on current American politics. Joel described the political situation as a backdrop for storytelling but said treating Donald Trump literally was probably not in their “wheelhouse.”
Ethan added that they do not think of their films as comments on contemporary America or anything beyond the stories themselves. Audiences, he said, are free to draw their own comparisons.
The conversation also turned to a film business reshaped by streaming. Netflix produced and released “The Ballad of Buster Scruggs,” while A24 gave “The Tragedy of Macbeth” a theatrical release before it streamed on Apple TV+.
The Coens expressed mixed feelings about that shift. Joel noted that their careers benefited from home video’s rise in the 1980s, when additional revenue options made studios more willing to finance independent movies. Given that history, he said it would be “disingenuous” for them to reject new distribution formats outright.
Still, Joel strongly defended seeing films in theaters. “The worst thing you can get is somebody saying, ‘I loved your movie. I saw it on an airplane.’ It’s very discouraging,” he said. He added that there is no substitute for watching a movie in a large, dark room with an audience.
Joel also suggested streaming companies are beginning to recognize theatrical distribution’s value again, expressing hope that the trend will continue as a benefit to everyone involved.
The Coens weigh in on AI and industry consolidation
Asked whether artificial intelligence could take over screenwriting, Joel dismissed the possibility as “nonsense.” He was more concerned about computer-generated imagery, even while acknowledging that technology can help filmmakers build images and worlds that would otherwise be impossible.
“In a way, everything’s becoming a cartoon,” he said, arguing that movies are increasingly resembling animation because of AI and computer-based effects.
As an example of what could be lost, Joel pointed to the opening of the Coens’ 1990 film “Miller’s Crossing.” Its shot of a hat blowing through the woods was accomplished with thin wires controlled by crew members outside the frame. He said that sequence would now likely be animated — and, in his view, would not be as beautiful.
Joel was less certain when asked about the Paramount–Warner Bros. merger, saying he did not know how it would unfold or enough about the ownership politics involved. He did, however, argue that consolidating companies into the hands of only a few players is harmful because competition creates opportunities for different kinds of movies. Asked specifically about Paramount leadership, he said, “I don’t know about David Ellison.”
ShowBiz Take
The headline here is possibility, not a production announcement. The Coens are still writing together, have multiple Minneapolis-set ideas and are openly discussing a return to the city connected to two of their earlier films. That makes a reunion more tangible than a purely hypothetical wish.
But their own comments underline the obstacles: no story has been selected, one project lost the actor intended for its lead role, and another joint script now feels dated. McDormand’s unofficial-trilogy challenge may have given the prospect a lively public push, but the brothers have not committed to making it their next movie.
What Happens Next?
The Coens will have to decide whether any of their Minneapolis stories has developed enough to become their next shared film. Until then, the proposed reunion remains an idea under consideration rather than a confirmed production.