From Cannes, Jess Ellicott praises Noah Baumbach’s new ensemble piece as approaching the likes of Elaine May and Albert Brooks.
Martin DiCicco’s debut feature documentary follows the day-to-day lives of track workers in Armenia and Azerbaijan.
Alice Lowe’s pre-natal horror Prevenge shies away from biting commentary, content with absurd bloodlust.
We spoke to John Carroll Lynch about the filming Lucky as an intimate piece about Stanton’s life, working with a cast and crew devoted to the actor, and making a film about mortality in such proximity to reality.
We spoke to Wang Bing about the briefness, ethical dilemmas, and process behind Mrs. Fang at Locarno Film Festival, where it went on to take out the top prize.
In the wake of Terminator 2’s digital return to theatres, Frazer Bull-Clark examines the legacy of James Cameron’s classic blockbuster — and how its analogue craftsmanship has endured over time.
To call Peter Vack’s anilingus-filled debut feature film ‘graphic’ would be a gross understatament.
Conor Bateman speaks to filmmaker Bill Morrison about his latest film, DAWSON CITY: FROZEN TIME, which tells the story of American capitalism through the guise of a Gold Rush historicity.
Jeremy Elphick speaks with Ben Russell about his film GOOD LUCK, his lengthy relationship with Suriname, and the experience of shooting for the first time in Serbia.
Damien Power’s debut feature harks back to the golden age of Australian genre film but its approach to landscape is sadly ahistorical.
Phoebe Chen speaks with filmmaker Luca Guadagnino about the immediacy of desire, body language, and the power of aesthetics in his latest, CALL ME BY YOUR NAME.