The Long Season captures the state of suspension experienced in a Syrian refugee camp in Lebanon’s Bekaa Valley with nuance and care, with a pronounced focus on the community’s day-to-day life in the camp.
We spoke to Xu Bing about his lengthy career as an artist, and what inspired him to make an entry into cinema.
We spoke to Panoptic-director Rana Eid about filming painful histories, the collective process of reflection filmmakers in Lebanon are undertaking, and how her background in sound informed her debut feature.
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.
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.
We spoke with Annemarie Jacir about the capturing conflict on screen, making films about Palestinian identity, and how the country’s film scene has developed in recent years.
At Locarno, Jeremy Elphick spoke to SCARY MOTHER team Ana Urushadze and Nata Murvanidze about the filmmaking process in Georgia, the hurdles in acquiring funding, and the dynamics of directing a feature and working with a large crew at young age.
At Locarno 70, Jeremy Elphick spoke at length with director Valérie Massadian, whose latest film MILLA took home the festival’s special jury prize.
We spoke to up with Gürcan Keltek at Locarno Film Festival about filming in zones of conflict, how he perceives his work, and his hopes to screen the film in Turkey.