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.
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.
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.
We spoke with experimental filmmaker Fern Silva, whose 16mm work Ride Like Lightning, Crash Like Thunder recently screened at the Melbourne International Film Festival.
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.