Ivan Čerečina spoke with the “Gregory J. Markopoulos and the Cantrills: The Language of the Image” curators Audrey Lam and Keegan O’Connor about the upcoming screenings and the importance of the links between filmmakers, institutions and archives in the organisation of the program.
Jessica Ellicott speaks with director Alena Lodkina about her debut feature STRANGE COLOURS, ahead of its Sydney Film Festival
In Paris, we spoke with Julien Faraut, whose latest film L’Empire de la perfection is a dazzling lesson in montage, tennis and what it means to capture the real.
We spoke with director Warwick Thornton about his new film Sweet Country, Australian cinema history and the role of the archive.
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.