Theo Anthony’s debut feature documentary RAT FILM looks at Baltimore through a discursive documentary lens akin to Harun Farocki and Chris Marker.
Pedro Pinho’s narrative debut is easier to admire for the scope of its ambition than it is to necessarily enjoy.
For the first piece in our Clip Art series, Luke Goodsell writes on Michael Jackson’s “Ghosts”, a thrilling and sinister work that showcases the artist at his most complex and culturally engaged.
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.