Chernov discusses what guides his camera, Russia’s weaponization of disinformation, and more.
Bold, often brutal declarations of duality are baked into the reflective structure of the film.
The film is a mesmeric but frequently muddled exploration of transgender self-actualization.
Manning Walker discusses what different audiences have made of the film’s ambiguities.
The film’s storytelling structure befits the female experience in American politics.
Avilés discusses why it’s important to be in touch with a collective consciousness.
Sayles discusses how his 1996 neo-western noir speaks to the present political climate.
Gálvez discusses why his feature-length debut always had to exist within the western genre.
Durkin discusses his approach to genre and the film’s thematic overlap with his prior work.
Friedel discusses how the film’s unconventional shooting style informed his performance.
With scalpel-like precision, the film exposes the agonies of fathers, sons, and brothers.
Wenders discusses how Kiefer’s work informed the craft of Anselm and more.
Wiseman discusses how his latest documentary relates to frequent fascinations in his work.
Borgli discusses his beef with the advertising industry, Nicolas Cage’s iconography, and more.
The film tries to pass off bombastic provocations as a substitute for interesting observations.
Moreno discusses his influences, the pandemic’s effect on the film’s point of view, and more.
Reggio discusses the film’s overarching philosophy, the construction of its images, and more.
Triet and Hüller discuss the use of language in the film, audience reactions to it, and more.
Holland’s sense of propulsive, incandescent outrage is the film’s strongest attribute.
Green discusses why she felt her new film always needed to be in the present tense.