Hogg and Swinton Byrne discuss what changed between production of the film’s two parts in terms of casting and more.
Vicky Krieps discusses what Bergman’s legacy means to her now, and what Phantom Thread means to her several years later.
Hamaguchi Ryûsuke discusses his two latest films and how he lets humor color his thematic exploration of chance.
Todd Haynes discusses The Velvet Underground’s split-screen aesthetic and why Lou Reed’s death had to serve as a “structuring absence.”
Julia Ducournau discusses her approach to filming bodies and her reimagining of foundational texts to build a modern mythology.
The actor discusses how he found the physicality of his character and the difficulties and joys of doing verbal comedy in German.
Rebecca Hall discusses why she enjoys doing puzzle box movies, and how she holds ambiguity in her performances, and more.
The Oscar-winning Tom McCarthy discusses how he makes visible the invisible work that makes the world of Stillwater believable.
Quentin Dupieux discusses how he knows a stupid idea is worth developing and the difference between his American and French films.
Anthony grounds discussion of body camera footage within discussions about the link between image-making, weaponization, and power.
The filmmaker discusses how he recognized and responded to the many contradictions contained within Limbo from script to shooting.
The filmmaker discusses how he found his way into a story about white men as a mixed-race South African.
Asili discusses why he strives for an equality of images and what his film means now in a new age of racial reckoning.
Kelly discusses the so-called “Cannes cut” of Southland Tales and his desire to incorporate new material into the film.
Domingo discusses Chadwick Boseman’s final performance, delivering a “sermon” to an ailing nation alongside Zendaya, and more.
Chopra discusses the joys of reappraisal, and why she doubts John Hughes could believe in the universes he created on screen.
Bradley discusses how the forces of collaboration and intuition inform her filmmaking process.
The filmmaker discusses how Shithouse reflects the specifics of a certain life experience.
Johnson discusses how the omnipresence of cameras is adjusting our relationship to the concept of memory.
The multihyphenate artist discusses why the medium she wants to work in comes before her ideas.