These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
Rebecca Hall discusses why she enjoys doing puzzle box movies, and how she holds ambiguity in her performances, and more.
Udo Kier discusses Swan Song, his work across his 50-year-plus career, and how he feels about being labeled a gay icon.
The Oscar-winning Tom McCarthy discusses how he makes visible the invisible work that makes the world of Stillwater believable.
The Public Theater’s associate artistic director discusses the genesis of his ebullient production of Shakespeare’s play.
Alex Wolff discusses his two latest films and the “other-dimensionality” of acting alongside Nicolas Cage.
Quentin Dupieux discusses how he knows a stupid idea is worth developing and the difference between his American and French films.
Our list of the best albums of 2021 so far is a testament to these artists’ independent spirit.
In a year of seemingly constant transition, cinema is shining a beacon to help point the way forward.
When it comes to gaming, technology only ever tells half the story.
The living dead enabled the influential George A. Romero to free himself from self-consciousness.
Anthony grounds discussion of body camera footage within discussions about the link between image-making, weaponization, and power.
In at least seven movies, the exuberant Lombard became emblematic of the screwball comedy genre of the 1930s.
It’s hard not to look back at the ’90s as not just rock’s creative and commercial zenith, but its last great stand.
The filmmaker discusses how he recognized and responded to the many contradictions contained within Limbo from script to shooting.
These albums remain predominantly within the scope of the genre’s original sound and spirit.
We revisited all 19 episodes of the ’90s teen drama to see if they hold up. And they mostly do.
We’re countering this Oscar year’s slow death of a thousand cuts by ripping the whole bandage off.
The filmmaker discusses shooting the film in the midst of the Covid pandemic, and his belief in why stories come from within us.
The filmmaker discusses how he found his way into a story about white men as a mixed-race South African.
Engel’s overarching subject is the child within, an innocence he repeatedly links to both photography and movies.