Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
It’s so easy to take images for granted in our media-saturated, selfie-happy culture, but that’s a luxury the subjects can’t indulge in.
The Nightmare seems frustratingly content with alarming us with shock cuts and surface-level boogie monsters.
The films detour down stylistic back roads that yield new perspectives on the art/life divide.
Mitchell discussed with us the origins of the spellbinding It Follows, his thematic fixations, and his relationship to genre.
The agelessness of David Cronenberg’s films springs from an uncommon authorial focus.
The festival’s program has never felt so scattered, a sensation that I found delightful.
The 45th edition of IFFR will be the first in nine years without current artistic director Rutger Wolfson at the helm.
I had the chance to chat with the cast and crew about their years-long friendships, tricks of the trade to keep the energy high, Raymond Chandler Easter eggs, and more.
The Salvation Army director discusses rendering cinematic homosexual acts public, Egyptian soap operas, and more.
Sullivan chats about Reality Show, her earliest experiences as a gospel prodigy, and her long hiatus from the industry.
The filmmaker draws strength from affixing viewers to one rigid perspective, and then refusing to let them blink.
The critics have spoken. The guilds have spoken. The Golden Globes have spoken.
Michael Cera discusses his newfound experience as a stage actor and Brooklynite.
Pressure mounts on all sides to declare Tim Burton’s sweet and understated Big Eyes either a return to form or a turned corner.
This year’s great music videos often offered a behind-the-scenes, sometimes meta, look at image-making.
We spoke with Burton about what Big Eyes has to say about the suburban American dream of the Cold War era.
Though 2014 produced some great albums, the last 12 months often seemed, at best, a transitional year for music.
Here are 10 essential moments that kept our eyes open and thoughts racing more than any other in 2014.
We hope to shine a little light on brilliant, touching, often funny performances which enrich our understanding of what it means to be human.
The worst posters of 2014 merely amplify the already contemptuous elements present in the films being advertised.