Slant talked with Winding Refn about Drive’s inception, its potent juxtaposition of light and dark, and his own burgeoning artistic relationship with Ryan Gosling.
Perhaps the most irreconcilable and disturbing of all filmmakers, he possesses a sort of quiet mastery that doesn’t seem to be in vogue these days.
The writer-director often embodies the inquisitive and restless blue-collar spirit of an artist like Sam Fuller.
Hellman has led a long cinematic career that could mirror the winding journeys of the characters in his films.
Luke Jenner and company turned in a remarkably assured performance, without any of the out-of-practice awkwardness one might’ve expected.
Bellflower instills a series of distrusting traumatic memories within a crumbling universe of mechanized poetry.
David Greenspan sets the tone for a delightful evening of theater magic by jumping onto a jewel-box stage set at the start of The Patsy.
It’s hard to imagine a better pairing of talent and material than Steve James, Alex Kotlowitz, and the street-savvy, impassioned antiviolence crusaders of The Interrupters.
Smoke Fairies conjure up a beguiling blend of folk and blues, rich with pastoral harmonies and swampy gutter guitars.
In movies like Roy Del Ruth’s Beauty and the Boss, the joy of crass behavior is compromised by crass writing; it’s the sort of film that requires a delicate, sophisticated sensibility.
In interviews, a tone of amused cynicism always quietly undercuts the delivery of a veteran industry creative who’s mastered his innate awkwardness to become a natural extemporizer.
With Project Nim, James Marsh has created a documentary that feels more like a biopic—and one that avoids the genre’s usual pitfalls.
A new play at the Classic Stage Company, Unnatural Acts, takes us back to period of intolerance that is hopefully unthinkable today.
What’s refreshing, too, about rediscovering Marilyn through her earlier roles especially is how impeccably her life’s tragic trajectory was reversed in her climb up the studio ladder.
I know Alex Ross Perry from the movies, from seeing him at repertory screenings in New York.
Who else knows what we’ve been fighting over better than B. Ruby Rich?
Lindholm and Noer, documentarians making their feature debut, spoke with Slant about their experience making R.
The great Tennessee Williams, unsurpassed poet of the theater and incisive chronicler of the human soul, was born 100 years ago this March.
Shadow of the Holy Book is a failed attempt to shame the vast array of international corporations that do business in Turkmenistan.
Slant spoke with the director about his approach to filming his absorbing adultery tale Tuesday, After Christmas.