We ranked the Queen of Pop’s discography, from her self-titled debut to Confessions II.
Ahn talks about what he hopes audiences will take away from his spin on the material.
Cronenberg discusses the pull of A.I., taking to the dead, and the optimism of the film’s ending.
Garland and Mendoza adhering to a Dogme 95-esque code of purity while making the film.
Williams discusses working with Sarah Snook and adapting Oscar Wilde’s legendary novel.
Gomes discusses the film’s “ping-ponging” dialectic, interpretations of the film, and more.
The French filmmaker discusses how he formalized a Freudian gaze for the film.
Lesage discusses the struggles faced by more than just youth across his films.
Nyoni and Susan discuss how they collaborated to develop the inscrutable character of Shula.
Lund discusses how Wiseman, the legacy of baseball movies, and criticism influenced Eephus.
Rankin discusses why he rejects the idea that fakeness in cinema is inherently bad.
The festival’s curatorial boldness has never felt so necessary.
Abbott discusses the merging of character and self and how the film fits into his career arc.
Eggers discusses the film, its origins, and how the story was received in its birthplace.
In the last two years, the festival’s programming has grown riskier and more boundary-crossing.
The arrival of Oscar prognostication season is both a blessing and a curse.
Anderson and Curtis discuss how their experiences as actresses colored their roles.
Delpero discusses what she hopes spending time in a bygone era offers to modern viewers.
Blumberg discusses developing the film’s main musical themes, his collaborators, and more.
Nivola discusses where he saw connections to his own life in Brady Corbet’s film.
The theater pieces that resonated most this year were stories of communal, collective healing.