There’s an enigmatic quality to the role of Nolan in the current filmmaking landscape.
These films highlight an area of the world that is as politically engaged as any other and whose voices insist on being heard.
Slant recently spoke with the director about Monty Python, Buñuel, the hardships of dark comedy and the elusiveness of perfection.
Yeah, it’s like a mannequin dressed up like a website. I need an emoticon for vomiting.
Slant‘s film editor ranks his favorite films from the silent era to the present.
Trust us when we say that you’ll enjoy this list. If you don’t, well, then you can take a sugar-frosted fuck off the end of our dicks.
The venue was filled with a mix of hardcore fans, label scouts, and curious out-of-towners.
Some believe that there’s simply no place for political commentary let alone a point of view in a film review.
Martha introduced herself and discussed, among other things, acting, feminism, and Oprah’s influence on her new song “TV Show.”
I’ve gathered three of Slant’s music boys to dish the dirt on the multi-octave songbird’s first nine releases.
I refuse to give the man the benefit of the doubt.
He took a break from his European tour to introduce himself to us and discuss composing, skinny-dipping, 19th century heroines, and Britney Spears.
Fret not if you couldn’t get to Park City this year, the New Directors/New Films series brings Park City to you!
The artist formerly known as the Artist seems to be blazing a trail for the future of wheeling and dealing.
It’s comforting to know that one of my favorite critics, David Edelstein, doesn’t take the Oscars very seriously.
Another year, another award for multimedia synchronicity over artistic merit.
Since complaining about Oscar’s short-sightedness and asking for them to change their ways is as futile as asking for a recount in Ohio, let’s get this show on the road.
It’s a rare, special thing when a band creates an album that speaks for an entire generation.
In this extreme year, nothing was quite as outlandish as Team America’s showstopping scene of hardcore marionette sex.
Like Hitchcock, Lewis’s freewheeling, exquisitely diverting films were often undercut by sinister elements and personal neuroses.
Harvey has never struck me as an explicitly political artist, but her lyrics are vague enough to welcome multiple interpretations.