Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Hausner discusses wanting to sustain the tension of the first act of a Body Snatchers production over the course of an entire narrative.
The film is all surface, and its depiction of trauma becomes increasingly exploitative and hollow as it moves along.
Our talk ranged from the personal to the political, her singular work to the cinema at large.
Strickland’s film is another fetish object that rues the perils of fetishism.
Its performatively extreme imagery thinly masks a rather banal view of male subjectivity and inner conflict.
The film’s tone is extremely eerie, with creeping camera movements, striking imagery, abrupt edits, and a delicately sinister score.
Think Michael Mann’s Heat but in East Africa and with real-world stakes.
Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
The most thrilling and haunting details here are actively undermined by the chief technical gimmick of the film.
Individual scenes are set to the rhythm of the young women’s conversations, which at times approach Gilmore Girls-level warp speed.
Its sensitivity to how food can have an immense emotional impact is consistently and unobtrusively profound.
There was plenty of merit to the connections being made at Los Cabos between filmmakers and audiences.
For a spell, Melina Matsoukas’s film exudes the concision of an old B movie.
The film feels more like a smattering of action scenes strung together by the barest thread of plot.
Apted discusses his relationship to his subjects, and his own transformation over the years.
Throughout, the remaining participants take stock of private and career successes as well as perceived failures.
It’s difficult to imagine a worse time to release Brian Kirk’s 21 Bridges than the present.
Our conversation led us into discussion about how far Mr. Rogers’s philosophy can extend into today’s world.
Johnson discusses his affinity for the whodunnit, his love of Agatha Christie, Star Wars, and more.
Marielle Heller takes a script that many filmmakers would turn into cringe-inducing treacle and interrogates the sentimental trappings.