The Aussie director discusses why horror was the right vessel for his commentary.
Frémaux corrects the record on the Lumières’ importance to cinematic history.
Herzog discusses the genesis of his new documentary and the urgency of his filmmaking.
Johnson and McCarrol talk Canada, comedy, and Back to the Future. Also Drake.
Davies Jr. discusses carrying his father’s name and being drawn to masculine imperfection.
Melling discusses serving a filmmaker’s vision, working with Alexander Skarsgård, and more.
Skarsgård discusses why it was important for him to find cracks in his character’s façade.
Pálmason discusses his approach to time, why creative conflict is crucial to him, and more.
Birney discusses where he sees connective tissue between cinema and video games.
Diaz discusses what he draws from other art forms as inspiration for his cinematic artistry.
Polinger, Blunck, and Martin discuss the film’s chilling depiction of childhood bullying.
Fastvold discusses how she sees the film in relation to the history of the U.S. at large.
O’Leary discusses what he learned from working alongside Safdie and Timothée Chalamet.
The filmmakers discuss what keeps them going in their mission of holding power to account.
Park and Lee discuss the film’s mordant satire about the cutthroat nature of capitalism.
Arnett and Dern discuss why they resisted intellectualizing their characters during shooting.
Bi discusses how he translated his narrative ideas into a sensory dimension.
Sorrentino discusses why it was important to reflect an ideal version of politics in his film.
Mendonça Filho and Moura discuss the role of cinema in making social change.
Schilinski discusses the film’s sound and her research into the reverberations of trauma.
The filmmaker discusses his influences and inventing weird ways to kill people.