McElwee discusses, among other things, his new film and staring down the loss of his son.
Carrière is very much his own auteur, suavely playful and elegantly subversive.
Slant spoke with Zahedi about the dual challenges of serving his subject and his audience.
The Devil and Daniel Johnston hopes that Johnston and his mythic realities are never lost.
This installment focuses on nonfiction film, the hazards of independent distribution, and Cheshire’s own filmmaking debut, a documentary titled Moving Midway.
Cheshire was open to discussing how the changing times broadened his interests in film and filmmaking.
Writer-director James Bai’s Puzzlehead which shows this week at the Two Boots Pioneer Theater, proves that ingenuity is currency.
It’s a shame not to be able to hear such a strong critic week in and week out.
“I think it’s very easy for us to look down on James Whale from our 21st-century perches.”
Alonso Duralde is the arts and entertainment editor of The Advocate, a longtime friend, and one my favorite people to argue with.
Garrett Brown might be the most influential filmmaker that the moviegoing public hasn’t heard of.
Hill suggests that the western’s slow decline was probably due to two factors.
Angelenos are lucky. Our FM airwaves are second-to-none in terms of diversity and quality of programming.
Slant Magazine sat down with the director to discuss the making and politics of HellBent.
The film is one for the ages, and in anticipation of its first-run release, we met with Sachs at his office in downtown Manhattan.
Slant recently spoke with the director about Monty Python, Buñuel, the hardships of dark comedy and the elusiveness of perfection.
Martha introduced herself and discussed, among other things, acting, feminism, and Oprah’s influence on her new song “TV Show.”
He took a break from his European tour to introduce himself to us and discuss composing, skinny-dipping, 19th century heroines, and Britney Spears.
We recently spoke with the writer-director about the rocky dramas that continue to resurface in his films.
If the rapturous radio response to the album’s first single “C’mon, C’mon” is any indication, bulging bags of cash may be in the cards.
Meirelles discusses how City of God has taken on a life of its own as a work of political activism.