Bonello discusses The Beast and Coma, his understanding of time and the self, and more.
Jacques Audiard discusses how he avoided packaging Paris in nostalgic trappings, and what motivated his stylistic choices.
Daniel Kwan and Daniel Scheinert discuss why they think the world has caught up to their style of storytelling.
Jones and Kurzel discuss Nitram’s cultural and emotional specificity, and why some Australians wish that it had never been made.
Kristen Stewart discusses Spencer’s depiction of Princess Diana, the idea of personal sacrifice for one’s country, and more.
Jane Campion discusses the latest notch in her increasingly notch-heavy belt, her vision of the American West, and more.
Franz Rogowski discusses why he doesn’t feel the need to go overboard in preparing to act out unfamiliar circumstances.
Trier and his actors discuss finding maturity on and off screen, and how they pulled off the film’s searing centerpiece breakup scene.
Kirby and Leon discuss the roots of their partnership and how they navigated the portrayal of the main character’s sudden amnesia.
Asghar Farhadi discusses his approach to writing complex stories and his understanding of what happens when people tell the truth.
Joe discusses how found his comfort zone outside of his native Thailand, and why he thinks of Memoria as a musical.
Almodóvar discusses his decades-long development of Parallel Mothers’s ideas and how its themes resonate with his other work.
Simon Rex discusses his disillusionment with Hollywood, his Red Rocket character’s similarities to him, and more.
Jonas Poher Rasmussen discusses the journey that Flee made from story to screen as it changed mediums, visual styles, and more.
The indomitable cabaret duo discuss their upcoming show Kiki & Herb SLEIGH at BAM.
Mike Mills discusses working with Joaquin Phoenix and Gaby Hoffmann, the themes that unite his films, and more.
Radu Jude discusses his approach to archival material and what it’s like to make a film under pandemic-related restrictions.
Robert Greene discusses how he merged the processes of drama therapy and filmmaking, how he avoided retraumatization, and more.
Hogg and Swinton Byrne discuss what changed between production of the film’s two parts in terms of casting and more.
The filmmaker discusses the undertones that he perceives in the novel that he wanted to bring to the fore for his two-part production.
Vicky Krieps discusses what Bergman’s legacy means to her now, and what Phantom Thread means to her several years later.