Chernov discusses what guides his camera, Russia’s weaponization of disinformation, and more.
Gálvez discusses why his feature-length debut always had to exist within the western genre.
Durkin discusses his approach to genre and the film’s thematic overlap with his prior work.
Friedel discusses how the film’s unconventional shooting style informed his performance.
Wenders discusses how Kiefer’s work informed the craft of Anselm and more.
Wiseman discusses how his latest documentary relates to frequent fascinations in his work.
Haynes discusses the repetitions that abound in the film and the search for emotional truth.
Borgli discusses his beef with the advertising industry, Nicolas Cage’s iconography, and more.
Moreno discusses his influences, the pandemic’s effect on the film’s point of view, and more.
Reggio discusses the film’s overarching philosophy, the construction of its images, and more.
Triet and Hüller discuss the use of language in the film, audience reactions to it, and more.
Green discusses why she felt her new film always needed to be in the present tense.
Moss discusses the ways in which Frankenstein informs the film’s thematic exploration.
Shaw discusses the creation of The Shark Is Broken, his memories of the Jaws set, and more.
Alberdi discusses the construction of a narrative arc of a couple’s journey through illness.
Whishaw discusses challenges of not playing subtext, acting everyday emotions, and more.
The film was made with the utmost commitment to authentic representations of rez life.