Gray and his teen actors discuss their understanding of the 1980s, pinpointing one’s sense of process and style, and more.
The film is an illustration of the transition from the ethical pliancy of youth to the moral discernment of adulthood.
It has been a wild ride to the screen for the film, which Gray announced way back in 2016 at the Cannes Film Festival.
One of the most beautiful and mysterious of all existentialist adventure films receives a deservedly lush and subtle transfer.
The auteur discusses the film’s casting process, his influences and his desire to deviate from them, and more.
The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.
A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
Gray speaks to us about not directing Phoenix, his personal links to his films, and what he loves most about NYC.
Even a brief summary of the 1974-set film’s plot reveals a near-comical laundry list of recycled plot elements.
The more that The Red Road focuses on its unique aspects and fractious setting, the more intriguing the series gets.
Marion Cotillard is an icon of suffering in James Gray’s somber passion play.
In its stripped-down realism and blistering fixation on its main character’s grappling with life and mortality, the film is kin to Roberto Rossellini’s collaborations with Ingrid Bergman.
James Gray has been working toward The Immigrant for his entire career.
What emerges most saliently from Mintzer’s interviews is Gray’s commitment to the idea of problem solution in creating his style.
A modest Blu-ray presentation of Gray's uniquely sensitive drama that fittingly appears to have been sabotaged by the competition.
I’m not sure how Mulholland Drive would look to me now that this decade is ending.
A moving ode to loneliness and regret, chockablock with sensualist and observational grace notes.
Our interview with James Gray touches on the complexities of Two Lovers and the nature of criticism.
The buried themes in James Gray’s film slowly emerge from its accumulation of quotidian, seemingly small details.
Hello and welcome to one of our more epic episodes, which just happens to be lucky number 13.