Safe to say Drive My Car's success wouldn't have reached its historic heights sans Eiko Ishibashi, whose musical contributions acted as both complement and cou...
Full disclosure: I’ve been looking forward to this interview ever since I read the novel Ash Wednesday as a teenager. Ethan Hawke, co-writer and director of Wi...
It's been a few months since I saw Jane Schoenbrun's I Saw the TV Glow at Sundance Film Festival and I haven't been able to shake its overwhelming, ultimately ...
On a bright summer day in a tent on top of the sultry clay courts that give the Tennis Club Venezia its name, writer-director Ryûsuke Hamaguchi––known for his ...
I was very gratified by the response to last year's interview with Rob Tregenza, a Zelig-like figure of modern cinema. Our very long, multi-Zoom conversation c...
“Do you think people can change?” Ann (Joanna Arnow) asks her long-term dominant Allen (Scott Cohen) toward the beginning of Joanna Arnow’s second feature, The...
Jia Zhang-ke could fairly claim to be the most important filmmaker of his generation; he'd probably be the last person to do so. Audiences tend to scan Jia’s w...
Before we can even get on the record, before that most familiar robot warning of “This meeting is being recorded," Frederick Elmes is swapping stories about Al...
There's little precedent for what George MacKay does in The Beast, a multilingual production that required the English star to learn French for extended sequen...
Léa Seydoux tells me "it may be nicer to have eye contact." Though I was informed our interview would be audio-only––no complaints; time with the most exciting...
