For a certain kind of cinephile (e.g. me) more than a decade's been spent wondering about Julia Loktev. The brilliant director behind Day Night Day Night and T...
Premiering at Sundance Film Festival earlier this year, It’s What’s Inside seemed to come a bit out of nowhere. Despite its prime positioning in the Midnight s...
Tarsem’s The Fall is an anomaly. Since met with polarizing critical reviews and a non-existent box office in 2007, the film has earned a reputation from its la...
Coralie Fargeat’s Revenge (2017) thrilled audiences with its never-ending finale chase sequence through hallways lubricated in Shining-level quantities of bloo...
The most overwhelmingly emotional viewing experience I had at the Toronto International Film Festival last year, Azazel Jacobs’ tender, beautifully-acted drama...
Psychic tradition has been part of history for thousands of years, yet the process can still feel mysterious to many. Documentarian Lana Wilson, who previously...
The road for Jeremy Saulnier to realize his fifth feature was one of stops and starts, culminating in a process of nearly five years from the original casting ...
Lee Daniels wants to do it all. The filmmaker behind Monster’s Ball, Precious, and The Butler has made an endlessly compelling horror movie, The Deliverance, f...
James Ivory has made so many films. And of the forty-plus he’s made––nearly everything under the Merchant Ivory Productions banner––many are masterpieces. Trul...
Zia Anger's name has not broken into the mainstream; it's instead been a kind of totem for underground film artistry, to whatever extent that even exists anymo...
