Crip Camp emerged from archival material shot by the People’s Video Theater, a group similar to Dziga Vertov Group, who documented movements for social feedbac...
It's difficult to exactly quantify the impact of Cristi Puiu's second feature. The Death of Mr. Lazarescu is a film about an ambulance worker's attempts to get...
For more than two and a half decades, the films of Jia Zhangke have given the world a poetic and deeply personal account of the shifting social plains of moder...
More than Ken Loach’s Palme d'Or for I, Daniel Blake, the film’s Prize of the Ecumenical Jury–Special Mention indicates the nature of Loach and Paul Laverty’s ...
In 2007, the Ross brothers left a life in Hollywood (Bill was an editor of blockbuster trailers; Turner worked in set design) to make a movie in their hometown...
We have had the privilege of speaking with Taiwan-based filmmaker/master of slow cinema Tsai Ming-liang three times over the last four years (see here, here, a...
Beasts of the Southern Wild was the indie darling of 2012 having racked up
prestigious festival wins en route to four Oscar nominations. Despite being credited...
It may have taken nearly 25 years, but the typically admired Dardenne brothers have turned controversial and divisive--which, history tells us, is a common con...
Martin Scorsese gave ILM special effects supervisor Pablo Helman the script for The Irishman in 2015 on the set of Silence, and he was hooked. It took the visu...
Angela Schanelec’s films make extensive use of ellipses, and narratives often branch out to new characters without warning, but far from being challenging or c...
