Latest Features

Rachel Morrison on Bringing Tactility to ‘Black Panther,’ Blue vs. Green Screen, and Working with Tim & Eric

Those watching Black Panther with a remotely attentive eye for production value will grasp the level of departmental cooperation necessary for running that operation. We talk to the cinematographer about her process.


‘The Cakemaker’ Director on the Jewish Community’s Reaction and His Upbringing as a Gay Teen

One of the biggest indie breakouts of 2018 was Ofir Raul Graizer’s The Cakemaker, which is Israel’s 2019 Oscar contender.


The Film Stage Show Ep. 318 – The Other Side of the Wind

We talk about Orson Welles’ final film and posthumous authorship.


The B-Side – Winona Ryder

We take a deep dive into Winona Ryder’s entire career, specifically her overlooked films.


Matthew Libatique on Shooting ‘A Star is Born,’ Bradley Cooper’s Intense Workflow, and Studying Lady Gaga’s Face

“The whole language of the movie is borne out of the necessity to keep space for them as performers.”


Tim Blake Nelson on How the Stories of ‘The Ballad of Buster Scruggs’ Tie Together and His Character’s Morality

We talk to the star of the Coens’ western anthology, who reteams with the brothers nearly two decades later.


NYC Weekend Watch: Claude Lanzmann, Chris Marker, ‘Ghosts of Mars’ & More

In NYC? Here are the best films screening in theaters this weekend.


The Film Stage Show Ep. 317 – Suspiria (2018)

Welcome, one and all, to the latest installment of The Film Stage Show! Today, Michael Snydel, Bill Graham and I are joined by Alex Heeney from Seventh Row to talk about Luca Guadagnino’s remake of Dario Argento’s classic, Suspiria. Listen to our discussion of Argento’s original here. Subscribe on iTunes or see below to stream. Enter our […]


Richard E. Grant on the Authentic Queerness of ‘Can You Ever Forgive Me?’ and the Intimacy of a Female-Centric Set

We spoke with Grant about playing a grifter with a big heart and small conscience, developing his character despite the lack of research material, and the contrast of going from Logan’s hypermasculine set to the almost-entirely female set of Can You Ever Forgive Me?.

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