About Carlos Aguilar

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January 22, 2018
The Insult director Ziad Doueiri discusses his Hollywood influences, being shaped by war, and Beirut’s intrinsic sexiness. 
January 11, 2018
John Trengove, director of The Wound, discusses facing controversy, directing actors in a foreign language, and why casting Xhosa men who endured a ritual depicted in the film was a key mandate for the production.
January 9, 2018
Ildikó Enyedi, writer-director of 2018 Best Foreign Language Film contender On Body and Soul, discusses Eastern European cinema, shooting with real animals, and the humanity in her films.
December 28, 2017
With a versatile arsenal of vintage lenses, In the Fade director Fatih Akin managed to create a Super 16mm aesthetic even while shooting digitally.
December 15, 2017
Described by Alberto Vazquez and Pedro Rivero as “a dark realist fable,” Birdboy: The Forgotten Children is a Spanish hand-drawn marvel.
December 11, 2017
With Under the Tree, Icelandic Hafsteinn Gunnar Sigurðsson has mastered the improbable formula to produce amalgamations of universality with specificity.
December 6, 2017
Director Andrey Zvyagintsev discusses the link between the technical craftsmanship which rendered Loveless and the humanistic notions that drive it.
December 2, 2017
He was not shy about talking about his crimes, so talking to a famous “serial killer” about his crimes was pretty intense.
December 1, 2017
Guillermo del Toro, Richard Jenkins, Doug Jones, Michael Shannon, Michael Stuhlbarg, and Octavia Spencer all share insights on making The Shape of Water.
November 28, 2017
Timothée Chalamet discusses his breakout performance in Call Me by your Name, a subtly erotic, summery and ethereal portrayal of young passion.
November 24, 2017
In what has been hailed as a breakout performance, A Fantastic Woman’s Daniela Vega bent her own painful memories into sources of strength.
November 17, 2017
In Nora Twomey’s animated The Breadwinner, young Parvana dresses as boy, risking her life to carry out the most mundane of tasks.
November 13, 2017
Félicité director Alain Gomis talks strong female figures that refuse patriarchal values, and the dangers of foreign moviemakers imitating American cinema.
November 9, 2017
After almost two decades, Sidewalk Film Festival 2017 continued to reshape the cultural landscape as a stronghold of inclusion in the American South.
November 6, 2017
Gregory Kallenberg’s Louisiana Film Prize fosters camaraderie and connections between filmmakers, judges, and the public at large.
November 4, 2017
Embracing his entrenched connection to those who fought and died during the AIDS epidemic in the ‘90s, director Robin Campillo […]
October 31, 2017
Francis Lee sat down with us at Sundance to discuss God’s Own Country, why he doesn’t do rehearsals and uses dialogue sparsely, and more.
October 30, 2017
The Square director Ruben Östlund tells us about how he makes even the most deranged of situations ring true, his disdain for pretentious art, and more.
October 25, 2017
In a single a year Dublin-based actor Barry Keoghan has appeared in Lanthimos’ film, as well as Christopher Nolan’s massive war drama, Dunkirk, expanding his career well beyond local productions
October 12, 2017
One of the most shocking and disheartening revelations of my research for Sex Trafficking is that the farther I went into many corners of the developing world, I could not escape the truth that hundreds of millions of women lived in a world that utterly disdained them.
September 29, 2017
Fleming’s debut animated feature Window Horses is a delicately crafted and heartwarming ode to borderless connections between people via creativity.
September 26, 2017
A self-made indie mogul, Nicolas López didn’t go to film school, has expanded the DIY model of his early works, and gone a step further than just producing his project independently by setting up a mini studio
September 12, 2017
It’s because of the times that School Life comes as a warm injection of optimism and as proof that there might still be a chance for us to mend things.
August 25, 2017
Clash director Mohamed Diab knew making a film on the Egyptian revolution would rile people up. He wasn’t expecting Tom Hanks to have his back, though.