Director of the Sundance-premiering Beirut, Brad Anderson, told us about his process, the virtues of cutting his teeth in the indie world, why slapstick comedy isn’t his professional cup of tea, and more.

Behind Warwick Thornton’s laid-back persona and dry sarcasm is an equally unmistakable anger—a rage that simmers beneath the rapturous visuals, deliberate pacing, taciturn tone, and unsettling air of fatalism in his newest film, Sweet Country.

After a hand-full of shorts, a startling first feature and now his follow-up, An Evening With Beverly Luff Lin, Jim Hosking has established himself as a true blue film auteur. His distinctive mix of demented melodrama, garish aesthetics, and absurdist humor shines brightly.

Montana-raised twin brothers Alex and Andrew Smith on their third feature Walking Out, a harrowing tale of wilderness survival.

There’s a lot of work out there for directors willing to trade dreams of the silver-screen auteurship for an audience hungry to devour television content.

Colossal scrutinizes male ego, turns Jason Sudeikis evil, gives Anne Hathaway a monster avatar and is Nacho Vigalondo’s break into major-league moviemaking.

Sundance Grand Jury Prize-winner Macon Blair shares what he learned in the director’s seat making his debut film I Don’t Feel At Home In This World Anymore.

Alex and Andrew Smith, twin brothers and a writing-directing duo, saw their latest feature, Walking Out, premiere in Sundance’s U.S. Dramatic Competition.

Writer-director Joshua Marston speaks with MovieMaker on pacing, plotting and shooting his Michael Shannon/Rachel Weisz-starring feature, Complete Unknown.

Is cinema as we know it paving the way for the heyday of Virtual Reality—or holding it back? A few transitional creators are finding out.

The MovieMaker staff was shocked and saddened to hear about the untimely passing of actor Anton Yelchin on Sunday, June 19.

Today we round out our exploration of Jeremy Saulnier’s siege thriller Green Room with an extended interview with DP Sean Porter.

For our Spring 2016 issue’s cover story on Green Room, we spoke with the film’s trio of young stars—Anton Yelchin, Alia Shawkat and Imogen Poots.

Saulnier had been on the festival circuit for Blue Ruin for nearly a year. Green Room was an idea he’d been kicking around for seven or eight years.

Actor-turned-director Sebastian Schipper’s Victoria follows its eponymous heroine (played by the bravura Spanish actress Laia Costa) in one continuous shot as she dances in a subterranean techno club, meets a rowdy gang of charming thugs, flirts on a high-rise rooftop, does the bidding of a vicious gangster, drives a getaway van for bank robbers, and evades a police manhunt.

Director Ramin Bahrani and actor Michael Shannon discuss 99 Homes, a thriller based on real estate corruption and the Florida housing crisis.

Craig Zobel began his career as an assistant director, production manager and co-producer on such films as David Gordon Green’s George Washington, All The Real Girls and Undertow. His latest film, set in a post-apocalyptic future and filmed in lush New Zealand, is the screen adaptation of Robert C. O’Brien’s young adult novel, Z for Zachariah.

Saverio Costanza discusses his approach to filmmaking, how Hungry Hearts wasn’t the artistic departure he was hoping for, and advice to new filmmakers.

For nearly 20 years, Tim Blake Nelson has shoe-horned in his filmmaking alongside a robust and, as he describes it, “privileged” acting career.

In 2011, Maika Monroe was ready to hang up on her dreams of becoming an actor. Though she had been involved in a handful of small projects, Hollywood had yet to come calling.

Writer-director David Robert Mitchell took a slightly different route. His first feature, 2010’s The Myth of the American Sleepover, was an impressionistic ode to the awkwardness of suburban adolescence. Set over the course of a single summer evening, it was clearly inspired by the likes of American Graffiti and Dazed and Confused. But unlike the raucous energy of those films, Mitchell’s low budget indie had a dreamy, laid-back style that won it festival awards and critical praise.

Desiree Akhavan hates it when she’s compared to Lena Dunham. This is no dis on the creator of HBO’s Girls.

Comic book and gaming conventions might be the best places to show your short.

Amidst the star power and hype of Sundance, a black and white, Polish-language film by Pawel Paelikowski became the most provocative selection of the fest.