First-time feature writer-director Katharine O’Brien told us about shooting on handheld cameras for 19 days in 15 locations to make Lost Transmissions.
Skin writer-director Guy Nattiv told us how the tumult of the 2016 election helped get his long gestating feature off the ground.
To make their doc-biopic Framing DeLorean, directors Don Argott and Sheena M. Joyce had to invent a narrative style that best fit the film’s enigmatic star.
On the Basis of Sex director Mimi Leder told us how she relates to Supreme Court Justice Ruth Bader Ginsburg’s life challenges, and what’s next for her as a moviemaker.
Emma Stone spoke with us about the deceptive layers behind her performance in Yorgos Lanthimos’s new film, The Favourite.
Melissa McCarthy talks playing the dowdy, cranky, usually half-soused, completely misanthropic celebrity biographer Lee Israel in Can You Ever Forgive Me?.
In Paul Weitz’s new film Bel Canto, Julianne Moore plays celebrated opera diva Roxanne Coss, caught up in the center of a hostage crisis.
German cinematographer Hagen Bogdanski spoke with us about his lensing career, why he had no trepidation undertaking Papillon, the challenges of filming on location, and more.
Danish cinematographer Eigil Bryld is an inspired choice to shoot Ocean’s 8—a heist caper that looks gorgeous but not so Clairol-slick that it distracts from its fast-paced action and suspense.
Debra Granik tells us about her long-awaited new feature Leave No Trace, the saga of a father and daughter saga (Ben Foster and Thomasin Harcourt McKenzie) who live off the grid, by choice, in the forest parks in and around Portland, Oregon.
In his new film In Darkness, Irish director Anthony Byrne takes the cat-and-mouse crime thriller perfected by Alfred Hitchcock and gives it his own twist.
Acclaimed writer-director Ondi Timoner is making her narrative feature film debut with Mapplethorpe, a biopic about the revolutionary photographer famous for images that ranged from flowers to celebrity portraits and nudes.
Longtime writing partners Abby Kohn and Marc Silverstein tell us about co-writing their feature debut I Feel Pretty, the difference between “character comedies” and “romantic comedies,” working with Amy Schumer, and more.
Amy Schumer was happy to set the record straight about her new film I Feel Pretty’s message and the misplaced criticism of those who had not yet seen the film.
Cox stars as the titular character in Churchill, a wartime bio-drama directed by Jonathan Teplitzky and scripted by historian Alex von Tunzelmann.
The Wedding Plan, directed by Rama Burshtein, is a rom-com with the simplicity of a fairy tale and the ambiguity of lessons from the Talmud.
Cate Blanchett is every woman in Julian Rosefeldt’s feature film Manifesto, based on the German artist/director’s multi-screen video art installation.
With three days to go before the premiere, the Neil Gaiman fanbase is awaiting the small-screen adaption of his 2001 novel American Gods.
Christian Bale famously does not like doing interviews, yet skillfully maneuvered the conversation away from him and onto the serious nature of The Promise.
Danish director Lone Scherfig’s new romantic dramedy, Their Finest, continues her love affair with British wit and sensibility. Their Finest […]
In A United Kingdom, Amma Asante’s follow-up to the critically acclaimed Belle, the British director brings to the screen another […]
Luke Davies is a critically acclaimed poet, novelist and essayist born and raised in Sydney, Australia—and Academy Award-nominated screenwriter.
J. A. Bayona’s new movie, A Monster Calls, is based on the acclaimed novel of the same name by Patrick Ness (who wrote the screen adaptation).
Danish cinematographer Charlotte Bruus Christensen was not the obvious choice to shoot August Wilson’s Fences, directed by Denzel Washington.