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The Conjuring star Patrick Wilson is known for a catalog of both dashing and dastardly men, but he has been most successful in the last decade in horror.
A key component of the film ecosystem, the film festival is ready for a fresh start in 2021. Here’s our 50 Film Festivals Worth the Entry Fee in 2021.
LGBTQ+ Film Festivals: Here are 20 of the best, brightest, and queerest film festivals around the globe to keep your eye on for 2021.
The collaborative debut of lifelong friends Joe Talbot and Jimmie Fails, The Last Black Man in San Francisco is haunting and masterful in its delivery.
For Sidney Flanigan, the road to starring in Never Rarely Sometimes Always began in her native Buffalo, New York, when she was 14.
Black Christmas, the new film from director Sophia Takal, focuses in on the misogyny portrayed in the original, which largely invented the slasher genre
Frankie director Ira Sachs was so ensorcelled by Kanchenjungha by Satyajit Ray, that he conceived of his latest feature as a kind of spiritual successor.
On September 18th, Quad Cinema opens the first retrospective of the Antonio Banderas’ work programmed at a major international independent cinema house.
Vita & Virginia is a romantic portrait of a complex relationship—queer, consuming, and operating on multiple registers at once.
The 40th Alamo Drafthouse Cinema has opened in downtown L.A., with their signature mix of custom drinks, full food service, and eclectic programming in tow.
Dir. Jonathan Levine told us about Long Shot, his anti-sexist, meta sendup of classic romcom tropes, and embrace of the possibilities those tropes present.
In 1972, Sydney Pollack was hired by Warner Bros. to capture Aretha Franklin’s gospel record Amazing Grace, but the footage was never seen—until now.
In New York, the cradle of moviemaking, Brooklyn is rising as a top budget-friendly moviemaking destination opposite rival borough Manhattan.
Christian Petzold’s hallmarks are present in Transit—the elasticity of identity, the brisk pacing of a thriller, and a backdrop of political upheaval.
Romanian writer-director Adina Pintilie’s Touch Me Not rests comfortably on the boundary between genres and tones that most works of art merely flirt with.
Ben is Back director Peter Hedges discusses his relationship to addiction, writing about opioid dependence, and still learning 30 years into his career.
For the concert scenes of Vox Lux, Brady Corbet opted for a high-def camera used to shoot the Super Bowl. “It’s ugly—you can see people’s pores,” he says.
Jinn director Nijla Mu’min spoke with us about her creative process, and her struggle to accurately portray her a very specific worldview.
Jason Reitman told us about making The Front Runner, which tracks Colorado Senator Gary Hart’s spectacular fall from grace during his 1987 presidency bid.
Karina Longworth’s Seduction is not the incurious paean to yet another over-glorified lothario one might expect from a “famous dead guy” biography.
Assassination Nation explodes into theaters this month, introducing vast new swaths of audience to its dynamic star, Odessa Young.
Hitchcock’s Heroines is a big, beautiful and, perhaps, ill-timed, survey of women’s style in the films of Alfred Hitchcock.
Puzzle director Marc Turtletaub talks adapting an Argentinian film, the distinctions between producing and directing, and Kelly Macdonald’s spellbinding presence.
From The Handmaid’s Tale, to the Amy Adams-starring HBO miniseries Sharp Objects, to Under the Silver Lake, 2018 is breaking Sydney Sweeney’s way. We got up close and personal with one of the year’s shooting stars in film and TV.
