By Emma Piper-Burket | March 15, 2019

So many kids grow up watching Apocalypse Now and Full Metal Jacket and it is like this secret. The thousand-yard stare. You come back and have seen something beyond, and that is so alluring.

By Jordan Cronk | January 15, 2019
At the Museum

If, as the saying goes, the devil is in the details, then Chris Kennedy’s 36-minute marvel Watching the Detectives finds in that idea a working metaphor for the modern condition.

By Daniel Witkin | December 2, 2018

As human beings, we still have components of our personalities that can be very primitive, but often we use the past as some kind of banner of authenticity. But why should something be more authentic just because it comes from the past?

By Demitra Kampakis | November 10, 2018

I do not build out from an idea because I feel that is too restricting. In a sense, the final film is what I have learned. The final film has to be a dramatic narrative, which among other things expresses what I have learned about the place. It is not until the last stages of the editing process that the story is even found.

By Adam Nayman | October 29, 2018

I think that on the surface, the story follows the small mysteries of everyday life. But it doesn’t stop there; it goes beyond that and expands to deal with some bigger mysteries about the world we live in.

By Demitra Kampakis | May 16, 2018

"We are becoming numb, and nothing can shock or affect us anymore. So how do you make an erotic scene that allows us to feel again, to feel the pain, the beauty, the urgency, the desperation, and the deep, animalistic but also spiritual connection between these two women?"

By Fanta Sylla | April 25, 2018

A known cinephile and still working film critic with an affinity for polemics (he has a monthly column in So Film), Serge Bozon has had a slow rise to the mainstream without cynical compromise. Whether one loves or hates his films, their existence signals a continuing diversity in French cinema.

By Devika Girish | April 12, 2018

“It is a time when this country is under a lot of criticism, rightly so, and I have found my place in portraying certain things, but showing them to you in a way that you get to make your own judgment. And so far, I have been very moved that people want to see the good of this country.”

By Ela Bittencourt | April 6, 2018

"It was about creating this open space and stretching it as far as possible, moving step by step, adding new elements one by one. At one point, it became inevitable that the making of the film itself should come into view."

By Caroline Cao | March 30, 2018
At the Museum

The Breadwinner is a simple story about a young girl who loves her father, but there are layers that acknowledge the complexities of the political situation in Afghanistan, children growing up in conflict, and the fact there are no easy answers.

By Matthew Eng | March 22, 2018

The manic pace at which Desplechin sifts and slides through tones can be overwhelming, even alienating, but his insistence on wandering down paths most filmmakers would not dare explore, much less envision, provides a heart-searching pleasure for those willing to follow.

By Muhammad Muzammal | March 2, 2018

"I get different feedback from a non-Iranian audience than from an Iranian audience. Iranians will ask why I showed such taboos and a non-Iranian audience will talk about artistic elements like the animation technique, the storytelling, the shooting on the green screen, the music."

"It was always really interesting for me that, especially if you are improvising in a film without much preparation for your character, you are drawing on your own life and then your own life is a thing that ends up in the film, and that is . . . complicated."

By Giovanni Vimercati | December 15, 2017
Festival Dispatch

"What I am interested in the most is creating a demand for a different kind of cinema. Then maybe the authorities will realize it is time to change the rules."