BY Isabel Ochoa Gold
A look into movies that star felines and the cultural space they have occupied over the last century.
BY Toussaint Jeanlouis
Reacting to jazz-like lyricism of Bill Gunn’s Black Picture Show.
BY Soyica Colbert
An examination of what Bill Gunn’s play meant at the time of its initial release, and how to understand both its recent incarnation and where it fits in the history of Black art.
BY Yonca Talu
The spellbinding lead of Slow Machine talks about bringing to life the character of a capricious actress, a role tailor-made for her.
BY Chloe Lizotte
The one-of-a-kind interdisciplinary artist and narrator of Sisters with Transistors talks about the women at the heart of that film, her earliest video pieces, and her newest adventures in AI.
BY Yonca Talu
Claire Denis’s longtime DP talks about filming the beautifully mysterious, Faulkner-inspired L’Intrus in picturesque locales from France’s Jura Mountains to the Polynesian Islands.
Following a screening of The Dead Don’t Die at Metrograph in June 2019, the director discussed the origins of the film, teenagers, environmentalism, and working with actors.
Editor Maureen Gosling, a co-director of Del Mero Corazón and a longtime collaborator of Les Blank, and Harrod Blank, who oversaw the restoration of the films, joined Argot Pictures’s Jim Browne for an in-theater chat in June 2019.
Director Matías Piñeiro, actress Marie Rivière, and frequent Éric Rohmer editor Mary Stephen joined Metrograph last fall for a discussion about Rohmer’s film.
BY Molly Gillis
A visualization of a 2018 conversation that took place at Metrograph, where Anderson detailed his appreciation for Kurosawa and Miyazaki, how his fondness of their films grew and shifted, and how their work influenced his own.
As part of the release weekend of The French, tennis writer and author of Seeing Serena Gerald Marzorati talked to the International Tennis Hall of Fame’s Doug Stark.
BY Adam Nayman
In his new book, the critic examines Phantom Thread ’s luxurious, intricate weave of contradictions as part of a critical study of its subject’s overall body of work.
BY Francis Ford
In an excerpt from his unpublished memoir about his time in Hollywood, actor Francis Ford describes working in early cinema, a period when audiences hadn’t fully grasped the differences between screen and reality.