BY Paul Felten
The once-fashionable Mike Figgis, and specifically his unsung One Night Stand, played a vital, fondly remembered role in this writer’s budding cinephilia.
BY Michael Koresky
Poltergeist is the subject of the inaugural edition of a column in which writers and filmmakers are invited to share the viewing experiences that shaped their early movie love into life-defining passions.
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.
Emmy Parker, LaFrae Sci, Suzi Analogue, Stephi Duckula, and moderator Alissa DeRubeis joined us for a panel discussion following a screening of Sisters with Transistors.
In honor of Untitled Pizza Movie, director David Shapiro moderates a discussion with Andrew Bellucci (Bellucci Pizza), Drew Nieporent (Nobu), Scarr Pimentel (Scarr’s Pizza), Anthony Barile (Three of Cups), and Miriam Weiskind (The ’Za Report).
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In an excerpt from his unpublished memoir about his time in Hollywood, actor Francis Ford describes working in early cinema, a period when audiences hadn’t fully grasped the differences between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.