WEB EXCLUSIVE Writer Jauregui speaks with filmmaker Julia Loktev about couples dancing and moments of rupture and equilibrium in her new film The Loneliest Planet.
WEB EXCLUSIVE The legendary animator and filmmaker Ralph Bakshi, innovator of documents of generational angst like Fritz the Cat and Coonskin, has turned to visual art.
WEB EXCLUSIVE The director of the underground classics Variety and Luminous Motion speaks with Evangeline Morphos. Those and other films by Gordon are screening this weekend at Anthology Film Archives.
WEB EXCLUSIVE Dean Wareham, of the revered Galaxie 500, Luna, and now Dean & Britta, on curating and scoring 13 Most Beautiful People, a new DVD of Warhol Screen Tests.
WEB EXCLUSIVE So Yong Kim’s second feature film Treeless Mountain vaulted her to the fore of a group of young filmmakers being called Neo-Neo Realists. She spoke with Ryan Fleck, co-director of the recent film Sugar.
Me and You and Everyone We Know pre-opening event at the IFC Center, New York City, Spring 2005
In the early ‘70s, Fitzgibbon made a series of radical films and then put them aside. P. Adams Sitney begins to unravel the story behind Fitzgibbon’s early, seductive flicker films to her latest iPhone movies.
Romanian new wave director Mungiu’s Beyond the Hills, is a naturalistic tale of escalating tension between a young nun and her visiting friend (and former lover). The film is out now.
Pereda, a prolific minimalist, and Naranjo, known for his highly stylized portraits of disaffected youth, discuss their divergent styles, practices, and their shared “exile” from their native Mexico.
Fudong, known for his his elegant, puzzle-like films, speaks with curator Li Zhenhua about his latest project The Fifth Night.
Natalia Almada was just named a MacArthur Fellow. In BOMB 116 she discussed her film El Velador, and her motives for filming in a cemetery in Culiacán, Sinaloa.
Sebastián Silva’s highly realistic films are also thrillers. Set in Chile and performed by ensemble casts who replicate their counterparts in life with stunning veracity, his latest film, Old Cats, opens in New York this spring.
Weerasethakul is programming a series of his favorite films at Jacob Burns Film Center, where he’s finishing up an artist’s residency this month. Lawrence Chua spoke to the filmmaker about Thai history and its ghosts.
Reygadas—who just won Best Director at Cannes for his new film Post Tenebras Luxis more interested in his actors’ presence than their technique. He discusses why feel-good movies make him feel bad with Jose Castillo.
With major roles in over 30 films in the past decade, Patricia Clarkson has transcended the ageist stereotype of the American female actor. The star of Woody Allen’s Whatever Works and the upcoming Cairo Time talks with poet Howard Altmann.
En Español El artista venezolano radicado en Nueva York colabora con pacientes mentales “para curar a los cuerdos de su lucidez”.
Téllez casts and collaborates with the mentally disabled to “cure the sane of their lucidity.” Reyes and Téllez muse over the philosophical underpinnings of theater and film—from Aristotle to Godard.
Dabis wrote her film Amreeka, in theaters now, in response to her family’s Arab-American experience. An immigrant’s tale, the search for a better future in the Promised Land is full of seismic changes.
Guy Maddin, consummate Winnipegian experimentalist, and Isabella Rossellini, his Scanditalian muse, on what else but their dream-life, mothers and fathers, classical drama, and, yes, melodrama!
Buckingham’s film-based projects focus more on our contemporary reading of historical events than on imagining an ultimately irretrievable past. Their aim: to engage viewers in actively creating the present.
En Español! La pionera del nuevo cine argentino ha dirigido tres películas igualmente perturbadoras e intensas. En La Mujer Sin Cabeza se desborda la paranoia de una mujer que no sabe si cometió o no un crimen.
Lucrecia Martel is the first Latin American—and the first woman—director to be the subject of the “Tribute to” program at this summer’s Sarajevo Film Festival. A pioneer of New Argentine Cinema, Martel spoke to Haden Guest in 2009.
Filmmakers Kelly Reichardt and Gus Van Sant on Reichardt’s new film, Wendy and Lucy, Oregon, decay, and making a feature film with $20,000.
Harmony Korine returned in 2008 after an eight-year hiatus with Mister Lonely. His hallucinatory Spring Breakers is out now.
Karim Aïnouz’s Madame Satã broke taboos on all sorts of sexuality. The filmmakers discuss the internal geography of a peripatetic outsider, and the contradictions of their country and the condition of human nature.
Filmed in Sicily, Small Boats completes the trilogy Cast No Shadow (commissioned by PERFORMA 07). The two directors speak about migration, transition, and fallen angels.
With recent DVD releases of his films and a Cannes premiere this spring, the legendary Hungarian filmmaker has morphed from rebel outsider into cult auteur. The Man from London premieres this fall at the 44th New York Film Festival.
Mary Jordan’s documentary on the legendary Jack Smith—whose work is on view at Boo Hooray Gallery through March 10—fueled debate on authenticity, ownership, and purity of vision.
Director Steven Shainberg and producer Andrew Fierberg share a successful partnership forged in projects like Secretary and their latest, Fur: An Imaginary Portrait of Diane Arbus. The two sit down to compare notes.