WEB EXCLUSIVE Von Trotta and actress Barbara Sukowa discuss their history together, the role of radical women in Germany and their latest film, Hannah Arendt
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
Rivers’s films involve loners and small, insular communities cut off from society. His latest, A Spell To Ward Off the Darkness, was made in collaboration with Ben Russell. With fellow filmmaker Fitzgibbon, he speaks of recreating utopian visions.
Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.
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 black comedies The Maid and Old Cats made the Chilean filmmaker’s name. His new film, The Crystal Fairy, starring Michael Cera, opens in New York on July 12.
Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives, won the 2010 Palme d’Or at Cannes. Lawrence Chua talks 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.