Low Budget Films
The fine art of the romantic-comedy-thriller-mystery.
The master filmmakers on blending the political and the personal in their new film.
Filmmaker Raya Martin discusses Philippine cinema, emoji, and his latest feature How to Disappear Completely.
Québécois filmmaker Denis Côté on filmic revenge, horror, and making a film in seven days.
Filipino filmmaker John Torres discusses his embrace of being an outsider, the fight for an audience, and how a mishearing became his new film Lukas the Strange.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
Filmmakers and friends Swanberg and Decker—who both have features at the 2013 La Di Da Film Festival—discuss the immorality of not making comedies and the challenges of making sexually charged films.
Jacques Rivette’s Le Pont du Nord and Bob Byington’s Somebody Up There Likes Me are abstract in different ways, but for the same reason: lack of funds.
Director Kelly Reichardt first gained widespread notice with her 2006 film Old Joy, a paean to post–9/11 political and personal miasma played out in the campfire conversations and road-trip recollections of two longtime friends in the Cascade Mountains of Oregon.
32-year-old Brooklyn filmmaker Jonathan Caouette has been documenting his own life since he was eleven. His staggering debut Tarnation, part documentary and part narrative, is a densely layered testament of Caouette’s life and that of his family.
Habit is low budget and gritty, fitting for its setting in the lower Manhattan bars, tenement apartments, and Italian festivals of summer—you can almost smell the sausages and peppers smoldering.
The consummate actress, Judy Davis talks about her starring role in the epic satire, Children of the Revolution.
Director Mike Figgis composed his film, Leaving Las Vegas, like a jazz score. It soars and crashes, and soars again.
Todd Haynes, the director of Safe, first met Kelly Reichardt during the making of his film Poison. They take five to compare notes upon the release of Reichardt’s first feature film, River of Grass.
“Because I’m such a Los Angeles brat, it’s about 18-year-olds, and it’s filled with that kind of like L.A. talk and shopping malls. My producer said it’s like a gay John Hughes movie directed by Godard.” Gregg Araki