Over the course of six years, filmmaker Laura Poitras had unparalleled access to WikiLeaks founder Julian Assange and his closest confidantes. What she captured became Risk, the follow-up to her Oscar-winning Edward Snowden exposé, Citizenfour (2014).
Risk, a new documentary by Laura Poitras, follows the Wikileaks founder as public perception sours.
“I wanted to build the script as if we were entering into a brain or a memory, where you have separate elements existing in the same time and you don’t understand the logic.”
“If you can’t go to church, and the only way you can pray, or connect to your god, is through another process, then that becomes the thing you do.”
“Humor teaches us that you can be a good person but also have bad thoughts.”
“She wasn’t loved, so she didn’t know how to give love.”
“This is not a movie that invites you to really empathize with these characters, nor is that the point.”
“I never could’ve predicted that these burly men clad in leather and chains, riding these metal ponies, could be that wracked by stuff and live with actual ghosts.”
“When you make these films you need to work very closely with people from the community. You’re only as good as your relationship with them.”
Surveillance, J. Edgar Hoover, and effective activism.
Melting glaciers, Metallica, and the Arctic.
Doppelgangers, Dostoyevsky and the importance of timelessness.
Wolf, whose new film Teenage is out now, on the invention of the teenager and how our obsession with nostalgia may be helping our innovation.
Jessica Oreck discusses the rewards and challenges of working in sub-zero temperatures for her new film Aatsinki: the Story of Arctic Cowboys.
Filmmaker Penny Lane on divisive personalities, collateral consequences, and the question of Nixon’s presidency as aberration in her new film, Our Nixon.
Writer and director Shane Carruth talks about his latest film Upstream Color, Walden, and an integrated filmmaking process.
Anya Jeremko-Greenwold enters the cold, calculating, and instinct-driven world of Werner Herzog at a roundtable discussion of his recent Into the Abyss.
Anya Jaremko-Greenwold peeks into the mind of director Anne Sewitsky, whose new film Happy, Happy, is out now.