Steve Macfarlane
At the risk of using a common critical canard: Leigh Ledare’s The Task is “a movie for anyone who” has ever been paralyzed with resentment when told they need to check their privilege—but then, maybe it’s for those whose disabusement has yet to begin.
The Argentine filmmaker on colonialism, recreating history, and Zama.
The late Iranian filmmaker’s final work is an ethereal study of the mechanics of cinema.
Featuring selections by Corina Copp, Max Galyon, Patricia Spears Jones, S.D. Chrostowska, Karl Holmqvist, Phillip Lopate, Mary Simpson, and more.
Blunt yet intoxicating, James Gray’s The Lost City of Z betrays its outsize ambitions and pained revisionism with every last scene
“I don’t want to continue making movies this way.”
“I’m not thinking about the market. I’m thinking about what I want to say.”
“I’m always dipping myself into our stuff and seeing what color I turn.”
The director of Advantageous on technology, childhood, and the market forces that shape family relations.
Cinematic choreography and the art of showing, not telling.
Casanova, Dracula, and art in the age of digital filmmaking.
Excess as a state of mind: intellectualism, vacation, and the pleasure of scenic rhythms.
Québécois filmmaker Denis Côté on filmic revenge, horror, and making a film in seven days.
Aaron Schimberg on dominance, avoiding naturalism and psychoanalyzing a character.
Czechoslovak New Wave filmmaker Jan Němec discusses jazz and making movies under communism.
Filmmaker Matt Porterfield discusses the degrees of accessibility of his films and the process behind his most recent project I Used to Be Darker.