The German filmmaker discusses her reductive approach.
With contributions from Laurie Simmons, Amy Jenkins, Mary Helena Clark, and more.
Portraits and hauntings are inseparable bedfellows in film history.
On directing a film about the Mir space station and viewing the fall of the Soviet Union from above.
An interrogation of the ways in which the system of representation surrounding breast cancer can isolate, infantilize, and even erase the women it professes to help.
A final, reflexive work from the godmother of the French New Wave.
A portrait of Langston Hughes and Black queer Harlem.
A short history of Detroit techno.
I never made a decision to become a film editor—or, in any case, I didn’t decide upon it at a young age and follow a single career path.
The two Chinese-born filmmakers reflect on Wang’s new documentary One Child Nation and her unique approach to blending the personal and political.
Jim Henson’s Netflix prequel is a masterpiece of puppetry filled with allusions to our contemporary moment.
A film about departures, the kind without return.
Shot on a vintage news camera, with a script containing appropriated texts, The Plagiarists is a sendup of indie movie tropes and notions of creative authenticity.
A 1950s queer cinema staple has been restored.
The filmmaker discusses his resurgent work still/here and the examination of landscape and history through the lens of race.
Much silence fills the exquisite visual tableaus in German filmmaker Angela Schanelec’s I Was at Home, But…
The artist talks about his film Joan Mitchell: Departures and its relation to Eternalism.
The filmmaker speaks about The Souvenir, class, gender, and the autobiographical.
The pioneering filmmakers discuss morality and dissent in Hara’s highly subjective documentaries: “It takes a toll to discover what binds your heart to the subject.”
The Singaporean filmmaker on migrant labor; visitations; and his recent work, A Land Imagined.