Obscuring the past to get at truth in Paul La Farge’s The Night Ocean
“This is not a movie that invites you to really empathize with these characters, nor is that the point.”
“My addiction has to do with performance, with creating a very real situation and then dealing with all the physical problems surrounding it.” —Matthew Barney
Québécois filmmaker Denis Côté on filmic revenge, horror, and making a film in seven days.
The director’s varied career, the “wild energy” behind his films, and why he loves monsters.
Craig Hubert sits down with Jason Zinoman to discuss horror films’ capacity to enthrall, terrify, and addict audiences.
“I’ve come here to chew bubblegum and kick ass. And I’m all out of bubblegum.” Justin McNeil reviews Jonathan Lethem’s non-fiction book,They Live, an examination of the movie of the same name.
When Antichrist premiered at Cannes, the Internet went buzzing.
I drew my first breath at the Kingdom Hospital in Copenhagen. Many years later, my dear 94-year-old great-grandmother drew her last within those same walls, and that same year I spent my 22nd birthday there after my boyfriend had tried to open my inaugural oyster with scissors.
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.
Independent filmmakers Alison Maclean (Crush) and Todd Haynes (Poison) talk about genre busting in Haynes’s feature film Safe, about a woman who turns to New Age cures for an environmental disease.
College pals Donna Tartt and Jill Eisenstadt exchange campus lore and anecdotes about the novel-writing process while discussing Tartt’s The Secret History. A refreshing glance at two young writers who found early success.
Cronenberg talks to Bette Gordon about the supernatural and horrific qualities of his filmography.