Featuring selections by Bethany Ides, Isaac Pool, Charles Bernstein, Matthew Weinstein, Ivan Talijancic, and more.

“A film is always an attempt, nothing more, and that allows for a sort of dialogue.”

Body swapping, infinite loops, and ’70s conspiracy thrillers haunt the dynamic performances of a movie-loving artist and the actors he works with.

“I asked my students for the image of the essence of tenderness. One girl brought in a small, silver plate with a bunch of grapes neatly laid out on it. When I noticed she had stripped the skin off the grapes, I got goose bumps.”

The Dogtooth filmmaker talks about The Lobster, finding the right tone, and the state of Greek cinema.

“In Counting, I was counting almost everything I encountered: street life, light, weather, animals, and some intangibles, political or social or economic currents, and certain seismic changes in my own life.”

Time, sharing pain, and theater versus cinema.

Where the horse opera meets a fairy tale.

The fine art of the romantic-comedy-thriller-mystery.

Sound, image, espionage, and methods of control.

That summer, that hot Roman summer afternoon, I see you sitting on the curb, waiting for the door to open, & seeing all those movies, yes, that hot Roman summer day.

Dabis wrote her film Amreeka, in theaters now, in response to her family’s Arab-American experience. An immigrant’s tale, the search for a better future in the Promised Land is full of seismic changes.

“I’m somewhere between Bresson, Godard, and the NBA.”

“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

Godfrey Reggio on his new film Visitors, a piece of poetic, experiential cinema, with an original score by Philip Glass.

Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.

David Lynch discusses painterly filmmaking, the importance of having final cut, and his latest musical project, The Big Dream, released July 16th.

Mariana Valencia on her sculptural arrangements of bodies and objects, teenagers in parking lots, and Bushwick sunsets.

Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.

JRachid Djaïdani discusses his new film Rengaine (Hold Back), and the advantages and hazards of guerrilla filmmaking.