This is what Big Art/Little Debt/Together points toward now: not rugged individualism but collective human sovereignty. Building the conditions for your artistic life — with others. Knowing exactly ...

Steam pouring from manhole covers, the neon-lights of 42nd street seen through rain-streaked taxicab windows, phalanxes of ...

For the first time since 2002’s Punch-Drunk Love, Paul Thomas Anderson has made a movie with a contemporary setting. To do so ...

When I realized I’d be laid off (via: restructuring) from the publication I’ve worked at for 11+ years, I went back through ...

As 2025 unfolded, returning to the ritual of asking filmmakers about the films that moved them feels both fragile and ...

After spending the last Knives Out entry on a billionaire’s private Greek island, master sleuth Benoit Blanc’s latest mystery ...

When 28 Days Later arrived on screens in 2002, it marked a leap forward for both zombie movies and digital cinema. Eschewing ...

Telluride is not on my annual festival calendar—too distant, too costly—and rarely I’m at Toronto, only with a film. So as a ...

Toward the end of my interview with Gregg Araki, I remind him of his scene from Michael Almereyda and Amy Hobby’s 1995 documentary At Sundance. Sitting on a couch next to Todd Haynes, Araki is at ...

A garish panel from an R. Crumb cartoon was the cover of Filmmaker’s spring 1995 edition. Inside were interviews with Hal Hartley, David Salle, Lourdes Portillo and Gregory ...

In setting out to make Nouvelle Vague, his effervescent ode to the birth of French New Wave cinema, Richard Linklater knew from the start that realizing his artistic ambition—to dramatize ...