by Hannah Strong
The co-lead of Teenage Sex and Death at Camp Miasma lays out her vision of a cinema that is provocative, joyful and kind.
by Marina Ashioti
A conversation with the Pope of Trash following new restorations of the upbeat/downbeat duo, Hairspray and Desperate Living.
by Katherine McLaughlin
Disruption and provocation were key motives behind the decision to make Rosebush Pruning, a new, sick treatise on family.
by Natalie Marlin
For a quarter of a century, Johnny Knoxville has mined low-brow gold from the prank genre. The mellowed madman talks about hanging up his crash helmet with Jackass: Best and Last.
The writer/director of Blue Heron on how the nostalgic power of cinema can create poetic chronicles of the past.
by Sophie Monks Kaufman
Fish-gutting lessons, seasickness and Cornish notions of home play into the writer/director’s superlative third feature.
by Claire Biddles
Meeting the compositional maestro behind the complex web of sounds and rhythms in Mona Fastvold’s The Testament of Ann Lee.
The star of The Testament of Ann Lee expounds on the joys of giving yourself over to cinema.
The maker of The Testament of Ann Lee on creating a radical biography that’s forged in ecstatic song.
by Alex Hewitt
David Lynch’s long-time production partner and writer of The Straight Story reflects on a legendary creative partnership and the gentlest of Lynch’s films.
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