Film
How the 1960s Protest Movements Shaped Me as a Filmmaker
For Deborah Shaffer, director of the new doc Queen of Hearts: Audrey Flack, the political has always been personal.
Three Great Things: Fortune Feimster
Comedian and actor Fortune Feimster, who stars in the new film Chick Fight, on her love of Carol Burnett, espresso and her dog Biggie.
A World Below the Brine
Hasan Oswald shares the compelling story of how he came to make his Slamdance Grand Jury-winning doc Higher Love, out now on digital.
I Guess a 30-Year-Old Beastie Boys Record Is My Best Friend Now?
Writer and comedian Josh Gondelman on his deep love of Paul's Boutique, an NYC album that has added resonance during the pandemic.
Love You, Mum and Dad
Spell director Mark Tonderai looks back on his dramatic childhood in Rhodesia (now Zimbabwe) and how it shaped him as an artist.
How the Clash’s Mick Jones Made My Rock & Roll Dream Come True
Making his new film, 18 to Party, writer-director Jeff Roda discovered that sometimes you should meet your heroes, after all.
Cinephile with Mark Borchardt: Possessor
The director of Coven continues his quickfire film-review series by turning his attention to Brandon Cronenberg's unsettling new horror movie.
What I Learned Working with Terrence Malick
Henry Butash reflects on how his time on three films by the master affected his own directorial debut, The Atlantic City Story.
Death, Rebirth and My Personal Journey with My Name is Pedro
Lillian LaSalle, director of the new documentary My Name is Pedro, on her challenging, emotional experiences during the pandemic.
We’re Taking the Day Off To Vote: Here’s Why Voting Is Important, In the Words of Talkhouse Contributors
Your vote could be incredibly vital in closing the book on this monstrous, authoritarian era of American politics.
No Brainin’, No Thinkin’, Just Fun and Some Stunts
Director John Stewart on his criminally overlooked stunt-filled thriller Action U.S.A., which is newly re-released in 4K.
Horrors Far Beyond Mere Violence: On Schalcken the Painter
Writer-director Graham Swon shines a light on Leslie Megahey's vastly underseen "indirect horror" movie, a lost BBC gem from 1979.












