film essay

Screenwriter Matthew Wilder (Dog Eat Dog) delves beyond Baby Jane, into the wildly diverse filmography of a true Hollywood original.

After Sidewalk Stories became an indie hit, filmmaker Charles Lane waged a desperate war for integrity against the "Mouse House."

Donal Mosher breaks down his experiences making – and then screening – a documentary short about Eureka Springs, an LGBT haven in the Bible Belt.

The director of the forthcoming Below Her Mouth on how the press' recent focus on her gender made her newly consider the female gaze.

The director of the new documentary Tony Conrad: Completely in the Present recalls the major figures who helped shape his career.

Adam Leon on why additional photography (which he used on his new movie, Tramps) is not a sign a film is in trouble, but exactly the opposite.

The Seattle-based writer-director fights her post-election malaise by watching everything from A Face in the Crowd to Falling Down.

Andrew Matthews, a newly politicized filmmaker based in Austin, Texas, explains how his background prepped him for the new resistance movement.

The director of Finding Oscar reveals his unique path from Midwestern English graduate to filmmaking partner to Amblin's founders.

The internet's favorite no-budget filmmaker, John Wilson, explains why he was at Sundance this year, despite openly resenting the festival.

Sean Brosnan shares his vivid experiences making the Iraq War miniseries, and makes a case for HBO putting it back on our screens.

Michael O'Shea, writer-director of the Cannes hit The Transfiguration, sets the record straight about his long-gestating debut feature.