film essay

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.

Ido Fluk, director of The Ticket, looks back on arriving in New York in August 2001, and his experiences in a city suddenly thrown into crisis.

Stephen Winter channels Jonathan Swift as he responds to controversy surrounding [name redacted]'s painting of Emmett Till.

Tommy O'Haver, director of The Most Hated Woman in America, makes his passionate pitch for who should be the next POTUS.

The Levelling writer-director Hope Dickson Leach on Certain Women and the compassionate approach of her former professor.