filmmaking

Jim Hosking, director of The Greasy Strangler, makes the case for the value and importance of cinema being, you know, enjoyable.

Ryan Fleck, the director of Half Nelson and Mississippi Grind, on the ineffable magic of Andrea Arnold's first Stateside feature.

Joe Dante, Allison Anders, Rod Lurie and more pay tribute to the late director of such classics as L.A. Confidential and Wonder Boys.

Jim Hemphill makes the case that, despite what Schrader himself may say, one of the director's most personal films is also one of his best.

Shannon Plumb on red carpets, press embargoes, critical slapdowns, standing ovations and more, as her husband's new movie premieres on the Lido.

Jenni Olson delves into her obsession with Hitchcock's masterpiece, and its connection to the tragic death of one of her dear friends.

As a lost Jarman documentary from 30 years ago goes on release, Bruce LaBruce looks at its place in the career of the late great British director.

Penny Woolcock draws on 30 years' experience directing fiction and nonfiction films to give her insight into the current political climate in Britain.

Alex Ross Perry on Nicolas Winding Refn's masterpiece, and what it bombing at the box office says about the state of independent film.

Netflix's first original movie, a heartbreaking tale of boy soldiers, is a thing of beauty made about a world of horror.

This is, no question, an auteur work, but one where every player in front of and behind the camera distinguishes themselves.

It's best not to get intimidated by the absurdly prolific output of this Japanese director, whose new movie is about gangster vampires.