From the moral seriousness of his films to changing up his working methods to how far away he places his camera -- our interview with João Pedro Rodrigues as his new "The Ornithologist" hits NY theaters via Strand Releasing.
Opening tomorrow at New York's Metrograph is Albert Maysles's final film, a collaboration with a quarter of young filmmakers. It's about Amtrak's long-running, long-distance Empire Builder train and is a must for fans of both Direct Cinema and rail travel.
What the festival called "Alternate Reality" -- AR and VR -- were big topics at last week's Sheffield Doc/Fest. Tiffany Pritchard straps on the headsets and tries out some of the most acclaimed titles. And she writes about some of the films and panels too.
"I think many women live through the painful and confusing split of a performed sexuality as opposed to an authentic sexuality." Nina Menkes talks with Deborah Kampmeier about her bold third feature, "Split."
“Who gave you the right?” is a question that storytellers today must be armed to answer. Taylor Hess talks with Dominican-Guyanese filmmaker Gabriella Moses about navigating representational challenges in the making of her first feature, "Leche."
Melissa Miller had a nice film career as an art department coordinator. But what she really wanted to do is direct. Here, in this first-person essay, she describes the steps she took to go from crew member to above-the-line writer/director.
Can a documentary be so bad it's good? Why aren't there viewing parties, like those for "The Room," for doc flame-outs? Penny Lane seriously considers the question and comes up with her own list of five "so bad they're good" non-fiction (?) films.
With "John Wick: Chapter 2" hitting home viewing platforms today, we're reposting Matt Mulcahey's interview with director Chad Stahelski, in which they break down some of the film's most impressive stunts.