Interview: Alexandra Pelosi on Capturing a Full Portrait of Polarized Times in “American Selfie”
At a time when more people are documenting their lives, a sobering reflection on how it's impairing the ability understand the experience of...
Interviews
Sitges Film Fest 2020 Interview: Chris Alender, Brigitte Kali Canales and Marcos Gabriel on Putting a New Spin on Exorcism in “The Old Ways”
An American journalist finds herself literally tied up by her roots in Mexico in this dynamic thriller.
Interview: Rubika Shah on the Punk Protest of Racism That Rocked England in “White Riot”
The director talks about reviving the history of the glorious '70s uprising of the punk community known as Rock Against Racism.
Interview: Britt Lower on the Beautiful Balancing Act of “Circus Person”
The actress-turned-director talks about painting herself out of a corner emotionally with this lovely tale of self-discovery amongst acrobat...
Interview: Erika Cohn on Confronting the Unimaginable in “Belly of the Beast”
The director of "The Judge" talks about the movement to uncover the shocking revival of forced sterilizations within the California Women's ...
Interview: Cooper Raiff on Getting at Grace in “Shithouse”
The writer/director talks about crafting a walk to remember with this bewitching romantic drama.
Interview: Cinematographer Eric Branco on All That Goes Into Getting a Shot in “The Forty-Year-Old Version”
The director of photographer behind "Clemency" talks about getting such a lively look at an artist seeking her breakthrough.
Interview: Diane Paragas on the Music That Builds Bridges in “Yellow Rose”
The director talks about making this lyrical drama in which music connects a family that's been separated by Immigration and Customs Enforce...
Interview: Alex H. Fischer and Eleanor Wilson on an Alien Encounter with Selflessness in “Save Yourselves!”
On the power of collaboration in this sharp sci-fi-tinged satire about a pair of millennials who choose to disengage from the world at a mos...
Interview: Kirsten Johnson on the Living Memory of Film in “Dick Johnson is Dead”
On opening up a family portrait for everyone to see themselves in with this darkly funny doc.
