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Michael Metelits

Interview: Matt Wolf on How History is Made with “Recorder: The Marion Stokes Project”

On how an obsessive TV viewer went from capturing the first draft of history to having a say in what ultimately will be written in recording the news.

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Alex Camilleri and Jesmark Scicluna on Staying Ahead of a Rising Tide in “Luzzu”

Claudia Llosa and Samanta Schweblin on Creating the Waking Life of “Fever Dream”

Fran Kranz on Packing an Emotional Wallop Into “Mass”

Beyond Fest 2021 Review: “The Black Phone” Answers the Call

Hamptons Film Fest 2021 Review: Paolo Sorrentino Shows Some Perspective with “The Hand of God”

Woodstock Film Fest 2021 Review: “Porcupine” Offers a Sharp Look At the Family You Create for Yourself

Matt Damon: A Career in Cameos

Five Movie Marketing Miscues That Blew Up in All the Wrong Ways

Justin Lin on “Tokyo Drift” and the Four Hours That Saved the
“Fast & Furious” Franchise

How Joan Micklin Silver’s “Hester Street” Transcended the Idea of Hollywood Being a One-Horse Town

“Every Day Was Like, ‘How Do We Pull This Off?'” Martin Brest on “Midnight Run”

How to Be a Los Angeles Cinephile in 2020 – Even If You’re From Outside of Town

Interview: Benjamin Ree, Barbora Kysilkova and Karl-Bertil Nordland on Shifting Perspectives with “The Painter and the Thief”

Jessica Earnshaw on Exploring the Roots of Generational Trauma in “Jacinta”

Beyond Fest 2021 Review: “The Black Phone” Answers the Call

Playing God: 13 Actors Who Dared To Be the Deity in Movies

Austin Film Fest ’18 Review: “The Amaranth” Never Grows Old

Michael Metelits

Interview: Matt Wolf on How History is Made with “Recorder: The Marion Stokes Project”

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Joe Carnahan Talks About the Alternate Ending He Shot For “The Grey”

Interview: Nancy Buirski and Peggy Loving on Finally Getting to Tell “The Loving Story”

Playing God: 13 Actors Who Dared To Be the Deity in Movies