The Moveable Fest
The Moveable Fest
  • Interviews
    Interviews

    Christos Nikou on Cutting to the Core in “Apples”

    Peter Strickland on Going With His Gut in “Flux Gourmet”

    BAMcinemafest 2022 Interview: Lynne Sachs and Paolo Javier on Crafting a Clever Turn of Phrase with “Swerve”

  • Reviews
    Reviews

    Tribeca 2022 Review: The Thrill of the Chase Can Be Addictive in Daniel Antebi’s “God’s Time”

    Tribeca 2022 Review: Signe Baumane’s “My Love Affair with Marriage” is a Truly Animated Affair

    Tribeca 2022 Review: No Mourning is Allowed with Death on the Horizon in the Beautifully Bittersweet “Pink Moon”

  • The Mentaculist
    The Mentaculist
    Matt Damon in "Euro Trip"

    Matt Damon: A Career in Cameos

    Independence Day: My Street

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

    Lucas Black and Nathalie Kelley in "Fast & Furious: Tokyo Drift"

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

  • Retrospective
    Retrospective

    “All My Work is the Desire to Live Fully, To Grab it and to Swallow Life”: Mira Nair on a Career Showing the Unseen

    Reclaiming Reality: Mario Van Peebles on Reimagining a City and an Industry in “New Jack City”

    Joachim Trier on “The Worst Person in the World” Epilogue, Freezing Oslo in Time and More with Paul Thomas Anderson

  • Trending
    NowWeekMonth

    BAMcinemafest 2022 Interview: Lynne Sachs and Paolo Javier on Crafting a Clever Turn of Phrase with “Swerve”

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

    Andy Ostroy on Keeping a Singular Artist’s Legacy Alive in “Adrienne”

    Tribeca 2022 Review: Annette K. Olesen’s “A Matter of Trust” Hops Around Difficult Leaps of Faith

    Interview: Cooper Raiff on Getting at Grace in “Shithouse”

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UCLA Film and Television Archive

To Live and Screen in L.A.

Restoring Insanity: How the American Genre Film Archive is Saving the History of Exploitation Cinema

A month-long series in Los Angeles honors the horror and exploitation specialists that have amplified voices outside the mainstream — and given a new lease on life to the films that have all the best death scenes.
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Craig Chester, Illeana Douglas and Carlton Wilborn in "Grief"
To Live and Screen in L.A.

Richard Glatzer and His Cast on the Good Done By “Grief” 20 Years Later

The "Still Alice" co-director and the cast of his first feature reflect on the dramedy shot at the height of the AIDS epidemic at a reunion event at UCLA.
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Melanie Griffith in "Working Girl"
To Live and Screen in L.A.

Interview: KJ Relth on Creating a Real Power Point with “Working Girls: America’s Career Women on Screen”

On how a survey of the depiction of female professionals in 20th century cinema became personal for the UCLA Film and TV Archive programmer.
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Jorge Jellinek in Federico Veiroj's "A Useful Life"
Summer in the CityTo Live and Screen in L.A.

When Pharmaceutical Companies Own the Rights to Your Favorite Film & Other Job Hazards: LA Film Programmers Tell All

Programmers from the Academy, Drafthouse LA, Cinefamily and UCLA gathered at the Hammer to talk shop and spill secrets on how and why certain films play in LA and others don't.
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Copyright 2011 The Moveable Fest

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Film NewsTo Live and Screen in L.A.

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

Mildred Loving, Peggy Loving and Richard Loving in "The Loving Story"
Interviews

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

The Mentaculist

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

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