By Matthew Eng | October 14, 2017

"I really identified with these cowboys on horses who were searching for something and making decisions about whether they wanted to be a part of society or not. At some point, I realized, maybe when I was a little bit older, how oppressively male this genre was."

By Lauren Du Graf | October 11, 2017

"Taking normal people, average people, people who have no power, and giving them the time to express themselves and to become more important. By making them big on the wall, it also gives them importance and light and life. So we agreed that that would be the project, to go in the magical truck from one place to another."

By Lauren Du Graf | September 16, 2017

“We can look at Strong Island and see when your loved one dies in a vacuum, when the casual fragility of black life turns your childhood into a soap bubble—they are floating, and then they are gone. Tamir Rice was literally gone.

By Amir Ganjavie | September 8, 2017

"This film was able to see the light of day because we met Adèle Haenel. When we saw her there we talked a little but then we were separated. We thought, here is a young actress whose face could serve as a motor for our project, which we were having difficulty developing and writing."

By Eric Hynes | March 24, 2017

Cinema does film the invisible. You don’t have to believe in the invisible—it’s factual that film images capture something more than what you’re shooting.

By P.M. Cicchetti | March 2, 2017

It is important for me to work without a locked script, and without giving strong directions.

By Matthew Eng | January 27, 2017

Audiences usually put themselves in the shoes of the good characters. They never put themselves in the shoes of the person who has done something wrong. And there is no challenge when you put yourselves in the shoes of the good people.

By Jordan Cronk | January 13, 2017
At the Museum

“The words written in the script are really just for my reference. I never show the actors the screenplay. I find I always get better results with the dialogue if we do some improvisation and run through the scene a few times.”

By Ela Bittencourt | October 8, 2016

"It was about creating this open space and stretching it as far as possible, moving step by step, adding new elements one by one. At one point, it became inevitable that the making of the film itself should come into view."

By Nick Pinkerton | March 11, 2016
See It Big

A big influence on me was Edward Hopper, because I look at his paintings and you have two or three objects in a room, but they combine to create a mood and a whole story. Suddenly a lamp become important, or a poster or a piano, and you choose more carefully.

By Paul Dallas | February 22, 2016

When you’re young, love is often experienced as something very pure and sweet. But later in life, love can become deconstructed, sometimes to the point of turning into a kind of bitterness.

By Jordan Cronk | January 14, 2016
At the Museum

"The film is never going to be transferred to digital. It always has to be shown as film, and it was constructed as a palindrome, so it could be shown from either end, and you can’t really do that with digital."

By Darren Hughes, Eric Hynes, Vadim Rizov | January 13, 2016

I have no theory on my own film. You know, cinema is gestural; this is what it has in common with dance or with painting. You take your camera, and people, and you write something with that, that resembles life.

By Eric Hynes | January 8, 2016

There were times when the existential dread was so rough that I would have traded some good old sexual anxiety for it. It is a pretty horrific thing to discover that we might be finite mortals. There were moments in college when I would have given anything to be a struggling queer Christian.