By Matthew Eng | July 7, 2022

For me, there is one goal as an actor: truth. What is the truth in a situation? Because you are a reference to people. People are spending time to watch you, so you become their reference of a situation... if the audience is spending time watching you, there is a responsibility.

By Caitlin Quinlan | June 27, 2022

I return to these neighborhoods in order to make visible the people I have been made to believe were not worthy of being represented in film.

By Dan Schindel | May 29, 2022

I have never had a shot in my digital movies which has gone on for more than seven or eight minutes at the most. It is important to use the medium and not let the medium use you.

By Caitlin Quinlan | May 4, 2022

There is a strong relationship between this topic and silence, and silence is the best weapon for people who don’t want the world to change, people who want the world to go backwards.

By Eileen G'Sell | April 22, 2022

There is a quality to the gaze that is always political. It is not that children have a more poetic look on life, but that it is vital for them to look, it is vital for them to gaze. It is about getting information, because they are dependent and a lot is not said within families that have a strong hierarchy.

By Eric Hynes | April 8, 2022
At the Museum

I really wanted us to experience the way that history and our representation of truth is mediated through images, through popular culture, through the news, through horror films, and through archives of therapy sessions.

By Leonardo Goi | March 17, 2022
At the Museum

I wanted to show these atrocities to remind Europe, and the whole world, that these barbarities are not happening far away, in some distant past, but right here, right now.

By Conor Williams | March 4, 2022

His striking, lush imagery and ambient soundscapes lead viewers on a trip into a cerebral-cinematic beyond, while avoiding self-seriousness. His new film, Rock Bottom Riser, is his first feature-length work.

By Sam Bodrojan | March 4, 2022

When I’m on the set, I’m learning about what I’m constantly drawn to. Part of it is instinct, and part of it is your own obsession, what you’re drawn to. Once I started making films, without losing that theoretical approach completely, that’s when you start gravitating towards things that move you or that attune you.

By Nicolas Rapold | February 24, 2022

Top of the Heap, from 1972, centers on a black D.C. cop who’s frustrated with his job, but this is no run-of-the-mill seventies crime film. First-time director and star Christopher St. John creates a fascinating, volatile blend of police melodrama, Afrofuturism, counterculture satire, and sheer cri de coeur.

By Chris Shields | February 9, 2022

Chandler’s film achieves a chilling elegance. Bulletproof forgoes the overly scripted, interview-heavy approach of many contemporary documentaries, and instead presents a stream of unhurried tableaux, crafting a nuanced and complex vision of the nexus where guns and schools meet.

By Lawrence Garcia | January 27, 2022

The Cathedral may be described as both a family melodrama and an oblique chronicle of American politics, spanning two decades. But the film is a far more discontinuous affair than such descriptions suggest.

By Jordan Cronk | November 24, 2021

When you adapt a book into a movie it is more about transcribing the emotions you felt when you first read the text.

By Erik Luers | November 12, 2021

His films actively engage with their subjects while questioning the notion of authentic representation...these films interrogate the subjective act of viewing.