By Leonardo Goi | September 29, 2022

At once repugnant and entrancing, it turns the body into the ultimate frontier, an alien landscape teeming with surreal visions, less a decaying vessel than an undiscovered planet.

By Eileen G'Sell | September 16, 2022

I wanted to show footage that felt brand new, that required a real watching and seeing and thinking and evaluating of what is in front of you. If you are gonna make a film about 1968, it better be something reevaluative.

By Matilda Hague | September 15, 2022

Her film and live performance Terra Femme tries to identify the female gaze... By weaving together archival amateur travel footage shot by women in the early 20th century, Stephens gives us insight as to what they attempted to capture along their journeys.

By Lawrence Garcia | August 31, 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 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.