By Anna Thorngate | June 9, 2023

This is not a film that was meant for competition or anything. It is a very personal film. It was shot during COVID and very conditioned by that period; you could almost say that it was shot with a kind of wartime economy.

By Forrest Cardamenis | April 26, 2023

Her dense sound mix and editing patterns prioritize the exploration of space over the conveyance of narrative information. That interpretive freedom takes root even amid a cornucopia of symbolically charged motifs.

By Leonardo Goi | April 13, 2023

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 Michael Koresky | April 12, 2023

Beau Is Afraid is inherently contradictory: confident, muscular cinema about emotional atrophy and living with profound insecurity. I sat down with Ari in a bustling East Village cafe, where, over the sounds of clanging coffee filters and hissing steamers, we discussed his latest film, beloved inspirations, and the terror of putting things out in the world.

By Ricky D'Ambrose | April 5, 2023

It was like being back in art school, back to an earlier day in filmmaking where I was just like, “I’ll do this pan because how much am I going to screw it up?” It was just very freeing in making those shorts. I really loved it.

By Eileen G'Sell | March 10, 2023

Lynn is a female character that we rarely see: however beautiful, she is uncharismatic, taciturn, and professionally unambitious. In Stonewalling, her decision to sell her eggs on the black market (for the equivalent of 2800 U.S. dollars) leads to the discovery that she is one-month pregnant.

By Leonardo Goi | February 16, 2023

I like to think of the camera as something that helps me capture things I would not normally see. So when I see filmmakers watching their own images on the combo in real time, as they shoot, I cannot help but think of it as a tautology. Because they are assimilating the potentiality of the human eye.

By Leonardo Goi | January 26, 2023

There is this weird sense of grief for someone who is still alive, technically, but you also understand that you can live through opposite things at the same moment. Grief and sadness. Rebirth and happiness. All at the same time.

By Chris Shields | December 1, 2022

2nd Chance presents another story from the annals of capitalist pathology, but this time, what we see is almost too wild to be true. Entrepreneur and inventor Richard Davis has had the distinction of shooting himself more than 100 times.

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.