‘I think that horror coming from normality is much more horrifying than monsters or robots.’
‘We are slave of our culture, our readings, our thoughts.’
Poitras speaks on her powderkeg CITIZENFOUR and the tension between liberty and security, law and secrecy.
On controversy, colonialism and Sauper’s latest, WE COME AS FRIENDS: ‘Like the king’s jester. It is fine when he talks in court but it is not fine if he goes out to the people and has a microphone.’
The iconoclastic Bay Area filmmaker premieres his new nocturnal drama at the Mill Valley Film Festival and on Fandor.
With THE MEASURE OF ALL THINGS, Sam Green says, ‘I do believe art is an almost magical force.’
TIME IS ILLMATIC filmmaker One9 on why his Nas documentary is a response to the recurring nightmare that is Ferguson.
Speaking of drama, time, street life and strange attractions: ‘You’re constantly flirting with death.’
Penny Lane, at play with primary sources and vivid soundscapes, brings Richard Nixon and staff to life.
Record producer Chris Strachwitz reluctantly accepts the spotlight in THIS AIN’T NO MOUSE MUSIC.
Of their structural work with ethnographic depth, Stephanie Spray says, ‘Enjoy the ride.’
Getting lost in the labyrinth with Bruno Forzani and THE STRANGE COLOR OF YOUR BODY’S TEARS.