There’s no ‘secret handshake’ at Harvard’s Sensory Ethnography Lab, just brilliant filmmaking.
On the making of LOVE AND OTHER ANXIETIES: ‘As it turns out, I can withstand the camera.’
Dayna Goldfine and Daniel Geller talk unreliable narrators and self-made mythologies in THE GALAPAGOS AFFAIR: SATAN COMES TO EDEN.
Jim Jarmusch’s ONLY LOVERS LEFT ALIVE finds only vampires left to love.
On ‘performing a great historical failure:’ A look back at a 1973 interview with Werner Herzog on AGUIRRE, THE WRATH OF GOD.
Liechti speaks on a final film that tackles love, faith and mortality with the openness, maturity and emotional wisdom characteristic of both true artists and extraordinary people.
Burtynski and Baichwal, whose MANUFACTURED LANDSCAPES stunned viewers, return with more expansive and alarming views of environmental crisis in WATERMARK.
Obi Emelonye: ‘The straight-to-video industry gave Nigeria the dubious honor of becoming the second largest in the world just on quantity. We want quality and that’s happening, but it comes at a price.’
Bertrand Tavernier on the exhilarating process behind his graphic novel-inspired political satire.
‘I don’t want to be a prisoner of an industry. I want to make art that opens your mind.’
They were partying, having a good time, dressing up, doing what kids do—but they were also risking their lives. There are moments in history when pop culture, music and fashion can have that kind of significance.
CREW: Steve McQueen, Kelly Reichardt and Gus Van Sant Share a Secret Weapon—Sound Design by Leslie Shatz
It started with GOOD WILL HUNTING. The fight scene was where Gus said, ‘We have to go crazy.’