‘My films are called documentaries, but they’re maybe not the kind of journalistic work many people expect when they think about things like prostitution, big cities, manual labor.’
With a catalogue of visually stunning nonfiction features on sobering realities, Michael Glawogger speaks as an artist, not a moralizer.
Personal documentary filmmaker Broderick Fox talks identity, technology, body art and aesthetic legacies.
‘Part of the ambition of IN ORDER OF DISAPPEARANCE was to kind of blow the doors out of the genre limitations that you often feel exist.’
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.’