By situating a lesbian love affair in the conventions of classic Hollywood filmmaking, Desert Hearts became a cult favorite.
Ultron is the most frightening enemy the Avengers have had to face so far, but can an ongoing franchise have a legitimately terrifying villain?
Despite years of intimidation, censorship, and violence, Iran’s filmmakers continue to rise above the nation’s restrictions on the medium.
On the visual language of American Sniper, ‘71, The Hurt Locker, and Saving Private Ryan.
On Dennis Hopper’s disavowed art-crime failure Backtrack, a film combining the work of Jenny Holzer, Jodie Foster as a glam-rock Patty Hearst, and Bob Dylan in a hardhat.
Ava DuVernay’s Selma is more analytical than the average biopic—a negotiation between complex and intersecting histories, rather than a simple dramatic restaging.
The acclaimed (and playfully salty) filmmaker on the evolution of style, shooting in digital, and the limits and joys of making period pieces.
The National Gallery filmmaker talks about cultural elitism, film vs. digital, and the challenges of bringing artwork to life on screen.
Two new films, Whiplash and Adult Beginners, make the same point: that real happiness means abandoning the obsessiveness required for greatness. Only one of them thinks this is a bad thing.