By the time AMERICAN SOLITAIRE reaches its final movement, Davidman has earned something increasingly rare in films tackling large social themes: hope that does not feel facile.
According to Timothy David, central to the power of KANGAROO ISLAND is that “It’s a tragedy that tore the family apart, and what ends up happening is it’s a tragedy that brings them back together.”
ANTON SIGURDSSON wanted REFUGE to ” look amazing…we can kind of mix old school cinema in with a fresh wave of punk rock and roll.” Exclusive Interview!
For Ben Wheatley, “what I really liked about [NORMAL] was that it was a neo-Western. I’d wanted to do something like a Western for a long time.”
DILLON BENTLAGE discusses memory, caregiving, collaboration, and the visual and emotional architecture of his deeply humane first feature, WATCHING MR. PEARSON.
With his first serious dramatic turn as a director with A LOVE LIKE THIS, JOHN ASHER talks Malibu light, emotional risk, editing with intention, and a surprise hello from his mother, actress Joyce Bulifant.
Director ANEIL KARIA reimagines HAMLET from the inside out in this exclusive interview.
From “Butt Boy” to a feral mermaid romance, writer/director TYLER CORNACK leans into the absurd—and finds surprising heart with MERMAID.
The director of A GREAT AWAKENING explores history, sound, and storytelling in bringing George Whitefield to life in this exclusive interview.
OSCAR BOYSON discusses creating the chaos of character and humanity in OUR HERO, BALTHAZAR.
STEPHANIE LAING insists that Amanda’s individuality, dignity, and resilience are precisely what make the story worth telling.
One of Finn Taylor’s greatest strengths as a storyteller lies in his understanding that the emotional core of history lies in the personal.
