The old—make that ancient—Charles Perrault fairy tale of Bluebeard seems such a natural text for the ever-provocative French filmmaker Catherine Breillat to twist into knots that one wonders why the
If you're going to talk about cinema at present, even if you're not talking very thoroughly, it's inevitable that Yu Lik-wai's work, if not his name, will come up. If anyone's got answers about the present
Persecution may very well be Patrice Chéreau's most abrasive film. That's saying a lot. After the Cannes-ready provocations of Queen Margot, Chéreau directed Those Who Love Me Can Take the Train, the
A discussion with the French director on her Isabelle Hupper-starring White Material.
A Playground with No Supervision: An Interview with Ernie Gehr.
An interview with the director about his film Hadewijch.
A talk with the Japanese director about his film Still Walking.
There aren't many careers in the history of cinema quite like Roy Andersson's. Fresh out of film school, he had a major success with En kärlekshistoria (distributed as A Swedish Love Story in the US
We talked to the French New Wave critic and filmmaker in Cannes about his documentary Land of Madness, King Vidor, murder and more.
Joe Dante has earned the right to be called a survivor, with a substantial career in which he has ping-ponged from big-budget sci-fi spectaculars (with attendant studio interference) to TV and low-budget
Above: Dante's The Howling (1981). Joe Dante was kind enough to grant interview time during his visit to the Edinburgh International Film Festival. In a public event, he spoke of his early days cutting
"Pontypool. Pontypool. Ponty-pool." It's such a pleasure to discover a film like director Bruce MacDonald and writer Tony Burgess's Pontypool at a film festival (Edinburgh, in my case) without knowing