Hitchcock Toys with Filmgoers in ‘My Name Is Alfred Hitchcock’
Filmmaker Mark Cousins’ My Name Is Alfred Hitchcock uses provoking ideas to encourage expanding our understanding of the works of this 20th-century giant of cinema.
filmmaking
The Beginning of a Beautiful Affair Between Billy Wilder and I.A.L. Diamond
Love in the Afternoon deserves credit for its artistic merit but also for serving as the beginning of a beautiful affair between Billy Wilder and I.A.L. Diamond.
Director Marc Isaacs on Craft and His Documentary The Filmmaker’s House
Director Marc Isaacs talks with PopMatters about his documentary, The Filmmaker’s House, and the creative ‘grey area’ in filmmaking.
Director Sean Durkin on the Dark Corners in Our Minds and in ‘The Nest’
In his melodrama The Nest, Sean Durkin considers how we latch onto cycles and routine, which offer only a superficial security from truth, shame and guilt.
‘Room to Dream’, in which David Lynch Has a Conversation with His Own Biography
Room to Dream brims with detail but the real David Lynch remains elusive.
We Are Made for This World: Interview with Director Ivan Sen on His Film, ‘Goldstone’
The struggles to overcome our surroundings permeate Sen's work and life.
True/False Film Fest: ‘Shirkers’
Erstwhile teenage screenwriter Sandi Tan reclaims her art from male narcissism.
I See Music: How Oskar Fischinger Influenced Disney
Remember the pre-CGI visual beauty of Fantasia? Fischinger, who also worked with Orson Welles, Fritz Lang, among others, invented the "lumigraph" (a machine for "playing" colors on screen). This guy should be put on a stamp.
Film and Reality in Flux: Interview with A Fantastic Woman’s Sebastián Lelio
Sebastián Lelio talks about A Fantastic Woman and how the trans woman, the central character, reflects our ever-changing (transitioning) minds and bodies.
What Did Hollywood Do to Female Director, Elaine May?
Director Elaine May belongs to that list of otherwise male creative geniuses who naturally clash with the commercial system, including Erich Von Stroheim, Orson Welles, and Otto Preminger.
Hitchcock, ‘Psycho’, and ’78/52: Hitchcock’s Shower Scene’
"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.
In ‘The Disaster Artist’ Failure Is Part of the Picture
"[While] the rest of us were toying with chemistry sets [Tommy Wiseau] was lighting the lab on fire," says Greg Sestero in his film memoir about The Room.