“I Actually Feel Like the Firefly Was Caught in the Jar”: Tyler Taormina on His Cannes-Premiering Christmas Eve in Miller’s Point
Christmas Eve in Miller’s Point The below interview was originally published May 20,...
“I Was Much More Influenced by Andrea Arnold’s Work or That of the Safdie Brothers”: Boris Lojkine on His Cannes Jury Prize-Winning The Story of Souleymane
The Story of Souleymane The Story of Souleymane follows an undocumented delivery worker...
“In Smoke Sauna Sisterhood, the Women are Voicing Out Their Deepest Feelings and Thoughts, But Here in Sauna Day the Focus is On the Unsaid”: Anna Hints and Tushar Prakash on their Cannes-debuting short Sauna Day
Sauna Day When I last interviewed Estonian filmmaker Anna Hints it was to...
“I Don’t Want the Audience to Remember My Film as Just Another Film Banned in Vietnam”: Trương Minh Quý ơn His Cannes-Premiering Viêt and Nam
Viêt and Nam Set shortly before 9/11, Trương Minh Quý’s Viêt and Nam...
“I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus
Eephus “Please stop me if any of the terms don’t make sense.” A...
“It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace
Blue Sun Palace Blue Sun Palace, Constance Tsang’s first feature, is a migrant...
“We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language
#image_title There are plenty of North American filmmakers influenced by the giants of...
“We Question Together Hyper-Masculinity in Life as Well As In the War Movie Genre”: Roberto Minervini on The Damned
The Damned In The Damned, Roberto Minervini embeds us with Union Army soldiers...