“Let’s Talk about Glitch Feminism, and What is a Cyber Doula?”: Jazmin Jones on Her Expansive Sundance-Premiering Doc, Seeking Mavis Beacon
Still from Seeking Mavis Beacon Originally published January 20, 2024, timed to the...
“I Could Do a Dynamite Directors Cut, Because I Know Where All the Best Stuff is, But That Would Defeat the Whole Purpose of the Project”: Gary Hustwit on ENO
Brian Eno in ENO What used to be known, literally, as “the cutting...
“I Operate From a Trans Lens, or Frame, as Though It Is the Only Choice Available”: Jules Rosskam on Desire Lines
Desire Lines For me, watching Jules Rosskam’s Desire Lines, which won this year’s...
“I Come From the One-Woman-Band Show of Visual Journalism…”: Emily Kassie on Producing Sugarcane
Still from Sugarcane. Courtesy of Sundance Institute. | Photo by Emily Kassie Tackling...
“Establishing the Idea of Ending Scenes Abruptly…”: Editor Greg Jardin on It’s What’s Inside
Alycia Debnam-Carey appears in It’s What’s Inside by Greg Jardin. Photo Courtesy of...
“…The Relationship Between This Father and Daughter is Forever Changed”: India Donaldson on Her Sundance-Premiering Wilderness Drama, Good One
Good One India Donaldson has been ready to make her narrative feature debut...
“This Isn’t Just Any AI”: Director Pete Sillen on Bina48 and His Sundance Documentary, Love Machina
Love Machina (Photo by Peter Sillen) By the time in 2010 Martine Rothblatt...
“We Realized During the Edit That There Were Several Options for the Ending”: Editor Sofi Marshall on I Saw the TV Glow
I Saw the TV Glow, courtesy of Sundance Institute. Suburban teen loner Owen...