In 2017, for the 25th anniversary of Filmmaker, we commissioned a radical redesign and also initiated a new upfront section: ...

When 28 Days Later arrived on screens in 2002, it marked a leap forward for both zombie movies and digital cinema. Eschewing ...

As 2025 unfolded, returning to the ritual of asking filmmakers about the films that moved them feels both fragile and ...

Steam pouring from manhole covers, the neon-lights of 42nd street seen through rain-streaked taxicab windows, phalanxes of ...

For the first time since 2002’s Punch-Drunk Love, Paul Thomas Anderson has made a movie with a contemporary setting. To do so ...

When I realized I’d be laid off (via: restructuring) from the publication I’ve worked at for 11+ years, I went back through ...

This is what Big Art/Little Debt/Together points toward now: not rugged individualism but collective human sovereignty. Building the conditions for your artistic life — with others. Knowing exactly ...

Kimball Farley is the future. His breakthrough role in Hippo, the critically acclaimed dark comedy that RogerEbert.com called “an unholy fusion of A Clockwork Orange and Napoleon Dynamite” ...

Telluride is not on my annual festival calendar—too distant, too costly—and rarely I’m at Toronto, only with a film. So as a ...

After spending the last Knives Out entry on a billionaire’s private Greek island, master sleuth Benoit Blanc’s latest mystery ...

Toward the end of my interview with Gregg Araki, I remind him of his scene from Michael Almereyda and Amy Hobby’s 1995 documentary At Sundance. Sitting on a couch next to Todd Haynes, Araki is at ...