When Kathryn Bigelow’s Detroit came out this summer, some charged that it shouldn’t have been made by Kathryn Bigelow. Critics, including rogerebert.com’s Angelica Jade Bastien, felt that the story — about ten Black civilians (and two Caucasians)
When Kathryn Bigelow’s Detroit came out this summer, some charged that it shouldn’t have been made by Kathryn Bigelow. Critics, including rogerebert.com’s Angelica Jade Bastien, felt that the story — about ten Black civilians (and two Caucasians)
If you’re a filmmaker, it may seem like the city is your playground. It’s not. Everything costs money. Every public space you want to shoot in requires permits and insurance. It all requires planning, hard work, negotiations, or simply lots
“Film” — what’s in a word? It’s still the first half of Filmmaker, even as our new logo design nods to the ways in which this term’s meaning is continually mutating and no longer fixed in celluloid. But, as Joana Vicente, Executive Director of 
When Dave Kehr reviewed director Joseph Ruben’s The Stepfather in The Chicago Tribune on the occasion of its initial theatrical release, he wrote, “Watching The Stepfather, with its near-perfect command of the entire vocabulary of filmmaking,
UK-based Clio Barnard has impressively transitioned from video artist to acclaimed feature filmmaker in the span of just seven years. After making several short films, her feature debut The Arbor, a hybrid documentary about the late playwright
James Franco has been annoying a lot of people, myself included, for a variety of reasons, not least his relentless direction of a shocking number of movies, most quite poorly received: if I’m counting the credits on his IMDB page right, The
Porcupine Lake is the sixth feature from pUNK Films founder Ingrid Veninger. It’s also the first from the pUNK Films Femmes Labs, which started as a DIY idea of gathering six Canadian female filmmakers to work on their six screenplays for six
A journey both personal and political, Matt Embry’s Living Proof follows the Canadian filmmaker on his quixotic quest to get some answers to a medical mystery. If no one knows the causes or cures for multiple sclerosis, then why are so many MS
Martin McDonagh and his brother John Michael started making movies about the same time; I’m inclined to give the latter the edge for The Guard, the most uncomplicatedly funny and successful of the films they’ve both made. They’re very much
In its own way, it’s an enlightening experience to attend, at least once, a Big TIFF Premiere, which I didn’t do during my first time attending last year. The Death of Stalin premiered in the Winter Garden, a venue on the seventh floor of a building
It’s customary, when diving into a series of festival dispatches, to include some prefatory, contextualizing stuff up top, which has always been tough for me. This year, though, reality has made it easy: by having me arrive at Sundance a day
David Barker is a hard one to put a finger on. He is an American writer and editor who over the past 10 years has gained an international reputation for his analytical ability and open, unconventional approach. Recent collaborations include
“Making movies is really me feeling like I shouldn’t be writing something on Facebook,” Jim Cummings says. “It’s taking that energy and making a short film that can be a timeless thing.” When Topic commissioned the writer, producer, director,
I’ve always been mystified by the relative lack of attention and acclaim Orson Welles’ 1946 thriller The Stranger has received compared with the director’s better known efforts, since on just about every level it’s top-tier Welles. Perhaps
In episode four of Twin Peaks: The Return, an older gentleman has an obscure conversation with Gordon Cole (David Lynch) as he escorts him to the office of FBI Chief of Staff, Denise Bryson (David Duchovny). Their scene together is short but 
