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

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 ...

In Netflix’s A House of Dynamite, the United States’ government and military chain of commands scramble to respond as a ballistic missile of unknown origin speeds toward the Midwest.

By conventional measures, the 2020s have not been very good for the movies. At mid-decade, there’s the nagging sense that the ...

Almost no film has devastated me as much as Tunisian filmmaker Kaouther Ben Hania’s The Voice of Hind Rajab. In an age of numbing doom-scrolling, we may be unprepared for the impact when a ...

The fifth and final season of Stranger Things required a full calendar year of production in Atlanta, a marathon of 240 ...

Kevin Corrigan, the consummate actor, true student of the craft, friend of all actors, the best friend of Back To One, the very first guest of this podcast, returns for the 8th time in what might ...

The following essay about Amos Poe appears in Filmmaker’s Winter, 2026 print edition in a section, Reflections, that looks ...

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 ...

In a year that saw the passing of Jean-Luc Godard, it’s astonishing to see a sometimes overlooked fixture of golden age European art cinema, Jerzy Skolimowski, directing one of his strongest films now ...

.mov, .mp4, Apple ProRes 422, Avid DNxHD, Blu-ray, CRU drive, DCP, Dropbox, Fall 2015, H.264, HDCAM, Key Delivery Message, Ki Pro, OpenDCP, Pelican case Note (May 2018): the updated version of this ...