This time around, the filmmaker tackles Nicola Yoon’s timely “The Sun Is Also a Star,” and she tells IndieWire why the genre keeps pulling her back in for more (well, for now).
The story of how Mike Mills became a de facto member of his favorite band and — with Alicia Vikander’s help — redefined the visual album.
He stars in “Pasolini” and “The Lighthouse,” but his thoughts on the D.C. Comics blockbuster must be seen to be believed.
For “Wine Country,” Poehler enlisted her very own BFFs, including Maya Rudolph and Paula Pell, to help serve up a comedy about a girls’ trip they’ve actually lived.
The filmmaker once took himself out of the running for a superhero movie, but he’s coming back around on franchises. But first: another smart comedy.
The filmmaker has a busy slate and a major retrospective at MOMA this year. Here, he reflects on the rocky path to a happier life.
The “Body at Brighton Rock” filmmaker built her feature directorial debut around an unexpected horror heroine. She told IndieWire why she’d like to see more of that in film.
For his first superhero film, the “Lights Out” director didn’t forget his horror roots, leaning into the movies of his youth to make the most of a PG-13 rating.
And other observations from the “Downton Abbey” creator, like his impeccable eye for casting and new Louise Brooks movie, “The Chaperone.”
One of the world’s most revered film critics and programmers, Kent Jones discusses why he finally had to make a movie of his own.
The auteur behind “Ash is Purest White” and many other films explains how the country’s many changes have impacted his storytelling ambition.
Laure de Clermont-Tonnerre tells IndieWire that while “wonderful” programs like the one dramatized in her feature debut remain in short supply, she’s optimistic about change.
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