Exclusive interviews with celebrated filmmakers and emerging talents.
Explore the art of filmmaking through personal insights and behind-the-scenes stories.
If Boxcutter is anything, it is a film that could only exist in Toronto. Dahya captures the city's essence not just in its diverse locations but in its language, music, and references.
From my conversation with director Kyle Hausmann-Stokes, one thing became clear: My Dead Friend Zoe is more than just a movie. It’s an exploration of Hausmann-Stokes’ personal experiences as an Iraq War veteran and the post-traumatic pain and growth that can result. But, it isn’t only his story.
Eva Victor’s Sorry, Baby is a remarkable debut – a film that manages to be deeply unsettling while also ruthlessly funny.
Sook-Yin Lee and Chester Brown have a history unlike most exes: they "broke up" almost three decades ago, yet remain each other’s closest confidants. Chester took their story—detailing the end of their romantic relationship and his journey into paying for sex—and turned it into a graphic novel. Rather than being upset about having their private life on display, Sook-Yin found the book so compelling that she adapted it into a feature film.
Dark Match is the newest film from WolfCop director Lowell Dean, and it delivers exactly what fans of genre mashups have come to expect from him. Equal parts horror, wrestling-thriller, and surprisingly sweet romance, the movie maintains Dean’s flair for offbeat storytelling.
The 2025 Sundance Film Festival has officially wrapped up, and while it had its share of controversies, it also brought us more great indie films to watch and fall in love with. For now, let’s dive into some of the standout films from this year’s festival and what makes them so special.
I had the opportunity to sit down with Ethan Palmer and learn more about the creative and technical choices that helped make Plainclothes one of the festival’s most talked-about titles. From joining the project late to choosing to use a wide array of cameras and lenses, Palmer shared his perspective on crafting a look that honours the film's themes while also elevating the performances on screen. Here’s our conversation.
Bringing Holder’s vision to life required cinematographer Martim Vian to push beyond his usual approach and embrace new perspectives. From frequent static shots and unconventional lighting to capturing the authentic Brooklyn backdrop (complete with garbage cans and graffiti), Vian stepped out of his comfort zone to align with Holder’s bold ideas.
Sorry, Baby marks the feature film debut of Eva Victor, a writer and performer known for her work with Reductress and The New Yorker. While she’s built her career in front of the camera and behind the keyboard, her first foray into directing relied heavily on a strong partnership with cinematographer Mia Cioffi Henry.
What ties the stories of "Sunfish" together is the memory of Green Lake. The water, the hammock by the lake, and the light spilling in through the kitchen window. In tandem with director Sierra Falconer, this feeling of "memory" and "nostalgia" is crafted by cinematographer Marcus Patterson.