The director of coming-of-age films who makes teenage emotions leap off the screen.

Man without a movie camera: one filmmaker’s adventures in motion capture.

The industry has transformed to favor filmmakers who write their own scripts, making artists with ambitious original ideas feel like they have to do it all.

The late Chilean documentarian reflects on his move from vérité epics to lyrical essay films.

Both knew you couldn’t get anywhere without something to say.

Color correction shapes the emotional cadence and climate in which an image lives.

The bracingly surreal animated film about a newborn cow has become a phenomenon in China.

A conversation with feminist scholar Sophie Lewis about the Ari Aster essay that she didn’t expect to be taken out of context.

Blending “Throne of Blood” with “The Silence of the Lambs,” the J-horror director stages a murder mystery inside a besieged 16th-century castle.

Matt Johnson’s “Tony” is less an Anthony Bourdain biopic than a story of masculine role models.

Matt Johnson’s “Tony” is less an Anthony Bourdain biopic than a story of masculine role models.

The small-town Californian who emulated Hong Kong throwdowns for peanuts.

The small-town Californian who emulated Hong Kong throwdowns for peanuts.

B. Ruby Rich speaks with the director about his speculative portrait of James Baldwin.

The first British feature directed by a Black woman is back in theaters after 30 years.

An underground filmmaker and an international pop star play against type.

Editor Jennifer Lame’s third collaboration with Christopher Nolan is an epic of emotional immediacy.

Emily Ann Hoffman on the power of “human-crafted” animation.

The festival’s 60th edition and 80th anniversary acknowledges its inheritance on its own terms.

Editor Jennifer Lame’s third collaboration with Christopher Nolan is an epic of emotional immediacy.

An intimacy coordinator roundtable.

One of the proverbial good guys, Neill threw himself headfirst into blockbusters and B movies alike.

On the scene at Christopher Nolan’s epic opening night.

The Parisian cinema collective unlocks a new future for film culture and city life.

Phil Hartman’s forgotten ode to Manhattan’s Lower East Side gets a second life.

Director Lana Daher on excavating Lebanon’s past through archival cinema, home movies, and the rhythms of emotion.

The director talks about her psychosexual first feature.

As the television industry reinvents itself, so does Lisa Kudrow’s protagonist in “The Comeback.”