Frank Falisi chats with Louise Weard about the language of the internet, her epic and ongoing "Castration Movie" project, and whether or not we can classify it as a real "movie".

When it comes to cinematic technological advances, the question is always how we use the tools we've been gifted or cursed with.

Trying to write about the 28 movies—that most blitzed-out and body-baggy horror franchise measured in days, weeks, years—I turned, like a good hauntologist, to half-remembered popular music.

The Name of the Rose calls itself, in its own opening credits, “a palimpsest of Umberto Eco’s novel”—a provocative, generative, and not altogether unpretentious appellation to lay claim to.

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An interview with the Palestinian filmmaker about his new feature-length movie 'Passing Dreams', the Gazan omnibus film 'From Ground Zero', and setting up workshops and screenings in refugee camps

Its willingness to paint sixties establishment folkies as potentially just as extractive as their more legibly villainous record mogul counterparts would have meant something if the film had any inter...