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Stephanie Archer had the opportunity to speak with the Francesco Giannini about his film The Hall.
Wilson Kwong had the chance to speak with director Bao Tran about his latest film The Paper Tigers and his unique journey as an independent filmmaker.
Alex Lines spoke with director David Osit abut his documentary Mayor, his approach to shooting the city of Ramallah and more!
Wilson Kwong spoke with director Alex Prieur-Grenier about his film 2011, premiering at Fantasia Film Festival 2020.
In this limited column, Manon de Reeper outlines how she went from an idea for a story to bringing her first short film, Uncontrol, to life.
The films of John Singleton have provided thought-provoking stories, honest characters, and imagery that lingers well past each viewing.
Film Inquiry recently had the opportunity to speak with director Matt Riddlehoover about his Johnny Cash documentary, My Darling Vivian.
New Filmmakers LA hosted an online Q&A with Rachel Wortell for her film Romance Analyst, here’s our coverage.
Few directors have a filmography as unique as George Miller, who has the power to create moments that’ll be ingrained in your mind forever.
We spoke with director Vaughn Stein about his upcoming film Inheritance, working with Simon Pegg and Lily Collins, his next film, and more.
We investigate how South Korean director Bong Joon-ho conquer the barrier of spoken language through cinematic language.
As the 40th anniversary of The Shining nears, we have watched and ranked all of Stanley Kubrick’s theatrical releases.
Xiaoyu Yang, director of the upcoming musical short film Another Beautiful Day in Paradise shares insider tips for first-time short filmmakers and film students.
In this extensive interview, we spoke to Mohammed Naqvi about his riveting documentary The Accused: Damned or Devoted? about the difficulty of gaining access, comparisons between Rizvi and Trump and much more.
From The Pleasure of Being Robbed to Uncut Gems, the hectic, chaotic cinema of Josh and Benny Safdie is instantly recognizable as no one else’s but theirs.