Claudia Weill is a director whose work meant so much to me at such a formative age that I was almost hesitant to interview her; the two features she directed, Girlfriends (1978) and It’s My Turn (1980) spoke to me on such a profoundly personal level that I feared speaking with her could only be a disappointing experience—either because she wouldn’t live up to my image of her or because I would be so intimidated that I’d turn into a blabbering idiot. One of Weill’s many talents is to create work so intimate and precise that it always feels like […]

A lot of filmmakers point to the New Hollywood movies of the 1970s as influences, but few directors have internalized and applied the lessons of the era as effectively as Max Winkler, whose new feature Jungleland recalls seminal studies of masculinity in crisis like John Huston’s Fat City and Hal Ashby’s The Last Detail. The movie follows bare-knuckle brawler Lion (Jack O’Connell) and his older brother Stanley (Charlie Hunnam), broke siblings looking for a way out of their desperate circumstances. They think they’ve found it when a local underworld figure offers to clear their debts if they chaperone a young […]

With mesmerizing performances in such series as Luther, Mrs. Wilson, and The Affair, Ruth Wilson has established herself as one of our great actors. Her latest is the deliciously sinister Marisa Coulter on the hit fantasy series His Dark Materials. In this episode she explains the fascinating way she’s been able to build the multi-dimensional aspects of that character, and the challenge of hitting the proper balance when playing such a larger-than-life villain. She talks about the meditative aspect to her process, the invigorating power she gets from the theater, and how the energy of the audience affects her performance […]

Before he became a director, Jan de Bont was the cinematographer on some of the most visually intricate, elegantly lit movies of the 1980s and early ’90s, including Paul Verhoeven’s The 4th Man and Basic Instinct, John McTiernan’s Die Hard and The Hunt for Red October and Ridley Scott’s Black Rain. When de Bont made his directorial debut in 1994 with Speed, the film’s kinetic energy and precise attention to light and composition were no surprise; what made the picture a classic was how finely attuned the visual choices were to the nuances of performance. Speed made Sandra Bullock a star, […]

English actor Ṣọpẹ Dìrísù has two major releases happening in the States this month, the intense and compelling Gangs of London on AMC+ and the profound and unsettling horror film His House on Netflix. Taken together, they offer an apt representation of the impressive range of this great actor. We talk about his approach to the physicality required for the instantly famous epic fight scenes in Gangs of London, and what on-set elements helped his process. He takes us back to his time at the Royal Shakespeare Company and how being seeped in that material affects his approach to other […]

I first became aware of director Rich Newey’s work a few years ago when I caught his “Dreamland” episode of the sci-fi series Stitchers; working from an audacious script by Lynne E. Litt, Newey deftly juggled styles and tones with an inventiveness and confidence that led me to seek out his other episodic work on shows like Blindspot and The Fosters. I was consistently impressed by both his precise, expressive visual style and his sensitivity to dialogue and performance, skills on prominent display in his terrific new feature Killing Eleanor. The film tells the story of Natalie (Annika Marks), an […]

You know Matthew Del Negro from Scandal, Goliath, The West Wing, or as Cousin Brian on season four of The Sopranos, or maybe, like me, you were wowed by his comedic tour de force as Jason Allen Ross in Netflix’s Huge In France. He’s currently filming his second season as Detective Chris Caysen on Showtime’s City on a Hill. He also hosts a great podcast called “10,000 NOs” where he has deep conversations with people who’ve overcome rejection on the way to success in their field. He’s just written a book of the same name which draws on his own […]

In the first episode of The Good Fight, a spinoff from and sequel to the acclaimed legal drama The Good Wife, liberal attorney Diane Lockhart (Christine Baranski) watches Donald Trump’s inauguration in horror. In the premiere episode of the series’ most recent season (season four), Diane wakes up to find herself in an alternate reality in which Hillary Clinton won the presidency. Both episodes – and the 38 others that have aired to date – exhibit a satirical sense as sophisticated as it is original; series creators Robert and Michelle King consistently engage with issues related to race, sex, gender, […]

Like many cinephiles I know, I’ve found the Criterion Channel to be a sort of emotional life preserver during these anxiety-ridden times; while it’s nearly impossible to achieve a state of total calm, one can come close by revisiting old favorites and making new discoveries while browsing through the streaming service’s expertly curated selection. This month the programmers have given audiences a great gift by showcasing the work of Jenni Olson, a director who understands the restorative power of nostalgia and reflection better than any other – it’s a key component to her work, and one of many reasons why […]

With a list of credits that includes Annabelle, Hush and The Bye Bye Man, cinematographer James Kniest has spent a fair share of his career toiling in horror. “I somehow got into doing all these dark genre films and episodics, which I like a lot,” said Kniest, “but I often times say jokingly, ‘Can’t I just do a romantic comedy?’” The Haunting of Bly Manor fulfills half of that request. The second installment in Netflix’s Haunting Of anthology series, Bly Manor is a gothic romance that leans heavily into the latter. When the horror does arrive, it’s less jump scares and more […]