Directors
Interviews - Directors
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“The Best is Always Zero Budget”: David Verbeek on Tribeca 2025 Premiere The Wolf, the Fox, and the Leopard
In a contemporary take on Werner Herzog’s The Enigma of Kaspar Hauser (1974), The Wolf, the Fox, and the Leopard depicts a woman who lives amongst wolves being whisked away and plunged into human society. Director David Verbeek presents this jarring story as a kind of apocalyptic fairytale, in which a feral woman learns what it means to be human while humanity itself is bracing for the end of the world as they know it. Mostly set on a repurposed offshore oil rig, the film explores how the interests of men and nature inevitably clash in the face of impending […]
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“‘History’ with a Capital ‘H'”: Mascha Schilinski on Cannes 2025 Award-Winner Sound of Falling
Mascha Schilinski’s Sound of Falling was so rapturously acclaimed upon its premiere on the first full day of Cannes 2025 that some thought they’d already seen a possible Palme d’Or winner. In the end, her film shared the Jury Prize with another adored Competition title, Sirât, whose end-times death-trip might seem to overshadow the ordinary-sounding logline for Sound of Falling: four generations of girls on a farm in Germany. But this film swiftly establishes itself as an equally virtuosic secret history and sustained experiment in female subjectivity in kaleidoscopic form, drawing on scenes and notes from journals and voices from […]
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“There Was No Going Around Gaza”: Raoul Peck on Cannes 2025 Premiere Orwell: 2+2=5
Raoul Peck’s new documentary Orwell: 2+2=5 opens with a credit sequence featuring images of what appear to be microscopic larvae wriggling across the screen. The message seems clear: something nefarious is afoot on this globe, but still in its incipient stages. If we fail to act, it’s going to get much worse. In recent years, the filmmaker has made direct, no-nonsense use of the nonfiction form to address, from various angles, the rot of white supremacy, its historical roots and its unchecked future. Building on I Am Not Your Negro, Silver Dollar Road, the miniseries Exterminate All the Brutes and […]
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“There’s a Reason We Call Them ‘Films’ and Not ‘SD Cards'”: Francesco Sossai on His Cannes-Premiering The Last One for the Road
The film festival world can be so depressingly homogenous that to come across a title straying beyond its aesthetic and storytelling conventions is nothing short of exhilarating. The Last One for the Road is one such film. Conversant as it may be with a long and varied set of influences—from 1960s Italian comedies all the way to Aki Kaurismäki—Francesco Sossai’s second feature synthesizes its touchstones into something that feels bracingly alive. It heralds its writer-director as a new talent to watch, and confirms that the most exciting Italian cineastes working today are those shooting a long way away from the […]
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“It’s Not Enough to Only Have Narrative”: Hlynur Pálmason on Cannes 2025 Premiere The Love That Remains
Icelandic filmmaker Hlynur Pálmason’s epic 2022 film Godland mapped the crisis of faith experienced by a 19th-century Danish priest on a mission to Iceland. A majestic tapestried shot of a horse skeleton lifts viewers from the difficult physical and emotional terrain of the film’s narrative world into a realm that is more formal, ethereal, and symbolic. Similarly, Pálmason’s fourth feature, The Love That Remains, which premiered at Cannes last weekend, is only in some layers a dark comedy about the varied pains experienced by a rural Icelandic family undergoing a separation of parents Anna (Saga Garðarsdóttir) and Magnús (Sverrir Guðnason). Horses […]
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“Anytime I Could Minimize the Use of Verbal Language and Rely on Other Means to Advance the Story, That’s What I Did”: Lloyd Lee Choi on His Cannes-Premiering Lucky Lu
There’s something about the high-pressure nature of the migrant experience that can make films about it elicit more anxiety than your average thriller. So it is with Lloyd Lee Choi’s Lucky Lu. Set in New York’s Chinatown—a backdrop captured by DOP Norm Li as a caliginous labyrinth of alleyways and sepulchral rooms—Lee Choi’s feature debut centers on the titular Lu (Chang Chen), a Chinese delivery rider who’s spent years away from his wife and daughter, and now, having drummed up enough cash to secure an apartment for three, readies to welcome them to the city. Title notwithstanding, however, Lu might […]
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“At the Same Time that We’re Fighting for our Lives, We Are Also Agents of Exploitation, of Domination, of Violence”: Pedro Pinho on his Cannes-Premiering I Only Rest In The Storm
Pedro Pinho’s Cannes-premiering I Only Rest In The Storm follows Sergio, a naive do-gooder who, as the film’s title implies, finds inner peace in places of chaos. In this case it’s the hurly-burly of Guinea-Bissau, where the Portuguese environmental engineer has been hired to produce an impact report that will pave the way for a road-building project to commence. There he meets two charismatic characters, party-loving besties Diara and Guillermhe, the former a native, the latter a Black Brazilian expat. And thus begins a bizarre triangle of love-hate attraction – fueled by a colonialist past, a capitalist present, and an […]
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“A Human-Ghost Relationship Perfectly Fits Within a Queer Framework”: Ratchapoom Boonbunchachoke on his Cannes-Premiering A Useful Ghost
Ratchapoom Boonbunchachoke’s Cannes-premiering A Useful Ghost is a multilayered cinematic extravaganza (and feat) that manages to seamlessly combine several deep themes: toxic pollution, soulless capitalism, the perils of prioritizing self-interest over the good of the community, and the beauty of unconventional romantic relationships. And that’s all while doing so in the guise of a love story equal parts poignant and bonkers involving a man named March and his recently deceased wife Nat, who has now taken the form of a very sleek vacuum cleaner. Just prior to the film’s Cannes’ Critics Week premiere, Filmmaker caught up with the Bangkok-based writer-director […]
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“I’m Not Interested in Horror Films”: Karan Kandhari on Sister Midnight
It’s a full eight-and-half minutes into Sister Midnight before newlyweds Uma (Radhika Apte) and Gopal (Ashok Pathak) even say a word to each other; conflict immediately ensues. Confined to a cramped, one-room apartment after moving to Mumbai, the spitfire Uma finds herself ill-suited to the rigid traditional roles expected of Indian brides. Her bashful husband, on the other hand, rebuffs her attempts to seduce him with a polite handshake. In this lonely arranged marriage of stifled desires and out-of-sync conversations, even bangles soon begin to feel like shackles. Despite this, Karan Kandhari’s Hindi-language directorial debut unfolds as a domestic drama […]
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“Drama Appeals to Us is Because It Touches Something Different than the Contemporary”: David Mamet on TV, Theater, Gene Hackman and His New Film, Henry Johnson
I assumed David Mamet would probably have more opinions about Aristotle than A24 and, indeed, in discussing the 76-year-old playwright-turned-filmmaker’s new movie, Henry Johnson, the former came up while the latter didn’t. Henry Johnson marks Mamet’s return to the director’s chair after a decade-long absence from cinema, and it’s easily his most austere work since 1994’s Oleanna, which like this film was adapted from his own play. Premiering on stage in 2023 at the Electric Lodge in Venice, California, and later staged at Chicago’s Victory Gardens Theater in 2025, the play follows the unraveling of its titular character, a well-meaning […]
