“In Time, the Movie Always Reveals What It Wants to Be”: Editor Terel Gibson on Sorry to Bother You

Sorry to Bother You

One of the breakout hits of this year’s Sundance, purchased by A24 in the festival’s last days, Boots Riley’s ambitious directorial debut Sorry to Bother You takes place in a near-feature uncomfortably close to the present. Telemarketer Cassius (Lakeith Stanfield) makes…  Read more

By Feb 5, 2018

“Advocating For the Civil Rights of Women”: Editor Kate Hackett on Half the Picture

Half the Picture

The title of Amy Adrion’s Half the Picture should be taken semi-literally: if women are half the population but severely underrepresented behind the camera, what’s being lost? Her documentary interviews a number of female directors (including Gina Prince-Blythewood, Catherine Hardwicke and Penelope…  Read more

By Feb 5, 2018

“No One Knows How Much Work Went Into Getting It Right”: Editor Neil Meiklejohn on Wild Wild Country

Wild Wild Country

Led by one Rajneesh (also known as Bhogwan), a group of Indian believers arrived in 1981 at Wasco County, Oregon. The tensions between the new arrivals and the locals, leading (among other things) to the largest biochemical poisoning in US…  Read more

By Feb 5, 2018

“We Used Chaos to Clarify Our Senses and Capture True Harmony and Beauty”: Gabo Arora | Zikr: A Sufi Revival

Zirk: A Sufi Revival

As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order…  Read more

By Feb 1, 2018

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