A24
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Facing the Music: David Lowery and Chloé Zhao Dig Into Mother Mary
David Lowery and Chloé Zhao have been friends and collaborators since January 2012, when they met as fellows in the annual Sundance Screenwriters Lab. In the years since, both directors have found artistic and commercial success. Much as Zhao has alternated between Nomadland and Hamnet on one hand and The Eternals on the other, Lowery has given us deeply personal films like The Green Knight as well as mainstream fare like Peter Pan & Wendy. In fact, it’s the delta between those two approaches to filmmaking, and the identity questions that arose while switching between them, that inspired his latest […]
by Filmmaker Staff on Apr 1, 2026 -
undertone, 2026’s Scariest Movie So Far, Conjures Filmmaker Ian Tuason’s Real-life Demons
“I was never really into the occult before making this movie,” says Ian Tuason, writer-director of the new A24 horror film undertone. “After doing research, I started getting into it more. That manifested weird things into existence.” A demonic “found audio” film, undertone came about, in part, due to Tuason’s background as a pioneer of immersive 360-degree VR horror shorts. Continuity Problems (2009) and Close Up (2011) found major success on YouTube before screening at the Marché du Film’s NEXT Pavillion in Cannes. His follow-up, the 360-degree live-action breakthrough 3:00am, racked up 9 million viewers on YouTube. Maybe he wasn’t […]
by Natalia Keogan on Mar 20, 2026 -
Motherload: Mary Bronstein on “If I Had Legs I’d Kick You”
With If I Had Legs I’d Kick You opening today from A24, we’re unlocking from behind our paywall Natalia Keogan’s interview with Bronstein, which is the cover story of our Fall, 2025 edition. — Editor “Something very bad is happening,” young mother Caroline (Danielle Macdonald) whimpers amid oncoming tears during a routine therapy appointment. In the throes of a severe bout of postpartum depression exacerbated by a lack of support from her husband, Caroline’s hour-long sessions at Montauk’s “Center for Psychological Arts” are a brief respite from a world that, in her mind, is more violent and evil than anyone […]
by Natalia Keogan on Sep 17, 2025 -
“We Put Ourselves in the Center of the Universe Without Thinking of the Other Creatures and Species Around Us”: Victor Kossakovsky on Architecton
A film starring rocks should not be this thrilling. But in the meditative hands of master documentarian Victor Kossakovsky (2018’s Aquarela, 2020’s Oscar-shortlisted Gunda), Architecton, which premiered at this year’s Berlinale, is an epic and hypnotic stone-centered quest to answer the existential question, “How do we inhabit the world of tomorrow?” And the original precursor to today’s concrete — the most-used substance in the world after water — seems to provide a surprisingly sensible answer. With Italian architect Michele De Lucchi as our bedrock, we’re swept into a visually striking, globetrotting excursion that takes us from the bombed-out buildings of […]
by Lauren Wissot on Aug 1, 2025 -
“Making a Movie is Just a Succession of On-Set Challenges”: Ari Aster on Eddington
Ari Aster previously used the horror genre as a lens to examine dysfunctional family dynamics in Hereditary and break-up messiness in Midsommar. He then pivoted to the manic surrealism of Beau is Afraid, which immerses viewers in the title character’s perma-anxious mindset, generated by his mother’s domineering hold on his entire world. In Eddington, Aster pivots again, away from individual psychological portraits towards a more panoramic view of recent political history. Set in the eponymous fictional New Mexico town during the initial months of COVID, Eddington uses a contested election between its bar-owning neoliberal mayor Ted Garcia (Pedro Pascal) and […]
by Vikram Murthi on Jul 31, 2025 -
“Me and My Friends and a Bunch of Romanians”: Isaiah Saxon on The Legend of Ochi
Back in 2008, Isaiah Saxon and his collaborators—Daren Rabinovitch and Sean Hellfritsch—appeared on Filmmaker’s annual 25 New Faces of Film list based on the strength of their impressive work on indie rock music videos. Saxon himself had a direct hand in helming iconic filmic accompaniments for Björk’s “Wanderlust,” Grizzly Bear’s “Knife” and Panda Bear’s “Boys Latin.” All three narratives hinge on an intensely surreal collision of human and natural forces—utilizing puppetry, animation, stop-motion and special effects—endearingly lo-fi yet intensely meticulous in its execution. The same can be said of The Legend of Ochi, Saxon’s feature debut. Produced by A24 after […]
by Natalia Keogan on Apr 24, 2025 -
“Apple Changed the Whole Landscape of How You Market a Product”: Sebastian Pardo on Crafting Graphic Design for The Brutalist
In late October, A24 dropped a teaser for their highly anticipated The Brutalist, where glimpses of Brady Corbet’s epic flash by as credits and review pullquotes horizontally crawl across the screen like the VistaVision-format celluloid that ran through the camera to capture the picture. It’s a sharp piece of trailer design that formally evokes the experience of the film as much as it serves as a piece of marketing. The design of the scroll also summons the Bauhaus stylings that inspire the architecture of The Brutalist’s subject, László Tóth (Adrien Brody), highlighting the words on screen around evocations of the […]
by Alex Lei on Dec 17, 2024 -
Order Fulfillment: Director Halina Reijn on Babygirl
It’s appropriate that Halina Reijn, the Dutch actress-turned-filmmaker who previously directed the Gen Z whodunnit Bodies Bodies Bodies, would look to ’90s erotic thrillers as fodder for her next feature. After all, her countryman Paul Verhoeven (she has a supporting role in his Black Book) is considered the de facto master of this genre, bringing his penchant for the perverse to Hollywood with pictures such as Basic Instinct. Babygirl, Reijn’s English-language feature debut as writer-director, is less enamored with this bygone era than it is interested in deploying its framework within a personal, subversively feminist perspective. But make no mistake: […]
by Natalia Keogan on Dec 16, 2024 -
“You Don’t Have a Lot of Control Over a Head Exploding”: MaXXXine Cinematographer Eliot Rockett
After the 1970s grit of X and the Technicolor sheen of Pearl, Ti West and cinematographer Eliot Rockett turn to the 1980s with MaXXXine. Shot with the same combo of Sony Venice and Vantage MiniHawks, the L.A.-set story finds adult actress Maxine Minx’s big break into mainstream films curtailed by a series of giallo-esque murders. With the movie freshly out on VOD, Rockett spoke to Filmmaker about the concluding chapter in the trilogy. Filmmaker: Ti talked in an interview about how MaXXXine is his first film shot in L.A. despite living there for 20 years. X and Pearl were both […]
by Matt Mulcahey on Aug 8, 2024 -
“It Was a Deeply Loving Set. Very Intimate. Very Small. Lots of Women”: Janet Planet Star Julianne Nicholson, Back To One, Episode 297
There are few actors more well respected than the preternaturally gifted Julianne Nicholson. Recent notable credits include August: Osage County, Dream Scenario, Mare of Easttown (which won her an Emmy award), and, her latest, playwright Annie Baker’s first film, Janet Planet. In this episode, she talks in-depth about playing Janet in that remarkable film, her elusive preparation process, getting the environment to settle into her body, actually learning how to do acupuncture, why she lets her instinct lead the way, and much more. Back To One can be found wherever you get your podcasts, including Apple Podcasts, Google Play, and Spotify. […]
by Peter Rinaldi on Jun 25, 2024
