Sarah Winshall
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Los Angeles: The Movie-Watching Capital of the World
Moviegoing in Los Angeles has never been better, at least not in the 13 years I’ve lived in the city. When covering Slamdance’s move from Park City to LA last year, I listed a host of these either new or newly expanded theatrical offerings. In the year since, American Cinematheque, the undisputed king of repertory cinema in the city (at least in terms of scale), has acquired the historic Village theater in Westwood, with plans to re-open it next year. And Kristen Stewart’s recent purchase of the Highland Theatre is particularly exciting, especially considering that it’s located only one mile […]
by Caleb Hammond on Apr 29, 2026 -
“Personal Storytelling, Experimentation, and a DIY Spirit”: A Look Inside LAFM 2026
Returning for its third annual edition, the Los Angeles Festival of Movies boasts a lineup of critical darlings from other festivals, newly-restored global cinema, and even the odd world premiere. Co-founded by Sarah Winshall, producer behind indie gems like I Saw the TV Glow and Good One, and Micah Gottlieb, artistic director of the programming non-profit Mezzanine, LAFM was created in part to respond to a dearth of indie film exhibition in the metropolis. From April 9 through 12, L.A.’s east side will serve as a watering hole for filmgoers in a city that, while integral to the filmmaking ecosystem at large, has been […]
by Natalia Keogan on Apr 9, 2026 -
Two Questions: Producers on Net Profits and Sharing Their Personal Lives
In this new series of articles, Filmmaker poses two questions to producers, directors and other filmmakers. One question is directed toward the nuts and bolts of filmmaking—questions having to do with terms, practices, legal issues, technology and so on. The second question deals with topics that are softer or more amorphous—questions that necessarily can’t have right or wrong answers and whose replies are based on the personalities and practices of the individual participants. This issue, we directed our questions to producers, both fiction and doc, and asked them: What are points, or backend, and how do they work? What’s your […]
by Filmmaker Staff on Dec 15, 2022
