IMPDB

Elliot Tuttle, Kieron Moore and Reed Birney on vulnerability and vision in 'Blue Film'

Nicole Bazuin on claiming agency through form in 'Modern Whore'

Madison Young faces her younger selves in 'By the Roots'

Chandler Levack on distance, exposure, and doubling down in 'Mile End Kicks' and 'Roommates'

Autumn Best on what ‘Woman of the Hour’ unlocked and what ‘BRB’ called for

Revenge on Repeat: Kevin & Matthew McManus on grief, obsession, and working with family in ‘Redux Redux’

Sook-Yin Lee revisits a shared past in ‘Paying for It’

We Need to Talk About Sundance #5: Georgia Bernstein on caregiving and obsession in 'Night Nurse'

Mascha Schilinski and Fabian Gamper peer through time in ‘Sound of Falling’

Julia Jackman and Xenia Patricia build a world of desire in '100 Nights of Hero'

Filming the divine, with ‘The Testament of Ann Lee’ cinematographer William Rexer

Finding the man behind the lyrics, with ‘Blue Moon’ writer Robert Kaplow

Clint Bentley and Adolpho Veloso on collaborating with nature in 'Train Dreams'

From secrets to sequels: Simon Cellan Jones on 'The Family Plan 2'

Seamus McGarvey on reshaping light and vision in 'Die My Love'

John-Michael Powell sculpts violence in 'Violent Ends'

Mercedes Bryce Morgan & Nick Matthews navigate the twisted waters of 'Bone Lake'

Alexander Dynan on visualizing sound and time in 'The History of Sound'

The soundscape of the supernatural, with 'Rabbit Trap' director Bryn Chainey

Director Oliver Hermanus on how music shapes the story in ‘The History of Sound’

Improv Magic: How Sam Davis and Co redefined short film storytelling on 'The Singers'

Interpreting the Unfamiliar, with 'Familiar Touch' director Sarah Friedland

Flying High: The Journey of 'Kites' and its director Walter Thompson-Hernández

Cabin Fever: Nora Kirkpatrick on exploring relationships in 'A Tree Fell in the Woods'

Back for More: Julia Max and Ian McDonald talk 'The Surrender'

Julia Max summons Colby Minifie for ‘The Surrender’

Lured into injustice, with the co-director and cinematographer of ‘A Lien’

Drew Hancock realizes AI in 'Companion'

Chris Sullivan visits Soderbergh’s Hollywood in ‘Presence’

'September 5' director Tim Fehlbaum on the weight of history

How ‘The Brutalist’ cinematographer Lol Crawley moved what's immobile

How DoP Jomo Fray’s camera joined the act in ‘Nickel Boys’

Rina Yang fights the battle of perception in ‘The Fire Inside’

Inside the Control Room of 'September 5'

Directing and portraying the cross-generational tragedy of 'Nickel Boys'

DoP Benjamin Kračun on concocting ‘The Substance’

When everything falls into its right place, with 'Anora' cinematographer Drew Daniels

Fiction in truth, with 'Woman of the Hour' writer Ian McDonald

Timeless timelines, with 'Caddo Lake' co-directors Celine Held & Logan George, plus cinematographer Lowell A. Meyer

Familiar grief and familial dynamics, with 'His Three Daughters' writer-director Azazel Jacobs

We Need to Talk About Emmy #15: The fever dream - like tragedy of ‘Lady in the Lake’

Setting up a film to be shot solely in a taxi, with 'Daddio' production designer Kristi Zea

The idea of a score with Sidd Koshla, composer of ‘The Idea of You’

'Monkey Man' composer Jed Kurzel