IMPDB

How Specificity Makes Better Films: ‘Mile End Kicks’ and ‘I Like Movies’ Director Chandler Levack Explains

'Modern Whore': How a Creative Crush Turned Into a Sean Baker-Backed Film

Pete Ohs' 2026 Distribution Experiment #1: 'OBEX'

‘Send Help’ Producer Zainab Azizi’s Studio Filmmaking Playbook

One Lens, One Vision: The Cinematography of 'The Creator'

Documenting the Business of Fear: Inside HBO’s 'Thoughts & Prayers'

Editing an American Epic: Inside 'Train Dreams' with Dir Clint Bentley & Editor Parker Laramie

Do We Even Need Reps? How 'Violent Ends' Director John-Michael Powell Made His Theatrical Feature Without Them

How ‘The Substance’ Editor Trimmed the Fat of the Hit Body Horror Flick

James Mangold Unwraps the Craft of "A Complete Unknown"

The State of Spec Scripts, ‘The Substance’ & Panama Filmmaking

How ‘I Saw the TV Glow’ Editor Balances Creative, Tech & Negotiates Higher Pay

The Burden of Unpaid Work, Ramping Up Your Reps & Roth IRAs; Plus ‘A Family Affair’ Screenwriter Carrie Solomon

‘A Quiet Place: Day One’ Writer-Director Michael Sarnoski's Path from 'Pig' to Studio Franchise

Jeff Nichols Discusses the Inspiration, Writing, and Directing of 'The Bikeriders'

‘Prom Dates’ Writer & Director on Reviving the Teen Sex Comedy