The method behind ‘Method’: Ashton Arbab’s first feature
Not every 23-year-old is writing, directing, producing and acting in their production company’s latest film. But with his first feature…
Author: nathaniel.ruttenberg
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Theater Etiquette — If Not in Cannes Then Where?
In Cannes’ own Salle Buñuel Theater, I waited for Akira Kurosawa’s 1943 directorial debut “Sanshiro Sugata” (newly restored in 4K…
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Artist and Professor Joana Burd harnesses the power of vibrations
I met Joana Burd on a stifling May afternoon in Madrid’s Cuatro Torres (four towers) business district. Joana, a Brazilian…
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That “Something in Between”: A Manifesto for How to Think About Cinema
One of the things that distinguishes the Transilvania International Film Festival from other film festivals is its care for retrospectives…
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Debut director Tristen Tarp is challenging what “female filmmaking” means
From the moment I met filmmaker and director Tristen Tarp in Cannes, just steps away from the famous Carlton hotel,…
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‘Fjord’, a Masterclass in Film Manipulation
This year’s Palme d’Or winner, “Fjord,” directed by Cristian Mungiu, is one of the most incendiary films I have seen…
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‘L’Abandon’ (Forsaken) Review: Can a Movie Shed its Money?
On my fifth day at the Cannes International Film Festival, a woman approached me to ask if I had seen…
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Interview with Director Katharina Rivilis Following Cannes Premiere of ‘I’ll Be Gone in June’
Away from the clamour of the Cannes Competition, the festival’s Un Certain Regard section offers a space for films that…
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A complex liminal space in ‘All the Lovers in the Night’
Director Yukiko Sode premiered her fourth feature, “All the Lovers in the Night,” at the Cannes International Film Festival last…
