Making a splash
by
Paul Risker
Sam Hayes on risk-taking, old summer traditions and Pools
Secret rhythm
by
Paul Risker
Naian González Norvind on silence, fear and rebellion in Corina
If the shoe fits
by
Paul Risker
Emilie Blichfeldt on beauty standards, acts of desperation and The Ugly Stepsister
Sensorial cinema
by
Paul Risker
Miguel Gomes on Somerset Maugham and updating the travelogue in The Grand Tour
Talking to strangers
by
Paul Risker
Tracie Laymon on laughing at pain together and Bob Trevino Likes It
Taking their time
by
Paul Risker
Ryan J Sloan and Ariella Mastroianni on spiral stories and creating Gazer
The prisoners' code
by
Paul Risker
Cam Banfield on breaking social rules and How Was Your Weekend?
A painted cockroach
by
Paul Risker
Julia Max and Colby Minifie on caring, bereavement, horror and The Surrender
Living fiction
by
Paul Risker
Ari Gold on one take filmmaking and exploring real life in Brother Verses Brother
The shape of memory
by
Paul Risker
Yana Alliata, Ryan Wuestewald, Hans Christopher and Nikki DeParis on Reeling
Anything for love
by
Paul Risker
Emma Higgins on teenage frustration, good intentions and Sweetness
The outlaw
by
Paul Risker
Karan Kandhari on artistic inspirations and Sister Midnight
An intimate odyssey
by
Paul Risker
The Accidental Getaway Driver director Sing J Lee on taking his characters and audience on a journey
Puzzle boxes
by
Paul Risker
Star Rosencrans on editing The Dead Thing and A Desert
Through the lens
by
Paul Risker
Moritz Binder on journalism under pressure and September 5
A film about family
by
Paul Risker
Hossein Molayemi and Shirin Sohani on In The Shadow Of The Cypress
Making memories
by
Paul Risker
Dani Feixas-Roka on depicting Alzheimer's disease in Paris 70
Shaping the cut
by
Paul Risker
Valerie Krulfeifer and Mickey Keating on their unreleasable past work and Invader
Finding the magic
by
Paul Risker
Jenn Wexler on her approach to filmmaking, The Ranger and The Sacrifice Game
A monstrous legacy
by
Paul Risker
Nicholas Vince on Thatcherism, AIDS, writing, filmmaking and I Am Monsters
Double vision
by
Paul Risker
Jane Spencer on interpreting cinema and South Of Hope Street
In the beginning
by
Paul Risker
Kelsey Taylor and Adam Lee on shame, Red Riding Hood and To Kill A Wolf
Behind the camera
by
Paul Risker
Ellen Kuras on telling women's stories and working with Kate Winslet on Lee
Masters of survival
by
Paul Risker
Mika Gustafson and Alexander Öhrstrand on pursuing emotional truth in Paradise Is Burning
The storyteller
by
Paul Risker
Ali Kalthami on the birth of Saudi Arabian cinema, and Night Courier
An assault on the senses
by
Jennie Kermode and Paul Risker
JT Mollner and Giovanni Ribisi on colour, chemistry and creativity in Strange Darling
True to herself
by
Paul Risker
Joanne Mitchell on damaged people and Broken Bird
Don't be square
by
Paul Risker
Vincenzo Natali on the need for weirdness in cinema, and Cube
A brutal descent
by
Paul Risker
Iain Glen and Julien Hayet-Kerknawi on war, personal relationships and The Last Front
Monster and metaphor
by
Paul Risker
Alexander J Farrell and Greer Ellison on the layers of meaning in The Beast Within
Her own anchor
by
Paul Risker
Haley Bennett and Thomas Napper on Widow Clicquot
Embracing ambiguity
by
Paul Risker
Christopher Murray on uncertainty, the potential of cinema, and Sorcery
Audacious filmmaking
by
Paul Risker
David Hinton on Made In England: The Films Of Powell And Pressburger
The full picture
by
Paul Risker
DW Young on exploring the work of James Hamilton in Uncropped
Light and magic
by
Paul Risker
Hélène Louvart on the challenges of photographing Nezouh
Bad influence
by
Paul Risker
Natasha Henstridge on Cinderella's Revenge
All aboard
by
Paul Risker
Nicolas Philibert on the art of documentary, psychiatry and On The Adamant
Sculpting a story
by
Paul Risker
Jianjie Lin on working layer by layer on Brief History Of A Family
An extreme life
by
Paul Risker
Lucy Lawless on telling the story of Margaret Moth in Never Look Away
Breaking free
by
Paul Risker
Zeno Graton on youth detention, love without shame, and The Lost Boys
Off the rails
by
Paul Risker
Jeong Yong-ki on divergent horror traditions and The Ghost Station
Something in the light
by
Paul Risker
Mark Jenkin on the cinematic form, the boundaries of horror, and Enys Men
Imperfect love
by
Paul Risker
Marvin Samel on artistic collaboration, family turmoil and iMordecai
A little poison
by
Paul Risker
Kit Zauhar on unlikeable characters, white masculinity and This Closeness
Real obsession
by
Paul Risker
Dillon Tucker on obsessive compulsive disorder and Pure O
Digging up the past
by
Paul Risker
Ben Parker and Charlotte Vega on the importance of remembering history, and Burial
Getting the bug
by
Paul Risker
Carter Smith on queering horror in Swallowed
Variations on a theme
by
Paul Risker
Kevin Kopacka on connecting with the subconscious in Dawn Breaks Behind The Eyes
Breaking the rules
by
Paul Risker
Alessandro Celli on reinventing the Italian crime genre in Mondocane
Summer's child
by
Paul Risker
Colm Bairéad on bringing The Quiet Girl to the screen
The trojan horse
by
Paul Risker
Franka Potente on making her directorial début with Home
Working girls
by
Paul Risker
Henrika Kull on sex work, feminism and Bliss
Finding freedom
by
Paul Risker
Laurent Micheli on getting beyond victim stereotypes in Lola And The Sea
Walking the line
by
Paul Risker
James Ashcroft on character ambiguities and Coming Home In The Dark
Rediscovering Spain
by
Paul Risker
Susan Stern on her personal documentary about her husband's life and work
The X factor
by
Paul Risker
Stephen Kijak on his career and rockumentary We Are X.
Magnetism of Magnus
by
Paul Risker
Benjamin Ree on the challenges and rewards of his chess documentary.
Natural connection
by
Paul Risker
Stuart A Staples and David Reeve on reinterpreting the work of F Percy Smith.
