Oscar-Winning Documentary Backer Now Taking Pitches to Develop and Fund New Non-Fiction Work

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Oscar Cinematography Survey: Here’s the Cameras and Lenses Used To Shoot 35 Awards Contenders

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‘Can You Ever Forgive Me?’ Director Marielle Heller on What Gets Lost When Movies Strive For Clarity

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‘The Front Runner’: Here’s How to Mic 20 Actors and Mix Their Sound at the Same Time

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‘Homecoming’: All the Classic Movie Soundtracks In the Series – And Why Sam Esmail Used Them

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Thom Yorke Surprised Luca Guadagnino by Singing on the ‘Suspiria’ Soundtrack — Podcast

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FilmFreeway Defeated Amazon’s Withoutabox Monopoly, and Film Festival Submissions Will Never Be the Same

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Amazon and IMDb Are Closing Withoutabox Film Festival Submission Service

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Luca Guadagnino On Directing Bob Dylan-Inspired ‘Blood on the Tracks’: ‘I Don’t Believe in Originality in Filmmaking’

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At 3,000 Feet, Shooting ‘Free Solo’ Was More Like ‘Mission Impossible’ Than a Documentary

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‘Spring Night, Summer Night’: One Film’s Bizarre 50-Year Journey to Its Long-Delayed New York Film Festival Premiere

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IATSE Members Avert Strike That Was Looming Over Hollywood By Voting to Ratify 3-Year Contract

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Netflix Buys New Mexico Production Hub: Why Hollywood Is Sinking Billions Into Albuquerque

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A Not So ‘Private Life’: How Tamara Jenkins Invaded Kathryn Hahn and Paul Giamatti’s On-Screen Privacy

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‘The Old Man & the Gun’: How David Lowery Brought 1970s Cinema Back to Life for a Modern-Day Robert Redford

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‘The Other Side of the Wind’: How to Salvage an Unfinished Orson Welles Movie Without Orson Welles

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Cary Fukunaga Wants to Screw with Your Expectations of Him As a Director, From ‘Maniac’ to Bond and Beyond

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How Self-Distributed ‘Thunder Road’ Made Its Money Back in One Week

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Editors Guild Launches Podcast Detailing Why the New IATSE Contract Is ‘Unacceptable’ for Film and TV Crew

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