For Melvin Van Peebles good cheer and cool heads prevail against the tirade of ill-will and malevolence. His wide-ranging filmmaking style conveys that overarching sentiment.
Lady Buds Director Chris J. Russo talks about her portrait of resilient and courageous women who laid the foundations for the US cannabis industry.
Writing With Fire co-director Rintu Thomas talks with PopMatters about hope and courage and the women journalists who are changing the world one byte at a time.
In a brave and subversive move that appealed to mainstream audiences yet was undeniably queer, “AIDS film” Parting Glances used barbed comedy to convey tragedy.
Lee Haven Jones on his debut horror film ‘The Feast’, which is influenced by the ancient Welsh Mabinogion literature of chilling folk tales, legends, and myths.
Is ‘Last Night in Soho’ a critique of nostalgia, or does it use nostalgia to suggest new possibilities for a cross-generational alliance among women and girls?
Philip Kaufman’s 1978 remake of sci-fi pod people film Invasion of the Body Snatchers achieves a level of unease above and beyond the novel and the 1956 film.
Kosovan Director Blerta Basholli talks about her debut drama ‘Hive’, based on a true story about women tackling patriarchy by starting a small business.
Director Céline Sciamma talks with PopMatters about exploring inequality in the adult/child relationship with her gentle and beguiling fantasy, Petite Maman.
The pandemic shutdown provided the quiet space director Mike Mills needed to bring his tender drama, C’mon Cmon to life.
Film noirs ‘The Beast Must Die’ and ‘The Bitter Stems’ exemplify why forgotten films must be restored and rediscoveries trumpeted to the amazement of new generations.
