When Mavis Staples says she's uniquely troubled by the current climate in this country — by the guns and the police violence and the president she blames for reviving old enmities — there's good reason to listen.
While Varda has said that her latest documentary Faces Places will be her last theatrical feature, it's hard to imagine that adventurous magpie spirit abating anytime soon.
"I had the opportunity to be on the sets of a lot of the greats in terms of directors," says Gerwig, "So I was able to steal from the best."
"[Scratch is] like this jester and he's joking around and people discount him, almost like he's a clown but he's actually speaking these deep truths in jokes."
When an audience isn't fidgeting, says Jones, that's a sign that they've forgotten themselves and that's a good thing.
Ahead of Mute's Throbbing Gristle reissues, Genesis Breyer P-Orridge connects the tactics of The Second Annual Report to he/r contemporary practice.
"I think it's healthy to have a disdain for mankind and to use a sense of anger and violence and hatred for creative purposes."
Kelela's debut album, Take Me Apart, is bold stuff, beauty and weirdness forged out of struggle and pain.
Josh Hodges is launching yet another vault release of rarities, but his feeling towards the process and the peace that he's found prove distinct in its own right.
Everything in film is a performance, including the camera itself. Lanthimos discusses his career from making commercials to his latest, The Killing of a Sacred Deer.
Tegan explains how personal loss and the experience of being talked out of breaking up the band gave her and Sara the confidence to become the stars they are today.
"We made the first [album] as a bunch of kids in a house, so we're just really happy that we've gone through this process to make this big, emotionally and artistically dense record."
In Between emits an idealistic spirit to create unity, and Hamoud equally looks towards feminism as a unifying framework for the contemporary world.