By Lena Valencia

Kelly Reichardt teams up with writer Jon Raymond once again and plunges us into the dark side of the American dream, except the stakes in this story are considerably higher: it’s set on the Oregon Trail in 1845.

By Zachary Block

Zachary Block and Olivier Assayas discuss Assayas’s new film, Carlos. The film tells the story of Ilich Ramírez Sánchez, otherwise known as “Carlos the Jackal,” a man whose violent history was twisted and erased by the political climate of his time. With his confident and exciting combination of evidence, myth and fantasy, Assayas has created a successful, if sometimes difficult, film.

By David Phelps

It’s that time of the year again! From The Social Network to Film Socialisme, David Phelps profiles some of the New York Film Festival’s main slate features. Godard still prevails.

By Pamela Cohn

Khavn de la Cruz is an artist with an output that is singular in its fecundity, a prolix daily output that is off the charts. Musician, poet, writer, filmmaker, Cruz is, however most well-known as “the father of Philippine digital filmmaking.” Pamela Cohn sat down with Cruz in Prizen, Kosova to discuss his prodigious output.

By Alice Whitwham

The rhythm of Heartbreaker’s romance lulls the audience into submission as easily as Alex seduces his targets. Just sometimes, it’s fun to be putty. Alice Whitwham reviews Pascal Chaumeil’s romantic comedy. Click Through!

By Pamela Cohn

YouTube starlet Jack Rebney, a.k.a. the Winnebago Man, faces a second round of national exposure–this time with a bit more cheer. Pamela Cohn talks to filmmaker Ben Steinbauer about his experience tracking down, getting to know, and growing to love the notorious Winnebago Man.

By Pamela Cohn

Matthew Porterfield’s latest film, Putty Hill, is an unabashed ode to shared memory and loss and a beautifully realized piece of work, making good on the artistic promise that many critics and supporters saw in his debut. He spoke with BOMBlog’s Pamela Cohn about his work, his turbulent past, and his approach to the technique and theory of making films.

By Alice Whitwham

The Father of My Children, the second film by 29 year-old French writer and director, Mia Hansen-Løve, documents the stress and bureaucracy of film production as precisely and delicately as it does the emotional impact of incomprehensible loss. This impressively restrained and intelligent film gives us a man whose extraordinary capacity for repressing despair leads to a shocking and unexpected point of crisis

By Paola Capó-García

Set against the backdrop of a blue-grey tinged Europe circa 2024, Tarik Saleh’s Metropia is an exploration of how unattractive the world can be. In his first solo, non-doc outing, the Turkish-Swedish director concocts a dystopic future in which surveillance and depravity rule its sluggish population.

By Lena Valencia

Artist Amie Siegel discusses her experiences wading through Stasi film archives, tackling translation, and weaving together the “visual essay” that is DDR/DDR. The film is screening at the Anthology Film Archives through Thursday, May 13th.