An image of the Dalai Lama gives diasporic texture to an otherwise anonymous suburban American house; the camera tracks to ...

When I first discovered the works of Jean Rouch, Robert Gardner, and Timothy Asch—academic anthropologists who opted to make ...

High in the Pyrenees, a centuries-old way of life approaches its twilight amid a controversial rewilding scheme. France’s ...

Though Guillermo del Toro’s 1997 American studio debut Mimic was a notoriously unpleasant experience, the silver lining of that giant cockroach creature feature was the filmmaker crossing paths ...

Mario Patrocínio’s Maria Vitória is the writer-director’s first narrative feature, but it brings the chops of his documentary ...

Benita may not have left a note when she took her life, but her archive was a kind of trail — what I call a “filmmaker’s ...

If last year’s Maryland Film Festival felt like a trial run for a new era of Baltimore’s cornerstone film event, the 26th ...

Andres Veiel’s “Riefenstahl” is an arresting and deeply disturbing all-archival portrait of the titular Third Reich ...

Documentary filmmaker Lynn Sachs on her latest, “Every Contact Leaves a Trace,” in which she remembers seven life-altering encounters.

Remembering her filmmaker father Charles B. Pierce, Dallas designer Amanda Squitiero first mentions the place he called home. “Arkansas claims him and he claimed Arkansas,” she says, having recently ...

Since premiering at the Berlin International Film Festival in February, Butter on the Latch and Thou Wast Mild & Lovely, the remarkably assured debut feature-length films from Josephine Decker (one of ...

In the 1999 mini-series Storm of the Century, a malevolent stranger (played by noted Canadian Colm Feore) shows up outside Stephen King’s longtime fictional community of Castle Rock and repeatedly ...