PAULINE CHALAMET Stars in Exclusive, Global KINOSCOPE Release of Emma Doxiadi’s Remotely Made I’M FINE!
KINOSCOPE is thrilled to announce a free, exclusive streaming release of Emma Doxiadi’s recent...
“I Know Myself”: Falling in Love and Growing Up in “Call Me by Your Name”
The morning after his arrival in that place “somewhere in Northern Italy,” Oliver (Armie Hammer)...
A One-of-a-Kind Portrait Artist: The Films of Martín Farina
Talent Press, a section of Talents Buenos Aires, is a theoretical and practical program created...
Vengeance: Oliver Laxe’s “Fire Will Come”
Oliver Laxe’s Fire Will Come (2019) begins with the same image Albert Serra’s Liberté (2019) ends...
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A Life on Hold: Garrett Bradley’s “Time”
Garrett Bradley’s movie titles convey big, broad concepts: “Alone,” (2017) “America,” (2019) and...
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In Search of a New Land: An Interview with Anna Cazenave Cambet
“I wanted to write a portrait of a woman. That was clear,” Anna Cazenave Cambet tells me during...
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Martin Eden, Faust, and Hamlet: An Interview with Pietro Marcello
As is often the way of these things, I didn’t quite fall in love with Martin Eden until a year had...
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The Ghosts That Lie in Our Art: Raúl Ruiz and Valeria Sarmiento’s “Tango of the Widower and Its Distorting Mirror”
Nine years after his passing, what was supposed to be Raúl Ruiz’s debut film has been recovered...
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You’d Be Great as Jesus: Orson Welles’ “Hopper/Welles”
It was 1970, and Orson Welles was filming The Other Side of the Wind, which gestated for years...
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