Yorgos Lanthimos discusses his approach to shooting The Lobster, designing the sound, and blocking the action. Actress Ariane Labed explains how she prepared for the part and how training as a dancer influenced her performance. We named Rachel Weisz’s performance in the film one of the best of 2016.
Whit Stillman on cruelty and wit in Love & Friendship
Although Love & Friendship benefits from Austen’s sharp satire and clever observations, this is still very much a Stillman film, reveling in the humour of what he calls, “upper class twits.” Stillman discusses setting the tone, the importance of words, and the music in the film.
Matthias Schoenaerts and the art of not speaking
Though he’s made films in English, French, and Dutch, Matthias Schoenaerts tends to communicate his characters’ inner lives through physicality rather than dialogue. This is the 4th feature in our special A Bigger Splash week.
Tom Hiddleston and the hollow charm thwarting the promise of a great actor
Tom Hiddleston could be one of our greatest actors, but he isn’t quite — yet. “If you want to know who I am, it’s all in the work,” Hiddleston insists, quoting Alan Rickman. In fact, that might be what’s holding him back.
Adam Garnet Jones on Fire Song: ‘A film about a feeling’
Writer-director Adam Garnet Jones discusses his debut film Fire Song the first Canadian film about a Two-Spirited character, a Queer Native. It opens in Toronto on May 13.
Ben Wheatley’s High-Rise is vacant
Ben Wheatley’s High-Rise is probably easier to like if you haven’t read J.G. Ballard’s novel: you won’t know it’s missing 95% of his ideas. Wheatley’s film can barely offer more than views of Tom Hiddleston’s glorious torso. In Simran Hans’ apt words, High-Rise is willfully “anti-intellectual”.