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World Cinema

Under-the-radar non-English language filmmakers talk about their artistic processes.

I Am Not a Witch, Rungano Nyoni

Elena Lazic / March 2, 2018

Director Rungano Nyoni on her Zambia-set debut I Am Not a Witch

Zambia-born, Cardiff-raised director Rungano Nyoni discusses her first feature I Am Not a Witch — which tackles patriarchal constraints on women in Zambia — and her own experiences with sexism in the film industry. The film is now available on VOD.

Sebastián Lelio, A Fantastic Woman, Daniela Vega

Elena Lazic / February 10, 2018

‘A flamboyant film devoid of guilt’: Sebastián Lelio on A Fantastic Woman

Sebastián Lelio discusses A Fantastic Woman, his collaboration with actress Daniela Vega, balancing heightened style with realistic character work, and his thoughts on ‘political’ filmmaking. Read our Berlin 2017 review of the film here.

Bruno Dumont, Jeannette: The Childhood of Joan of Arc, Lise Leplat Prudhomme

Elena Lazic / February 7, 2018

‘At the cinema, I can believe in God’: Bruno Dumont on Jeannette: The Childhood of Joan of Arc

Bruno Dumont discusses the making of his Joan of Arc metal musical, Jeannette: The Childhood of Joan of Arc, achieving the film’s oddball comedy, and his aversion to cinematic moralising.

Maison du Bonheur, Sofia Bohdanowicz

Justine Smith / November 30, 2017

‘I don’t go with a game plan’: Director Sofia Bohdanowicz on Maison du Bonheur

Director Sofia Bohdanowicz discusses her process, representing older women in film, and photographing lived in spaces in her new film Maison du Bonheur.

Alex Heeney / November 22, 2017

Cinematographer Jakob Ihre on Thelma: ‘Even in fantastical moments, the light is still naturalistic’

Cinematographer Jakob Ihre discusses adapting to shooting on itital, lighting different characters for a thematic purpose, and how production design affects his creative choices.

Thelma, Joachim Trier, Eili Harboe

Alex Heeney / November 21, 2017

Director Joachim Trier on his ‘gaze from another place’ in Thelma

Director Joachim Trier on Thelma, the dynamic between the subjective and objective gaze and portraying a dysfunctional father-daughter relationship.

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