Mylissa Fitzsimmons tells us how she made her beautiful, apocalyptic debut feature, Everything in the End, in Iceland with four crew members and only …
In Her Chair
Female-identifying directors reflect on their experiences making films and leading creative teams.
‘A film about nothings that overwhelm you’: Kateryna Gornostai on Stop-Zemlia
Kateryna Gornostai discusses making her ensemble coming-of-age film, Stop-Zemlia, where everything for the characters is happening for the first time. Read …
[Read more...] about ‘A film about nothings that overwhelm you’: Kateryna Gornostai on Stop-Zemlia
‘As a filmmaker, I try to create space for catharsis’: Eliane Raheb on Miguel’s War
Eliane Raheb discusses Miguel's War and using creative documentary techniques to explore her subject's life and trauma. Check out all our Berlinale …
‘In the Innu language, every word is an image’: Kim O’Bomsawin on Call Me Human
Abenaki filmmaker Kim O'Bomsawin discusses her documentary Call Me Human (Je m'appelle humain) and telling the story of Joséphine Bacon and her friends. The …
[Read more...] about ‘In the Innu language, every word is an image’: Kim O’Bomsawin on Call Me Human
‘I’m sick of poetic sex scenes’: Yngvild Sve Flikke and Kristine Thorp on Ninjababy
Writer-director Yngvild Sve Flikke and actress Kristine Thorp discuss their subversive pregnancy comedy, Ninjababy, one of the best of the Berlinale. Check out …
The Dog Who Wouldn’t Be Quiet: Ana Katz on the best film of Sundance
Ana Katz's The Dog Who Wouldn't Be Quiet was our favourite film of Sundance and won awards at IFFR. We spoke with Katz about collaborating with her brother over …
[Read more...] about The Dog Who Wouldn’t Be Quiet: Ana Katz on the best film of Sundance