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Filmmaking
It Was Only the Wind, My Dear: The Undisputed Greatness of Jack Clayton’s ‘The Innocents’
Martin Scorsese’s Encounter with Kafka During ‘After Hours’
‘I Am Insane, and You Are My Insanity’: The Captivating World of Terry Gilliam’s ’12 Monkeys’
Screenwriting
It Was Only the Wind, My Dear: The Undisputed Greatness of Jack Clayton’s ‘The Innocents’
Martin Scorsese’s Encounter with Kafka During ‘After Hours’
‘I Am Insane, and You Are My Insanity’: The Captivating World of Terry Gilliam’s ’12 Monkeys’
Interview
It Was Only the Wind, My Dear: The Undisputed Greatness of Jack Clayton’s ‘The Innocents’
Universal Soldier? The Emersonian Combat Experience of Terrence Malick’s ‘The Thin Red Line’
‘The Life and Times of Don Luis Buñuel’: The Perfect Window into the Mind of a Groundbreaking Artist
Documentary
It Was Only the Wind, My Dear: The Undisputed Greatness of Jack Clayton’s ‘The Innocents’
Martin Scorsese’s Encounter with Kafka During ‘After Hours’
‘I Am Insane, and You Are My Insanity’: The Captivating World of Terry Gilliam’s ’12 Monkeys’
Cinematography
It Was Only the Wind, My Dear: The Undisputed Greatness of Jack Clayton’s ‘The Innocents’
Martin Scorsese’s Encounter with Kafka During ‘After Hours’
‘I Am Insane, and You Are My Insanity’: The Captivating World of Terry Gilliam’s ’12 Monkeys’
Editing
It Was Only the Wind, My Dear: The Undisputed Greatness of Jack Clayton’s ‘The Innocents’
Scorsese’s Sexless Period Drama ‘The Age of Innocence’ as a Visceral Depiction of Emotional Starvation and Internalized Violence
No image
Neil Marshall’s ‘The Descent’: Humans Are the Scariest Things
Short film
‘The Devil Needs a Fix’: Ian Ebright’s Sophomore Film Proves His Debut Was No Coincidence
‘The Line’: Luke Wallace’s Gripping Crime Drama With a Terrific Cast
‘Cool Hair’: William Orozco-Cubbon’s Bonnie-and-Clyde-Like Thriller that Leaves Us Wanting More
Dylan Allen
Filmmakers to Watch
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Short film
Dylan Allen’s ‘Epilogue’ Is One Hell of a Film
