After making three micro-budget independent films that changed American cinema, Andrew Bujalski has made a fourth micro-budget independent film. But 'Computer Chess' is something entirely different.
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The unremarked-upon connection between filmmaking and film criticism deserves some consideration.
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As Hollywood increasingly emphasizes blockbuster releases, more and more of the studios' slates may become filled with independent fare that straddles the border between artistic and commercial.
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Shane Carruth's 'Upstream Color' is a great example of a director who made exactly the type of film he wanted through shrewd distribution and marketing choices. In this landscape, is a tiny niche all a filmmaker needs?
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Can a filmmaker cut out enough middlemen to sell movie tickets exclusively to backers?
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Everyone's freaking out after Steven Spielberg and George Lucas announced that the filmmaking biz is is facing an "implosion." But what if that's a good thing? Here's who might benefit from the latest entertainment industry collapse and how.
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How did “Vertigo”—the newly-minted Greatest Film of All Time (as per Sight & Sound)—and the late Chris Marker blur the lines that separate reality from illusion?
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The Dardenne Brothers' patented stylistic formula gives The Kid With a Bike an emotional and psychological intelligence rarely found in contemporary cinema.
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After 2004’s smash indie hit Maria Full of Grace, Joshua Marston spent seven years making his next film, The Forgiveness of Blood.
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Markus Schleinzer’s directorial debut Michael pushes the boundaries of character study. Now playing at Film Forum.
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