Music in film isn’t just an auditory layer: it’s an emotional compass. In neo-noir thrillers, late-night character dramas and indie genre pieces, soundtracks ...

“Even toward the end there’s a camp where Willa [Chase Infiniti] is held captive, and there’s a big, long stretch of no ...

One Battle After Another is so layered that even cinematographer Michael Bauman is still discovering new gems, long after ...

The El Dorado Film Festival recognized the twisty mockumentary American Comic, the mother-daughter comedy-drama Honeyjoon and ...

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When Ruth E. Carter first read Ryan Coogler’s script for Sinners, the images came fully formed. The Oscar-winning costume ...

Costume designer Deborah L. Scott's Oscar nomination for Avatar: Fire and Ash reflects something larger than a single project: It acknowledges a shift in what ...

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Train Dreams cinematographer Adolpho Veloso on turning obstacles into opportunities and shooting trees like people.

If you saw the Southern Made Shorts block at the El Dorado Film Festival Saturday, you saw Capchtas cause an existential ...

Stephen Mirrione didn’t cut the racing sequences in F1: The Movie the way he’d cut a dialogue scene. He couldn’t: The actors weren’t in the footage yet.

In stitching together Marty Supreme, editors and co-writers Ronald Bronstein and Josh Safdie not only found the beats of the movie, but they were able to structure it in a way narratively that didn’t ...