We met up with the British filmmaker to talk about her latest documentary, Dreamcatcher, a bleak but strangely warming film about an former prostitute turned guidance counselor in Chicago.
Barbara Loden's film about an aimless woman who abandoned her children made me realize how grateful I am for my own mother's love and care.
A nightmarish, drug-fueled, modern twist on the western, the film tells the story of an attempted honor killing on the Yorkshire Moors.
The verdict came after a bizarre trial that was heavily covered by the national media and renewed focus on the problem of mental health among America's veterans.
We talked to director David Robert Mitchell about his new film, in which a girl gets stalked by a strange, malevolent presence she contracts after having sex.
In today's outrage culture, it's hard to believe that the Italian cannibal-rape films of the 1970s ever received theatrical releases.
Including Pablo Larraín's El Club, Alex Ross Perry's Queen of Earth, and Sebastian Silva's Nasty Baby.
Today's big-budget video games look and sound great, but "cinematic" is something that they're not.
Richard Linklater's lazy Gen X indie flick taught me that sometimes, it's OK to take the roundabout way.
Village Roadshow donated more than $500,000 to both political parties in the hope someone will help them stop you stealing TV shows.
There were some amazing films this year, including Adam Curtis's Bitter Lake, Sono Sion's Tokyo Tribe, and Kim Longinotto's Dreamcatcher.
Words can't do justice to the repugnant milieu of German's adaptation of the Soviet sci-fi classic Hard to Be a God. It's filled with disease, blood, shit, and endless fighting, serving as a dark reflection of humanity's base proclivities.
Stinking Heaven is the sardonic new comedy about recovering addicts who reside in a chaotic self-run sober-living home that sells kombucha out of a van.
The real monsters in modern, independent horror movies aren't ghosts or demons—they're other human beings. Is scare cinema growing up?
Party Monster is packaged as a fairytale-like moral lesson on the true price of excess. I always found its camp, trashy spirit remarkably addictive, and it forced me to rethink my own beliefs on elitism and success.
It wasn't the graphic sex scenes that made me uncomfortable, but how it forced me to confront my fear of heartbreak.
"Any time a new book of Pynchon's has come out—at least since I've been around—it's like I hang the 'Do Not Disturb' sign on the door and don't come out until it's done."
We talked to Abderrahmane Sissako about his new film, Timbuktu, a much-lauded humanist drama set against the sharia occupation of Northern Mali in 2012.
Roy, a chubby and naive manboy, is meeting his maker, Gilbert "Beto" Hernandez. Beto is still apologizing for his interview on VICE from two weeks ago.
Even with minimal engagement, it remains one of the most visually luscious, emotionally jarring things you'll ever see.
The anime auteur bridged the gap between adult and kids' cinema without patronizing grown-ups or children.
The internet exposed me to the depths of human cruelty, but it was Pasolini's masterpiece that truly disgusted and beguiled me.
John Waters's 1974 trash spectacular demolished the boundaries of good taste, leaving me free to be as tasteless and depraved as I like.
We talked to the lead actors from Stanley Kubrick's masterpiece—the greatest sci-fi movie of all time.