Letterboxd — Your life in film

Gotham Awards acting nominee Michael Greyeyes and director-to-watch Lyle Mitchell Corbine Jr. on atrocious Native tropes, modernizing myths, and finally getting to work together on Wild Indian.

Silent Night filmmaker Camille Griffin leans into the messy excess of the season as her movie joins The Green Knight and Spencer in the canon of offbeat, ‘WTF’ Christmas movies.

Rose Glass, the writer-director of long-awaited A24 horror Saint Maud, tells Valerie Complex about finding comfort in psychological thrillers, being terrified of gremlins, and drawing from Joan of Arc’s story for her expressive, bold debut.

As The Kid Detective becomes “a surprising darling” of a hit with our members, Jack Moulton talks to its Canadian writer-director Evan Morgan about broken projectors, the pressure of proving yourself, and what happens when precocious kids grow up.

Run writer-director Aneesh Chaganty tells Jack Moulton about “slipping a card in the deck” for disability representation, his Mission: Impossible obsession, and whether he’ll be reading Letterboxd reviews of his new film.

Zeros and Ones writer-director Abel Ferrara opens up about images as weapons, fourth-wall breaker Ethan Hawke, and being an optimist in spite of it all.

As the phantasmagoric Florida retiree documentary Some Kind of Heaven lands on Hulu, Gemma Gracewood checks in with our new favorite B-grade-movie-loving retiree and future horror-film star, Barbara Stanton.

As its thirtieth anniversary sneaks up, editor-at-large Dominic Corry celebrates an eerily prophetic early-’90s heist caper that bridges the analog-digital divide.

Actor John Boyega and writer Kwame Kwei-Armah on righteous generational rage, showing the humanity behind the heist in Breaking and their hopes for Black storytellers.

Filmmaker Chloe Okuno on crafting everyday horrors, exerting a gaze with the camera, and directing horror queen Maika Monroe in the slow-burn thriller Watcher.

As How to Blow Up a Pipeline explodes onto VOD, Brian Formo chats with key cast and crew about the risky end-to-end journey of their indie eco-thriller, “stealing” from Reservoir Dogs and the line between filmmaking and activism.

As In the Cut turns twenty, Jane Campion opens up about the erotic thriller’s early critical slamming, crafting sex scenes with Meg Ryan and Mark Ruffalo, and the courage of a great financing partner. 

As Oldboy heads back to theaters with a 4K restoration from NEON, director Park Chan-wook discusses hammer-wielding autograph hounds, complicated villains and the emptiness of revenge.

Steamy subgenre enthusiast Justine Smith chats with filmmaker Michael Mohan about how his new feature, The Voyeurs, taps into the excesses and fun of erotic thrillers past.

Bong Joon-ho’s former assistant director makes his feature debut at Cannes—and our correspondent gets the mid-festival jolt she needs from Jason Yu’s taut thriller.

Breakout noir filmmaker James Ashcroft speaks to Letterboxd’s Indigenous editor Leo Koziol about his chilling new movie Coming Home in the Dark—and reveals how Blue Velvet, Straw Dogs and a bunch of cult New Zealand thrillers are all a part of his Life in Film.

Even a brief perusal of the Tribeca 2018 programme reveals an encouragingly high number of works from women directors.  Dominic Corry reports on five to watch out for.

Justin LaLiberty scopes out the season’s big screen greetings (and beatings) for those looking for some aggression with their eggnog.

Mission: Impossible director (and Letterboxd member!) Christopher McQuarrie shuffles his favorites list to recommend some movies for tonight’s viewing, while also opening up about his influences and process.

It’s here: Shelf Life, our new monthly column in which Katie Rife selects the best of this month’s restorations, repertory screenings and re-released physical goods.