The documentary series Mr. Scorsese proves frequently enlightening with its look at Martin Scorsese's filmography: but why does it ignore his docs?
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An interview with Under the Arbor director Hayley Morin and producer Mack Stannard about capturing Powwow celebrations and the personalities behind them.
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Some newly restored and never-before-seen footage by Albert Maysles and David Maysles is the reason to see Beatles '64, the latest doc on the Fab Four.
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An interview with film editor Thelma Schoonmaker about Made in England: The Films of Powell and Pressburger and her collaborations with Martin Scorsese.
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In Made in England: The Films of Powell and Pressburger Martin Scorsese presents a deep dive on two filmmakers who inspired him.
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Hot Docs announces first titles for its 2024 festival including American Cats, Red Fever, Union, Power, Never Look Away,and Born Hungry.
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If iPhones are the new cinema vérité, as Martin Scorsese suggests, then the true crime doc A Wolfpack Called Ernesto is the future.
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Luca Guadagnino offers a doc portrait of shoe designer Salvatore Ferragamo that's chic and comfy in Salvatore, Shoemaker of Dreams.
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Haynes’ film is quite simply one of the best of the breed. This is easily a definitive portrait of the band that feels like the Velvets’ last testament.
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On one hand, Pretend It’s a City is an engaging portrait of Fran Lebowitz, but on the other, it’s an essential time capsule of pre-COVID city life. I haven’t laughed so heartily
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