“There’s No Villains in This Film”: Joshua Oppenheimer on The End and Value of Self-Deception

After fearlessly interrogating man’s capacity for evil in Oscar-nominated documentaries The Act of Killing and The Look of Silence, filmmaker Joshua Oppenheimer returns with The End, a bunker-bound musical set at the end of the world. Despite that unexpected logline, the core themes Oppenheimer grapples with in his work––i.e. the nature of absolution and the…

The Best Documentaries of 2024

The fight for Palestinian livelihood, repatriation, the Argentine gaucho community, a pair of England’s greatest directors, Chinese textile mills, a legendary artist’s final performance, the frontlines of the war on Ukraine––just a few of the subjects and stories this year’s documentaries brought us. With 2024 wrapping up, we’ve selected the non-fiction features that left us…

Download the 2024 Awards Season Screenplays

One of the few benefits of the awards race is Hollywood’s outpouring of materials associated with the contenders. Perhaps the biggest perk is the release of full scripts one is able to download legally, directly from the studios. The first batch is now available and we’ll be updating this post as more arrive over the…

The Unloved, Part 131: Anatomy of Hell

With the release of Catherine Breillat’s effortlessly beautiful and scandalous “Last Summer,” the Unloved looks back at the paroxysmal end of Breillat’s second period as a filmmaker, after her abrasive 1970s output, and before her turn to fairy tales, which seemed to open her to a sensitivity she only hinted at in works as diverse as…