Vicky Krieps discusses the freeing, experimental filmmaking that helped her bring Empress Sissi to vivid life in Corsage.

Horrorville editor Brett Petersel invites the Letterboxd crew to revisit their favorite classic and current first-time horror watches of 2022.

Actor Ed Harris talks about the masculinity on display in Get Away If You Can, being “the thinking woman’s sex symbol” and paying attention to your life.

We comb through the prestige names and indie sleepers coming to the Venice, Toronto, London, New York Film Festivals and Austin’s Fantastic Fest to present our most-anticipated of the festival season.

Aubrey Plaza on being the Queen of Delaware, having her mind blown by John Waters, the take-no-shit tone of Emily the Criminal—and casting spells for Happiest Season fans.

Filmmaker Ayoka Chenzira on the restoration and reemergence of Alma’s Rainbow, flamingo figurines and the importance of dance and music in her life and art.

The Gray Man directors Anthony and Joe Russo lock and load for a Life in Film chat on ’70s thrillers, iconic showdowns, physical trauma and favorite Ryan Gosling performances.

Juliette Binoche on collaborating with Claire Denis for Both Sides of the Blade, her ion project Between Two Worlds and reflections on Three Colors: Blue.

Both Sides of the Blade filmmaker Claire Denis on putting feelings first, trusting Juliette Binoche and playing hooky for Elizabeth Taylor. 

From father-daughter mortality dramas and empathetic docs to psychological thrillers and gibberish comedies, here are Letterboxd’s ten best from this year’s Tribeca fest. 

Céline Sciamma on processing grief through Petite Maman, feeling seen by Turning Red and David Lynch, and the line that wasn’t supposed to be in Portrait of a Lady on Fire.

The Worst Person in the World writer-director Joachim Trier discusses having a brighter outlook on life, the thing about Éric Rohmer, and making a humanist film about “the biggest things there are”: love and death.