Chris Shields

Take a look at yourself: Chilean director Sebastián Silva’s misery-suffused new comedy is ripe to the point of bursting

Sing out: a program at the Academy Museum in Los Angeles showcases the many possibilities of concert movies—both as cinema and as performance—through a range of classics

Another green world: with its pop imagery, sonic dissonance, and vision of life after Armageddon, Marco Ferreri’s 1969 dystopian fable brings to mind a film by George A. Romero remade by Jean-Luc Godard

Homebound: our critic digs into a new and alternative streaming service for experimental and artist-made films that includes a healthy selection from the Canyon Cinema catalog

Save as: Academy Film Archive preservationist Mark Toscano discusses the unique challenges of restoring experimental films by artists like Stan Brakhage and Barbara Hammer, and more

Country living: Radu Muntean’s searching gaze digs beneath the surface of an adventure gone wrong to unearth an incisive parable about charity and power

Crime and punishment: the French actor is at once grotesque and rivetingly human in Alain Corneau's 1979 thriller

From beyond: the director of Re-Animator leaves behind a varied and endlessly imaginative body of work

Baggy monsters: Charles B. Pierce’s 1976 proto-slasher film provided the basic structural DNA for countless imitators

Man behind the monsters: a biography of the kaiju director shines light onto his aesthetics and principles

Got a light: the foundational filmmaker talks about the origins of his experimental techniques in essential works such as Serene Velocity

Filmmakers and casting directors on the search for non-actors (and the right fit) 

Written in blood: Italian avant-garde art and Lucio Fulci’s gutsy horror, together at last (with a dash of Bava)

The science of shriek: the rampage of Kyle MacLachlan in The Hidden and two other frightful delights

Close talker: a few words on the performance artist and the cinematic immediacy of his art