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Calling up the past: Madeleine Hunt-Ehrlich's The Ballad of Suzanne Césaire and Mati Diop's Dahomey both probe the tensions of transmitting memory

Answering the call: the acclaimed British filmmaker speaks about his latest feature, his first in six years, which reunites him with Marianne Jean-Baptiste

Bread and roses: the two directorial pairs behind Northern Lights (1978) and Union (2024) discuss the practical, formal, and political considerations of making films about people power

Time passes slowly: the Chinese filmmaker discusses his latest, which makes a collage out of documentary-style footage shot during the making of his films over the last twenty years

Close reading: Matías Piñeiro’s You Burn Me and Jem Cohen's Little, Big, and Far are both richly attuned to the surfaces of things

Up north: the master filmmaker discusses how a lingering case of COVID-19 and a novel by his late friend gave rise to his newest feature

Town limits: Athina Rachel Tsangari's Harvest and Rungano Nyoni’s On Becoming a Guinea Fowl both explore the tender, vexing paradoxes of home

If you build it: a pervading sense of mourning is the most coherent thing about Brady Corbet's The Brutalist, an otherwise largely unfocused and self-important movie

Watch the stars: the photographer and filmmaker discusses his new adaptation of Colson Whitehead's novel, the film’s compelling use of first-person point of view, and his interest in capturing what he calls “adjacent images”

In a silent way: Christopher Harris joins to discuss the origins of his filmmaking in his youthful ambition to be musician, his interest in stillness and silence as structuring concepts, and why his work is always as fun as it is challenging and erudite