#bryan-buckley

#bryan-buckley

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

On May 2, 2025, arts and cultural organizations across the country received notifications that grants and funding promised by the National Endowment for the Arts were being rescinded. This was part of a larger initiative by the Trump Administration to dismantle not just the NEA, but also other arts advocacy programs including the National Endowment for the Humanities and the Institute for Museum and Library Services.

Cut & Paste Pictures is developing a feature-length documentary chronicling the lifelong friendship between Rise Against guitarist Zach Blair and wrestler Hassan 'MVP' Assad, who will also front an unscripted series about life after prison.

"Whenever you manage, through cinema, to cast doubt on the assumed nature of things, you might be approaching something really interesting. And when you have done that once, there's no way back."

When I read the scripts, I was really blown away by them. I am a fan of Taylor, and I think his writing is fantastic. To me, this just had a certain poetry to it. It was creating imagery of this place in my mind before I had even seen where it would take place. It was beautiful and lyrical.

Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget, showcasing the potential of indie filmmaking in animation.

Soderbergh has become such a prolific, tirelessly resourceful, and altogether uncategorizable filmmaker that you have to wonder why the mechanics of the break-in still inspire him.

After a terrible family tragedy, she learns that it's less about the place, specifically, and more about the idea to never take anything for granted. The Madison has your answer-though it's not so straightforward. Starring Michelle Pfeiffer and Kurt Russell, the latest series from Sheridan surprisingly begins by treating the state much like any Lifetime Christmas movie would.

Sam Green's documentary follows his relentless pursuit of the world's oldest person, a journey that reveals deep insights into the nature of time and memory over a decade.

I want to make tiny little movies that then don't seem tiny.

What begins as a fairy-tale romance set in the beautiful Mediterranean town of Agde gets more complicated when Stann's family ties prove more durable, and dangerous, than he expects. Stann, the hub of a sprawling, criminally inclined clan, finds himself torn between Gloria, a vibrant Black American woman who offers him a glimpse at a life beyond the one he knows, and his inescapable family obligations.

10 Cloverfield Lane Mary Elizabeth Winstead, John Goodman and John Gallagher Jr are locked in an underground bunker for the majority of this left-field sequel to Cloverfield, with thrilling results. In the film's final throes, Winstead's character exits the bunker, and finds that her captor was telling the truth about an alien invasion above - a twist that completely and ruinously dissipates the hard-earned tension that came before.

I was a struggling filmmaker. I was trying to find myself and it wasn't happening. I was ready to give up on filmmaking as I was about to turn 30. I didn't feel like I could do this to myself, my family and friends any longer. I was living in South Austin making the minimum amount of money, eating peanut butter and jelly sandwiches, and making bad art. But then Sundance gave me my career with this $3 short film that we submitted to the festival on a lark.

For someone best known as an actor, Bradley Cooper's core interest as a filmmaker is perhaps unsurprising. Thus far, he has been entirely consumed by examinations of performance-first digging into a pop musician's stratospheric career climb in A Star Is Born, then wrestling with Leonard Bernstein's desire to reimagine classical music in . Both movies were hefty pieces of entertainment, filled with love, death, and grand human experiences. His newest, the fetching

I was so disgusted. Like, no, you can't have a murder in this sea of people already dying - that's not right, not fair. We can't let this go.

We believed that the fans would just eat this alive if we did it justice,

It's been 40 years since Richard Linklater founded the Austin Film Society, beginning his crusade to make scrappy, personal, romantic and boisterous cinema. It's fitting for a director who first broke out in the 1990s "Indiewood" boom that his latest film, Nouvelle Vague, is an origin story of cinema's enfant terrible par excellence, Jean-Luc Godard, mounting his iconic debut film Breathless. As Linklater's first non-English film, Nouvelle Vague feels like a film fanatic has staged and animated decades' worth of behind-the-scenes anecdotes - genuine and apocryphal alike - to show a turning point for cinema as the Texan director imagines it: lively and collaborative, tetchy and confounding, an amusing slew of rules broken and manifesto points declared.

Bernardo grew up in Monterrey, Mexico. From a young age, movement was part of his life. He rode BMX and mountain bikes daily. That routine shaped his mindset. "Being on a bike teaches you focus," he says. "You fall, you get back up, and you keep going." That early discipline stayed with him. It later showed up in his professional life, even when the work looked very different.