In order to make The Plague work, casting director Rebecca Dealy needed to find a group of boys capable of handling the weight of Polinger’s script.

Writer/director Charlie Polinger returns to memories of his own adolescence in his directorial debut, The Plague. The film takes place in the early-2000s at an all-boys water polo camp and was inspired by old journals Polinger found in his parents’ house.

Many movies have been made about cowboys, cops, runaways, and pretty much every other type of person, but Jesse V. Johnson’s Thieves Highway, starring Aaron Eckhart, might be the first about survival from the point of view of a self-described cow cop.

Sinners picked up seven Golden Globe nominations and leads the pack with seventeen nominations for the Critics’ Choice Awards. One of those Critics’ Choice nominations was for Best Hair and Make-up, a team led by make-up designer Siân Richards.

Ashley Zukerman and Sean Keenan sat down to talk about the unexpected parallels of Y2K and Covid in One More Shot, the restriction and freedom of time loop narratives, and which beverage they wish had time traveling abilities.

Longtime collaborators Jónsi and Alex Somers have reunited for the first time in ten years as the composers for Rental Family, and Somers sat down with Beyond the Cinerama Dome to chat about his work on the film.

Andrew Jarecki and Charlotte Kaufman’s The Alabama Solution documentary tackles such immense, wide-spread, longstanding corruption that it would be very easy for the film to become a heavy, numbers-based piece of journalism. Editor Page Marsella’s outsider approach, however, guaranteed that The Alabama Solution became the essential, damning piece of work that it is.

Documentary filmmaking at its best chronicles an issue that’s misunderstood, unknown, or urgent. Director Sam Feder’s Heightened Scrutiny is the rare instance where a film deserves all of those adjectives, and more.

With their newest short, Trapped, the two are on a path to potentially be two-time Oscar-nominated filmmakers. David and Sam Cutler-Kreutz, though, are still just kid brothers who share a love for film.

Keeper is the latest horror from the mind of Osgood Perkins. Composer Edo Van Breemen has seen into that mind and translated it to the sonic landscapes of The Monkey and Keeper.

Connecticut 1992. A simpler time, but no matter when or where in the world you are, the transition from teenage years to adulthood will always be earth-shattering.

When searching for someone to write the score for his new film, Rebuilding, Max Walker-Silverman settled on Jake Xerxes Fussell and James Elkington, two songwriters in their own right, but new to the world of film composition.

Elizabeth Lo’s Mistress Dispeller had its world premiere at the 2024 Venice International Film Festival and, a year later, the film is making the theatrical rounds. One could say, though, that the story of the documentary started about ten years ago, when the profession of “mistress dispeller” began to crop up in China.

The film’s initial release didn’t create much fanfare, but Hocus Pocus has since developed into a beloved cult classic. Hocus Pocus was the first feature film role for Tobias Jelinek, who plays one of the film’s bullies.

Before Oli Julian was tapped to compose the score for the Netflix adaptation of The Twits, he was a kid growing up on Roald Dahl books, messing around in his childhood bedroom with recording equipment.

Austin King knows genre filmmaking. He’s a Features Programmer and Head of Submissions for Fantastic Fest, the preeminent showcase of genre filmmaking. Now, he’s making his short film debut with One Night Cherub.

Before Patrick Lawrence became a film editor, he was a musician. While the two might not seem like they have anything in common, both rely on a sense of rhythm to be successful.

In the case of Kyle Misak’s 2025 Fantastic Fest-premiering film, Bad Haircut, the problem isn’t with the haircut itself, but with the barber who wields the scissors.

Aztec Batman: Clash of Empires is a deeply personal project, and this legacy component of the project is something composer Ego Plum is still trying to wrap his head around.

The participants in Sean Cisterna’s documentary will be the first to tell you they don’t want anything to do with horror movies, but that didn’t stop them from being part of making one.