In Their Words: Some of This Year’s Oscar Nominees on Their Craft, Part II

Yesterday we took a look at four filmmakers whose work has earned them an Oscar nomination (in Gravity cinematographer Emmanuel Lubezki's case, his sixth), sharing with you some of their thoughts on their craft. In one of the most anticipated Oscars in recent memory, it's refreshing to step back and reflect on exactly how these talented individuals created such memorable moments in such a fantastic year for film.

In Their Words: Some of This Year’s Oscar Nominees on Their Craft, Part I

One of the strongest years in recent cinema history will officially come to a close this Sunday at the 86th annual Academy Awards. What just about everyone agrees on is that, with a few exceptions (most people seem fairly convinced Cate Blanchett has Best Actress locked up, for example), it’s anyone’s guess (including our social awards season app, the DataViz—but it's doing just a little bit more than guessing) who might take home Oscar.

Georgian Filmmaker Nana Ekvtimishvili on her Powerful Debut In Bloom

The debut feature from Georgian filmmaker Nana Ekvtimishvili, In Bloom, is a powerful coming-of-age story that takes place in in 1992, just after the collapse of the Soviet Union. Shot in Tbilisi, the capital of Georgia, it’s about two 14 year-olds, Eka (Lika Babluani) and her best friend Natia (Mariam Bokeria) whose ordinary lives—school, friends, domestic strife—are set against the sudden changes to the social order of the country as well as a backdrop of war in the Abkhazia region.

Joshua Oppenheimer on Chatty Killers in his Oscar Nom’d Doc The Act of Killing

When filmmaker Joshua Oppenheimer set out to document the aftermath of what he calls “one of the biggest killings in human history,” he started with the survivors.

But it is the killers who speak in his Oscar-nominated documentary The Act of Killing, a film that reinterprets the documentary.

“Documentary implies that we’re documenting a pre-existing reality, and I think we never are in nonfiction; we’re always creating reality with the people we film,”

How Matthu Placek Created the Single Take, 3D A Portrait of Marina Abramović

The synthesis of technology and art is at the very heart of cinema. Filmmakers are natural innovators. Whether they're working on a big budget film or a small independent, there has simply never been a film made in which the crew didn't have to surmount obstacles through ingenuity—be it with state of the art technology or a nuts and bolts solution.

The ingenuity, technical daring and beautiful beating heart Matthu Placek's 130919 •

Director Ritesh Batra on his Mumbai Set Love Story The Lunchbox

Writer/director Ritesh Batra is enjoying critical and viewer acclaim for his first feature-length film, The Lunchbox. The film, set in Mumbai, is a quiet love story that takes place mostly through hand-written letters. So it’s a surprise to find the Indian-born director and his film at the center of a fiery controversy over the current role and power of the Film Federation of India.

But the decision late last year by India’s official film body to select a lesser-known film with limited distribution,

Director Jehane Noujaim on her Oscar Nominated Doc The Square

An Oscar nomination can vault a young filmmaker into the big leagues. But for Jehane Noujaim, director of The Square, it means that her film might have the chance to be seen by many of the people who made it. The Square, a powerful, on-the-ground look at Egypt’s revolutionary uprising, was shot by Noujaim and a largely Egyptian crew on the volatile streets in and around Cairo’s Tahrir Square for more than two years.

Sonic Manipulation: Deborah Stratman on her Foley Artist Doc Hacked Circuit

Hearing is believing—this is one of the points Debroah Stratman makes with her fantastic short film about foley artists, Hacked Circuit. While we often associate our eyes as the prime mover in our emotions when we watch a film, it’s our ears, Stratman argues, that moves us to really feel.

Stratman has made some very intriguing documentaries in her career. Hacked Circuit is her 28th film, her third at Sundance Film Festival.

Writer/Director John Slattery on Scouting, Casting & Shooting God’s Pocket

If you’re going to peel yourself out of bed at the crack of dawn to attend a screening, it might as well be of John Slattery’s feature length directorial debut, God’s Pocket. Adapted from the novel by Peter Dexter, Slattery has recruited fellow Mad Men star Christina Hendricks as Jeannie Scarpano, and a slew of heavyweight male actors to inhabit the insular, violent, and often very funny world of the titular South Philadelphia neighborhood where the film is set.

Sundance: Film Scholar Noah Isenberg on One of 1st Indie Filmmakers, Edgar G. Ulmer

Long considered as something of a guilty pleasure among filmmakers, critics, and fans, director Edgar G. Ulmer finally gets the attention and scholarship he deserves in Noah Isenberg’s new book: Edgar G. Ulmer: A Filmmaker At The Margins. Ulmer was ambitious, and a teller of tall tales about his career: it might never be possible to untangle fact from fiction on his early years in Vienna and (maybe) Berlin.

Sundance: Kristen Wiig & Bill Hader Dig Deep in Craig Johnson’s The Skeleton Twins

You go in to The Skeleton Twins expecting to laugh because it stars Kristen Wiig and Bill Hader, and you do, you laugh quite a lot. But then you end up feeling almost blindsided by this bracing look at adult lives gone horribly awry, a story of estranged two siblings who have been so thoroughly messed up from the suicide of their father and their own failed lives. Craig Johnson has created something remarkable here,

Sundance: Trouble in Texas in Jim Mickle’s Thrilling Cold in July

Director Jim Mickle is back at Sundance for a second year in a row with the dark, thrilling Cold in July, based on the novel by Joe R. Landale. After serving up last year’s compelling cannibal family film We Are What We Are, Mickle seems right at home in this neo-noir set in a small Texas town sometime in the 1980s.

Cold in July wastes no time plunging you into an ordinary man’s extraordinary dilemma.

Sundance: Steve James’s Doc Life Itself Captures Spirit of Roger Ebert

For half of the history of cinema, Roger Ebert has been writing about film. This point is made by Richard Corliss, the Film Comment critic, who wrote the infamous piece “All Thumbs,” arguing that the Siskel & Ebert show, along with the rising culture of 'rating' movies with letter grades or thumbs, was damaging true film criticism. That this same man is such a big presence in James' documentary tells you that the scope of the subject's career is too big,

Sundance: Aubrey Plaza’s Deadly Turn in Life After Beth

Last year we interviewed Jeff Levine, the director of Warm Bodies, a zom-rom-com (excuse us) about a young woman and the zombie she falls for. The premise was fresh and the execution commendable. Julie (Teresa Palmer) finds herself falling for R (Nicholas Hoult), a zombie who still seems to retain some flicker of his sweet human soul.

In writer/director Jeff Baena’s directorial debut, Life After Beth, that premised is tweaked slightly,

Sundance: Jenny Slate Charms in Writer/Director Gillian Robespierre’s Obvious Child

Gillian Robespierre’s first crack at Obvious Child was as a short that she filmed in the winter of 2009. “We were frustrated by the limited representations of young women’s experience with pregnancy, let alone growing up,” she wrote on her Kickstarter page. “We were waiting to see a more honest film, or at least, a story that was closer to many of the stories we knew.” The short starred comedian Jenny Slate, the ex-SNL cast member (who infamously dropped the f-bomb on her very first show),

Sundance: Macon Blair’s Melancholy Assassin in Jeremy Saulnier’s Blue Ruin

Jeremy Saulnier’s Blue Ruin was a hell of a way to spend an afternoon in the theater here at Sundance. Saulnier’s film is a revenge story marked not by the mindless pursuit of retribution but rather a sad, resigned commitment to a dark task. Our protagonist, Dwight (Macon Blair, outstanding), openly acknowledges the pointlessness of his task while nonetheless trudging along its bloody contours to its bleak endpoint.

The film opens with a beautiful shot of a pristine white tile bathroom filling with steam.

Sundance 2014: Young Hellraiser Fuels Kat Candler’s Impressive Hellion

The first night in Sundance required a deep breath. The Credits is a little more than a year old, so this was our first year here and it’s all slightly overwhelming at the beginning. Although the Festival is a well oiled machine at this point (free shuttles, a slew of press and industry screenings to choose from, and now Uber, expensive as ever), for a first timer here it’s a lot to take in.

We got our bearings and that initial touch of anxiety melted away once the lights went down at the Holiday Village Cinema and the first chords of heavy metal sounded in Kat Candler’s Hellion.

From Taliban-Infested Pakistan to Sundance Lab to Screen:These Birds Walk

Bassam Tariq and Omar Mullick teamed up to make a documentary that would change their lives. They spent three years, on and off, in Taliban-infested Pakistan making These Birds Walk, a cinema verité look at young orphans and runaways in a Karachi children’s home. The home is run by Abdul Sattar Edhi, whose group runs about 300 centers throughout Pakistan. But the focus of the film is less on Edhi and more on the kids,

Chatting With Writer/Director Francesca Gregorini About The Truth About Emanuel

Francesca Gregorini’s film Tanner Hall marked the debut of two very talented women—Gregorini herself and her star, Rooney Mara. This coming-of-age drama focused on young women edging towards adulthood at an all-girls boarding school.

In her latest film, The Truth About Emanuel, which opens today, Gregorini gives us a portrait of two women, one just about to turn 18 (Emmanuel, played by Kaya Scoldelario), the other a young single mother (Linda,

Richard Linklater, Julie Delpy & Ethan Hawke on Their Before Trilogy

Eighteen years ago, Richard Linklater’s Before Sunrise was released in late January of 1995. Save for a few bit speaking roles sprinkled throughout the film—a pair of Austrian theater actors, a palm reader— every minute of screen time, and every word uttered, comes from a young American, Jesse (Ethan Hawke) and a young French woman, Céline (Julie Delpy), who meet on a train and impulsively decide to spend the next 24 hours together in Vienna.