“Don’t sit & wait for the chance, do it! If you fall you fall. Stand up, do it again!” Dir. Jakob M. Erwa shares the rallying cry that powered the production of his psychothriller feature ‘Homesick’.
Australian Director Maya Newell discusses her exploration of same-sex parenting in her debut documentary ‘Gayby Baby’.
DN talks to Matt Sobel about his inverted coming of age feature ‘Take Me To The River’ and discovers how he harnessed the celebrity power of Taylor Swift to craft an impressive performance from his young co-star.
Artist & Director AKIZ shares how he brought realism to his fantastical feature ‘Der Nachtmahr’ whilst augmenting the film’s abrasive techno soundtrack through the use of sonic experiments.
Greek Director Alexis Alexiou joins us to discuss how he went about creating a lyrical, surreal quality for his crime thriller ‘Wednesday 04:45’ and why in his opinion good film noir is actually political in nature.
DN tracked down ‘Partisan’ Director Ariel Kleiman to talk submarines, scoring Vincent Cassel for his debut feature & why kids can’t point guns in Australian films.
Director Johanna Schwartz joins DN with her feature-length documentary ‘They Will Have to Kill Us First’ – a film which charts the defiant spirit of Malian musicians willing to risk their lives for the love of their art.
Dir. Joseph Sims-Dennett talks to DN about the anxieties of building a directing career and how he took things back to the self-initiated basics for his second feature, the dark horror mystery ‘Observance’.
DN sat down with Josh Mond to discuss the inner workings of the Borderline Films’ partnership and how he went about constructing a visual language that would trap an audience inside the claustrophobic internal turmoil of the titular character in his debut feature ‘James White’.
The halcyon days of an endless summer free from adult supervision play host to Felix Thompson’s debut feature King Jack. DN grabbed Thompson for an interview at the London Film Festival to talk the Sundance Creative Producing Labs, the power of pitching and why he wanted Jack to experience a ‘moral’ rather than ‘pure’ victory.