(The 61st New York Film Festival runs September 29-October 15. Check out M.J. O’Toole’s The Sweet East movie review. Seen it? Join the conversation with HtN on our Letterboxd Page.) Sean Price Williams – known for his collaborations with Alex Ross Perry and the […]

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(Note: this is the first part of two. The other conversation will run Friday, July 28.) War Pony Debuted at the Cannes Film Festival in 2022 and took home the Camera D’Or. The film is written By Riley Keough, Gina […]

The post A Conversation with Riley Keough, Pte Cante Win Poor Bear, Jesse Schmockel & LaDainian Crazy Thunder (WAR PONY) appeared first on Hammer to Nail.

Founded in 2002 in response to the September 11 terrorist attacks on downtown Manhattan, the Tribeca Film Festival spent its first few two decades running at the end of April. In 2021, the festival moved to June as a response […]

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(The 2022 Cannes Film Festival runs May 17-28, Our own Jack Schenker is at the fest and has this movie review of The Eight Mountains. Seen it? Join the conversation with HtN on our Letterboxd Page.). Directors Felix Van Groenigen and Charlotte […]

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Nearly six years after her glorious road trip spectacle American Honey, Andrea Arnold returns behind the camera for her first documentary. In Cow, Arnold puts her focus on dairy cows in the English countryside. Several years in the making, it […]

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Founded in 1980 by Robert Redford to promote the art and craft of filmmaking, the U.S. Film Festival, rebranded as the Sundance Film Festival in 1985, has long been a beacon for American independent cinema. Ever since then, the annual […]

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Despite the film’s Kafkaesque qualities, Loach finds time to paint a multi-dimensional portrait of a loving family, which makes it all the more devastating when it all falls apart.

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I met with writer/director Matthew Porterfield on Saturday, May 5, 2018, at the Maryland Film Festival (MdFF). We discussed his most recent feature – his fourth – Sollers Point (which I also reviewed), set in Baltimore, hometown to the both of […]

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A hard-hitting examination of angry male self-destructiveness, and the lonely dead end to which it leads, the film takes no narrative prisoners, leaving us without a soothing catharsis

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