Wes Anderson: From Above

"I wanted to write a fantasy with the atomic bomb as the theme." – Nobuhiko Obayashi

"After Yang” centers on a father and daughter as they try to save the life of their robotic family member Yang in a world where robotic children are purchased as live-in-babysitters. In the story, Yang has been programmed to help his little sister learn about her cultural heritage.

Kogonada looks at how the motif of doors reverberates through Robert Bresson's work.

40,000 years in the making: Kogonada's video essay created for The Connected Series.

Tarantino // From Below Music: Kaifuku Suru Kizu by Salyu

Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick (Badlands & Days of Heaven) and later Malick (The Thin Red Line, The New World, The Tree of Life & To the Wonder). Early Malick favors fire. Later Malick favors water. In To the Wonder, Malick forgoes fire altogether for the first time in his career. Water reigns.

Filmmaker Kogonada unpicks what defines the Golden Age of Italian cinema with a side-by-side comparison of two edits of the same film, one according to Italian director Vittorio De Sica, and the other according to Hollywood producer David O. Selznick.

A visual essay for 'La dolce vita,' directed by Kogonada for the Criterion Collection.

When characters stare at the camera in the films of Alfred Hitchcock, the look is almost always associated with the threat of death (through the eyes of a victim, a murderer, a witness). This momentary suspension between death and life is partly what makes Hitchcock the indisputable master of suspense.