Valentina I Valentini

On the surface, Jon Stewart’s sophomore film, “Irresistible” — a satirical comedy about a small-town mayoral run — is a lot funnier than his first outing. That may seem obvious, given that his directorial debut, “Rosewater,” tracked the harrowing story of Canadian Iranian journalist Maziar Bahari during his unlawful imprisonment in Iran. But these days, the notion that a political comedy could be as depressing as a political drama is not an entirely wayward thought.

“Nobody wants to reinforce negative stereotypes about their own community,” says Atkins Estimond, the Haitian-American actor who plays Osito, a Black drug dealer, in Hightown.

First-time filmmaker Channing Godfrey Peoples feels it’s a blessing and a curse to have a film about Black Americans be released just as Black America rises up to demand justice and equality.

Season 3 of Netflix’s rural family drug saga, Ozark, hits new visual highs (and dark narrative lows).

During the first decade of Lynn Shelton’s career, it was nearly impossible to find her on a set without cinematographer Benjamin Kasulke by her side.

Jennifer Connelly and Daveed Diggs talk about working on the Bong Hoon-jo adapted TV show, "Snowpiercer."

On Instagram Live, choreographer Ryan Heffington twirls around, his limbs a blur, his mustache coiffed above twinkling eyes that punctuate the screen as he nears the camera. The celebrated choreographer is teaching one of his live, donation-based dance classes called Sweatfests. But it’s less of a class and more of a collective purging of emotions that have been trapped inside viewers’ bodies.

For decades in Hollywood, there was a stigma around jumping from one discipline to another. If you were an actor, you would never be taken seriously as a director. If you were an editor, no one would give you a job as a producer if you went seeking it. And if you were a director of photography, i.e. cinematographer, with aspirations of one day directing, you were better off keeping your dreams to yourself.

A new HBO documentary re-examines Wood's career in hopes that she'll be remembered for more than her mysterious death.

Cinematographer Katelin Arizmendi crafts a dazzling psychological study for the indie thriller "Swallow"

For director Lynn Shelton, filmmaking and motherhood have always been entwined. In 2005, she got an offer to write and direct her first feature film, We Go Way Back; at the same time, Shelton and her then-husband were attempting a second pregnancy.

Annie Lennox’s "Little Bird" bops in the background. Petite Reebok-clad feet, complete with scrunched white socks and ankle weights, tap down a ginormous carpeted hallway. I know I’m in a familiar place.

As a community shrouded in secrecy, Hasidic Jews aren’t often seen on television or in movie theaters. Their lives are mostly lived quietly and piously according to a very strict set of rules meant to guard them and their people from disaster — which makes sense, when their entire existence was born out of a reaction to the Holocaust, the greatest tragedy in their people’s history.

How do you write political satire in the stranger-than-fiction age of Donald Trump? With great difficulty, it turns out. It hasn’t helped that the person most likely to land a meaningful blow – Armando Iannucci, perhaps the most penetrating political lampooner of our age – stepped out of the ring one year before that fateful election.

Halfway through the first episode of Netflix’s newest reality TV series, Love Is Blind, I was regretting my decision to watch it at all.