REBUILDING, out this week, is a wistful and elegiac picture that still left me hopeful about our capacity to rise out of ashes and make something more beautiful of our world — in other words, it's a distant dream, but a welcome one. Loved speaking to Max Walker-Silverman about it earlier this year.

“When do we have silence, and when do we let loose something that we’ve really honed in on?” @isaacfeldberg.bsky.social spoke w/ Lynne Ramsay & Jennifer Lawrence abt DIE MY LOVE, running on instinct, picking the film’s musical selections, & more.

My buddy @isaacfeldberg.bsky.social talked to Jennifer Lawrence and Lynne Ramsay. This is awesome.

"Sound works so much on your subconscious, in a way that’s often deeper than an image." I interviewed Lynne Ramsay and Jennifer Lawrence about DIE MY LOVE, their ferocious, psychosexual portrait of a woman in trouble, for @ebertvoices.bsky.social.

"Sound works so much on your subconscious, in a way that’s often deeper than an image." I interviewed Lynne Ramsay and Jennifer Lawrence about DIE MY LOVE, their ferocious, psychosexual portrait of a woman in trouble, for @ebertvoices.bsky.social.

Cullen Atchley and Emilio Diaz of @cannesikickit.bsky.social joined us to wrap up the Chicago Int'l Film Festival! ft. recs from @isaacfeldberg.bsky.social, @anotherkylel.bsky.social, Brennan McMahon, @daniellamazzio.bsky.social, @cineniche.bsky.social, Zachary Lee + Steve Prokopy bit.ly/47IxD1h

Twenty years ago Aardman created a monster. A carrot-gobbling monster that baffled its American investors…

On the latest ONE HOT TAKE at @ohmpods.bsky.social, @isaacfeldberg.bsky.social and I attempt to process Lynne Ramsay’s harrowing #DieMyLove open.spotify.com/episode/4HGi...

SPRINGSTEEN: DELIVER ME FROM NOWHERE is the worst and most reductive kind of biopic — a conventional film about radical art.

For the record, on this day and every day I’m a proud Block Club reader. blockclubchicago.org/2025/10/24/f...

"Looking at the mindset of the military-industrial complex, what’s most interesting are the vulnerabilities." With A HOUSE OF DYNAMITE hitting Netflix today, a thrill to speak briefly with Kathryn Bigelow about system failure, nuclear film, and memories of STRANGE DAYS, for @letterboxd.social:

"I don’t see young people getting angry over franchise films. It’s someone selling you something in a two-hour format that’s really about selling you something else and pretending." Kelly Reichardt on The Mastermind and not caring about audience expectations:

Afterward, be sure to put on my Hand Me the Mike conversation on TAKE SHELTER with @isaacfeldberg.bsky.social. PLUS: Prep for BUGONIA with SAVE THE GREEN PLANET! Seriously, don't miss this night of da pictures! facets.org/programs/tak...

🚨🚨🚨 Jonathan Glazer's BIRTH announced for a new 4K UHD Criterion restoration, this is not a drill 🚨🚨🚨

If you’re a @filmmakermagazine.com.web.brid.gy subscriber, you can read my interview with Shih-Ching Tsou on the “neo-melodramatic tapestry” of LEFT-HANDED GIRL, her heartwarming Cannes premiere; editing with Sean Baker; casting meerkats over monkeys, and more: filmmakermagazine.com/131855-inter...

Fun fact: Channing Tatum was originally offered the lead in BLUE VALENTINE, but he was scared of the role and turned it down — Derek Cianfrance says this was for the best, but his initial impression of Tatum is so prescient that it makes perfect sense they came back together for ROOFMAN

good movie! www.avclub.com/heightened-s...

Honestly really jazzed about my first set of reactions in the AV Club comment section

FWIW the interview Amy Poehler had with Aubrey Plaza recently was one of the richest, most sensitively handled conversations of its kind I’ve heard in this medium

THE TRAGEDY OF MACBETH, but Frances McDormand is now Marion Cotillard.

Let’s not get carried away: THE MASTER is still Paul Thomas Anderson’s best (but OBAA is absolutely in contention for his second-best).

Fun fact: Channing Tatum was originally offered the lead in BLUE VALENTINE, but he was scared of the role and turned it down — Derek Cianfrance says this was for the best, but his initial impression of Tatum is so prescient that it makes perfect sense they came back together for ROOFMAN

"I was outside the restaurant with Channing. The last thing he said before going inside was, 'I hope she likes me.' I knew that that was half Channing wanting Kirsten to like him, half Jeffrey wanting Leigh to like him." I spoke to Derek Cianfrance about his sad but sweet ROOFMAN, for @avclub.com.

Really enjoyed this @isaacfeldberg.bsky.social interview with Derek Cianfrance on Channing Tatum's distinctive charms, and now I really need to know about these "dialogue delivery machines."

Great interview with Derek Cianfrance from @isaacfeldberg.bsky.social, especially this little dig at the acting landscape rn www.avclub.com/derek-cianfr...

J.B. Pritzker and Brandon Johnson opening up the Chicago International Film Festival’s programming guide this year.

THE SMASHING MACHINE is most intriguing to me because of the mismatch between Benny Safdie’s documentary-style approach and Dwayne Johnson’s psychological immersion — this sense they are approaching Mark Kerr from two contradictory positions, that the film is animated most by a consequent friction.

What a filmography on Bas Rutten

#Chicago restaurant and business owners: Please print, post, and share these door signs. Let Homan’s bounty hunters know they’re 𝘯𝘰𝘵 welcome to invade your establishment. NOTE: You have the right to refuse service to anyone carrying a weapon or creating a threatening atmosphere for your patrons.

Walking out of ONE BATTLE AFTER ANOTHER ready to run a marathon

Pinch-me moment: I asked the one and only Wes Anderson about his first ten films, on the occasion of a new boxset from @criterion.bsky.social, for @letterboxd.social. A dream, as ever, to spend time with his intrepid and stylistically singular body of work; one of my very favorite filmmakers.

Color me dazzled by Lucile Hadžihalilović's THE ICE TOWER, an unsettling hall-of-mirrors meditation on enchantment in the blinding lights of idolatry, cinema, and fantasy. One of the most dreamily arresting films you will see this year. My four-star review for @ebertvoices.bsky.social:

Took a break from the Supreme Court's ongoing horrorshow to focus on what really matters: how funny it is for a federal judge to decide, as a matter of law, that Drake lost the Kendrick Lamar beef

Absolutely stellar career interview with Wes Anderson here from @isaacfeldberg.bsky.social on the occasion of the new @criterion.bsky.social box set. Read the full interview on Letterboxd Journal: boxd.it/2Lc

As a major new @criterion.bsky.social box set of his work hits shelves, Wes Anderson tells Isaac Feldberg about a quarter-century of filmmaking: via Rushmore, Moonrise Kingdom, The Grand Budapest Hotel and more. boxd.it/2Lc

Pinch-me moment: I asked the one and only Wes Anderson about his first ten films, on the occasion of a new boxset from @criterion.bsky.social, for @letterboxd.social. A dream, as ever, to spend time with his intrepid and stylistically singular body of work; one of my very favorite filmmakers.

Was completely on purpose

please read my memo www.theverge.com/business/793...

THE SMASHING MACHINE is an indie Oscar vehicle, not a franchise tentpole, and the idea that Johnson needs to come out and explain why it didn't have a massive opening weekend is a sign that both celebrity culture and entertainment journalism have reached new levels of delusion.

BREAKING: The 1st Circuit Court of Appeals, in a 100-page opinion -- says it is unequivocally, lopsidedly easy to determine that the Trump administration's view of birthright citizenship is wrong. www.documentcloud.org/documents/26...

I’m horrified by Trump’s order to send 300 National Guard troops to Chicago. We’re only nine months into a four year term and already the president is trying to invade an American city. If you’re in the Guard, you can and should refuse these orders.

Damn, so our best writer on Trump & the nightmare we're all living through is _also_ superb at writing on movies? It's fine, I'm not jealous at all. David Roth on OBAA, 1970s paranoid political thrillers, & how revolution, by its very nature, is always a work in progress. flaminghydra.com/issue-416/

PUT YOUR SOUL ON YOUR HAND AND WALK deserves to be seen widely — all credit to Kino Lorber for giving it a threatrical release. I stand by every word of the review quoted on this poster, from Cannes earlier this year. (h/t @marshallshaffer.bsky.social for spotting and sending)

Oh. Oh my. This sounds like a “maybe not for everyone but definitely for me” film, particularly because THE SNOW QUEEN is my favorite H.C. Andersen story. What a compelling review.

Essentials 1: Chantal Akerman's Toute Une Nuit, one of the few movies that reconceives the very nature of narrative and does so exquisitely—extensively, intensively, romantically; at 4 at @moma.bsky.social, introduced by Aurore Clément: www.newyorker.com/culture/the-...

Best actor, to me: a two-person race between Benicio del Toro in THE PHOENICIAN SCHEME and Benicio del Toro in ONE BATTLE AFTER ANOTHER