#gregg-araki

#gregg-araki

Gunn's first screenplay, Tromeo & Juliet, was co-written with Troma co-founder Lloyd Kaufman, promising 'all the body-piercing, kinky sex, and car crashes that Shakespeare wanted but never had.'

Cut & Paste Pictures is developing a feature-length documentary chronicling the lifelong friendship between Rise Against guitarist Zach Blair and wrestler Hassan 'MVP' Assad, who will also front an unscripted series about life after prison.

Forbidden Fruits is part of a burgeoning subgenre of horror movies that engage specifically with femininity and feminine aesthetics, dubbed 'girl horror' in a recent article in Rue Morgue magazine.

Guillermo del Toro's Frankenstein earned nine nominations ahead of the 98th Academy Awards, but he did not win the Best Picture award despite the film's success in other categories.

'Forbidden Fruits' has been widely hailed as a 'cult classic' by critics and fans, but labeling it as such too soon risks undermining the process that establishes a film's cultural significance over time.

Out now, this track captures the spirit of escapism amid emotional chaos, expertly produced by NKLAI, known for his work with Haven Everly and FLASCH, and mixed by Justin Hergett, a name synonymous with the sounds of superstars like Beyoncé and P!nk. It's an anthem for those who desire to dance through the turmoil, overflowing with the angst of recession-pop and the sensationalism of early-2000s tabloid culture.

Money's great, but I think relationships are more important, and it doesn't feel good. Eric Nam expressed his disappointment after being betrayed by Rob Rausch in The Traitors finale, prioritizing the broken relationship over the lost prize money and setting the emotional tone for his subsequent musical response.

The BAIT: Honey?! I Made David Watch 'Death Spa'! I knew I'd made a mistake the moment our chief film critic David Ehrlich emailed me back.

Upon going solo after White Zombie's breakup in the late '90s, the one-time noise-rock underdog became metal's demonoid phenom with 1998's Hellbilly Deluxe, a monster mosh of horror-themed industrial-metal that spawned the generational vampiric speedway anthem, "Dragula," along with several other Halloween playlist essentials.

It's so pure. People talk a lot about the cinematic experience, going into a big theater and sharing it with a lot of people. That's important. But when you distill that into its tiniest form, when you make the screen as small as it can be and fit as many seats as possible, it still works. At least for Davey. That feeling doesn't go away.

Rosanna Arquette spoke about her time on the film in an interview with the Sunday Times in which she said she's "over" the "use of the N-word," adding that she cannot stand that Tarantino "has been given a hall pass. It's not art, it's just racist and creepy."

San Francisco's status as the epicenter of the '60s countercultural movement is well-documented, but it was not limited to just the city itself. Its elements spread into nearby cities like Berkeley, Oakland, Fairfax all of Marin County, really and even outside the Bay Area to places like Monterey and Big Sur. As gonzo journalist Hunter S.Thompson once wrote in his book Fear and Loathing in Las Vegas: There was madness in any direction, at any hour.

Who needs all those notes? I got tired of that. Really, really tired of that. And I'm like, man, if you're in the arts, you should do everything you can to protect your art. So Campbell knew he wanted to make a movie, and he knew he didn't want to go through the big Hollywood machine.

While Sundance is traditionally focused on the importance of looking to the future of American film, a lineup filled with more first-timers than any other major festival, this year has been all about looking back. There are misty eyes over the loss of founder Robert Redford along with host state Utah and also for the many films that have premiered here over the years. Alongside more retrospective screenings than one usually expects, even the new films have a touch of old Sundance to them.

I was so disgusted. Like, no, you can't have a murder in this sea of people already dying - that's not right, not fair. We can't let this go.

The Sundance Film Festival concludes its 2026 edition this weekend, marking its final year in its iconic home of Park City, Utah, before moving on to its new host city in Boulder, Colorado next year. As we continue to look back at the hefty legacy of queer films that premiered there over the years, this week we'll revisit a landmark lesbian drama that put a beloved '80s icon back in the spotlight, and kickstarted the career of one of the most representative filmmakers of the New Queer Cinema wave.

After spotting that Eli's rash guard conceals a red, flaky skin disorder, the boys have concluded that he has the titular plague, a contagious disease that affects social standing as much as it does dermatological well-being. If anyone ever touches him, they must thoroughly wash themselves before they're considered full-blown infected. Even something as innocent as Eli sitting at the same lunch table sends his teammates running and screaming.

Two graveyard shift nurses pray their patients pass overnight simply to cure their boredom. A crazed therapist tries to convince a victim that the perfect coping mechanism is matricide. The government rounds up and ships off the infected to a quarantined archipelago named Hell Gay Land. Forty years on from its release, the first notable feature-length film to tackle the AIDS crisis-dark German comedy A Virus Knows No Morals -undoubtedly remains the most provocative.

After somewhat of a dry spell, Gus Van Sant comes out swinging with one of his most consistently entertaining features in decades, a rousing truth-based crime dramedy that relates the relatively simple tale of a twitchy, outraged Indianapolis man taking a banker hostage. Everything about it works, in particular Bill Skarsgard's fastball performance as Tony Kiritsis, a guy fed up with the bank's hard line (read: greedy) approach to his late mortgage payments that he claims were due to a botched investment by the bank.

Please don't. Your colleagues have already done so. I have an opinion on the matter, but it's trivial. I'm a filmmaker, not a political scientist. As a citizen, he continues, I'm concerned about the deterioration of our democracies, but I have nothing substantial to add about that individual. I trust that Trump will leave sooner or later and that another president will come along to try to fix what he's broken. That's all I can say, he shrugs. So, let's talk about film instead.

Join us February 22, 2026, at The Roxie Theater for 836M FESTour first mini documentary festival. This inaugural program features two powerful films: Porcelain War and Prime Minister. Together, these documentaries embody our 2026 Metamorphosis theme, celebrating resilience, transformation, and the extraordinary ways humans adapt in pursuit of a better world. 836M Fest Sunday, February 22, 2026 Noon Porcelain War 2:30p Prime Minister Roxie Theater, 3117 16th Street, SF