Cinema
Ruth E. Carter Put Wakanda’s Future in a Crown
How Ruth E. Carter and Julia Koerner turned Queen Ramonda’s 3D-printed crown into a striking expression of Wakanda’s culture and future.
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Cinema
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Cinema
Payal Kapadia’s Mumbai Runs on Friendship
In All We Imagine as Light, work, rent and friendship become the architecture of city life. Inside Payal Kapadia’s carefully observed Mumbai.
Cinema
The Man Who Dressed, Designed and Cut In the Mood for Love
William Chang’s costumes, production design and editing connect the surfaces and silences of Wong Kar-wai’s In the Mood for Love.
Cinema
The Open-Source Surprise Inside Rajamouli’s RRR
How Makuta used Blender on RRR, and what its documented workflow reveals about the artists and collaboration behind Rajamouli’s enormous images.
Cinema
Hans Zimmer’s Cosmic Sound Needed Roger Sayer’s Hands
Inside Interstellar’s organ sound: why Christopher Nolan wanted it, how Hans Zimmer wrote it, and the human performance Roger Sayer brought to Temple Church.
Cinema
Parasite’s Most Deceptive Performance Is Its House
Inside Parasite’s house: how Bong Joon-ho and production designer Lee Ha-jun used rooms, stairs and sightlines to make class and suspense physical.
Cinema
The Damaged Reels That Gave Pather Panchali a Second Life
How damaged negatives, patient archivists and a painstaking restoration gave Satyajit Ray’s Pather Panchali and the Apu trilogy a renewed life on screen.
Cinema
Oppenheimer’s Biggest Landscape Was Cillian Murphy’s Face
Christopher Nolan and Hoyte van Hoytema used giant-format film for an intimate challenge: bringing the audience close to Oppenheimer’s inner world.
Cinema
Dune Built a Planet Out of Sand, Sound and Silence
How Denis Villeneuve’s Dune used desert recordings, close collaboration and selective silence to make sandworms, the Voice and Arrakis feel tangible.