It’s impossible to propose that this image somehow resembles her own reality. But maybe they mirror the stories of her native Montana. That mythical state whose storms and wild landscapes can threaten to overwhelm the lives of those dreaming under its infinite sky.

My first Godard film was Bande à Part, and I saw it in Dundee, Scotland, at a back-street cinema called the Tivoli, which maintained a strict policy of showing one week of whatever passed as soft-core porn in 1960s Scotland, alternating with one week of European "art cinema."

Harmony Korine is not a filmmaker that easily lends himself to straightforward analysis. Those who attempt to critique his films head-on often fall short – either by mistaking something for nothing or vice-versa.

As soon as his images are absorbed, a feeling of responsibility stirs in all of us. Paul Nicklen invites us into the intimate home of wild and endangered species and the ecosystems they rely on, awakening part of us that is dying to reconnect, protect and heal our planet’s most vulnerable species. 

“you don’t get to me. You want to get to me? You don’t get to me. There is no way for you to get to me.”

Moose is a two year-old rescue from the North Shore Animal League. He loves tennis balls and shows great patience and determination in their presence. Moose is very focussed, tenacious and undettered. So is his master, Adam Driver.

The rain pounded down on the roof of my boat; it sounded like a gorilla banging away up there. At the same time, the storm-force gust hit the boat broadside and almost threw me out of my bunk. But I knew that the salmon were now finally entering the forest and would get to their spawning grounds. And the wolves would be waiting for them.

One thing I know about Willem Dafoe is that he likes to pretend. He is as convincing playing a vampire as he is a messiah, equally an asset to the tragedy of Lars Von Trier, as he is to the whimsy of Wes Anderson. Impossible for us to ascertain who he will show up as next, we just know we will believe him.

Now is your time to hunt

now is your time to run

across the ice

Of course, we all have our favourite final shots. Above all others, I cherish the close-up of Greta Garbo at the end of Queen Christina – the most sublime moment in the history of movies. But I also remember the final shot (indeed, the final five minutes) of pure abstraction in Antonioni’s Eclipse.

Love should be the prism, it should be the lens by which we view the material through, and all the choices we make in the cinematography process—the lens choices, the lighting choices, the color palette we play with—all I think were at the service of expressing the deep love that Tish and Fonny feel between each other and we felt that if we could provide that, the other parts of the narrative—race relations in the USA, the prison system being a difficult one to navigate—audiences and us as filmmakers could find that deep connection to the characters. If we can base everything within love, then we can now all relate and all participate in the journey. — James Laxton

I find this virtual existence weird, and as a way of life, absurd. This could be because I am eighty-four years old. It could also be because it is weird, an absurd way to live.

Culture is local, its strength measured by how well it can withstand the global forces that threaten to uproot it.

Inside the museums, as Dylan sings, infinity goes up on trial. And sometimes, also, outside.

I chose black and white because it felt right. For one thing I remember or imagine the world I show in Ida and in Cold War in black and white. My family albums from that time had something to do with that too.

Snyder is perhaps best known as a poet of the Beat Generation – he was a close friend of Jack Kerouac and the inspiration for Japhy Ryder, the protagonist in Kerouac’s Dharma Bums. He is also the winner of a Pulitzer Prize for Poetry. At eighty-five, he is still considered a vital figure in the global Deep Ecology movement and has penned some of the most seminal essays on humankind’s place in the natural world.

What does not change / is the will to change — Charles Olson

Everything is a story. Our lives, our history, our plays and novels, our wins and losses, our news and adventures. Everything becomes a movie as we assemble the images that recollect our memories and dreams and project our wishes and aspirations.