There are interviews you look forward to, and then there are interviews that feel surreal. Sitting down with Spider One and Krsy Fox to discuss Big Baby was firmly in the latter category for me. Long before Spider One was building horror films through OneFox Productions, he was fronting Powerman 5000.

Every great film has that one performance audiences can't stop talking about. For Obsession, the viral thriller from director Curry Barker, that performance belongs, unquestionably, to Malcolm Kelner's bartender. What began as a brief appearance in the film's opening moments has somehow evolved into one of the internet's favorite running jokes, spawning memes, fan theories, social media discourse, and a level of celebrity that Kelner has embraced with remarkable confidence.

There are few people more synonymous with storm chasing than Reed Timmer. For decades, audiences have watched him barrel toward some of nature's most violent phenomena in pursuit of science, understanding, and, admittedly, a little adrenaline. But Never Stop Chasing isn't simply another film about tornadoes.

There are filmmakers who make movies because they love storytelling, and then there are filmmakers who seem genuinely in love with the medium itself. After speaking with Nat Boltt about her feature directorial debut, Holy Days, it quickly became clear that she falls into the latter category. Known to many audiences as the unforgettable Penelope Blossom from Riverdale and for her work in films like District 9, Boltt has spent decades in front of the camera.

Sometimes you go into an interview with a plan. You’ve got your notes, your bullet points, your angles about the new 4K restoration of Zulu Dawn. And then sometimes you get James Faulkner on the line and you just… let him go. That’s exactly what happened here.

Few performers have built the kind of genre résumé Kathleen Kinmont has accumulated over the years. From surviving Michael Myers in Halloween 4: The Return of Michael Myers to becoming part of the twisted madness of Bride of Re-Animator and later finding television success with Renegade, Kinmont has spent decades navigating horror, action, and cult cinema. Her latest project, Valley of the Horntak, adds another intriguing chapter to that legacy, placing her at the center of a folk horror story filled with cults, family trauma, creature effects, and fungal nightmares.

There's something immediately disarming about sitting down with Henry Thomas and Adrianne Palicki. Maybe it's the shared Texas roots. Maybe it's the fact that both performers have built careers by bringing an uncommon level of honesty to their work.

Before speaking with Al Kalyk, I already knew Cruel Hands had gotten under my skin. As a father, the film's story of a mother and son trying to survive while escaping an abusive husband hit harder than I expected. The thriller elements kept me locked in, but it was the emotional weight of Maria and Dai's relationship that stayed with me.

Some interviews feel inevitable. My conversation with filmmaker Edward Payson was one of them. Looking back, I honestly couldn't tell you exactly when we first connected.

If there was one thing that became clear during my conversation with Jess McLeod, it's that their excitement for Teenage Sex and Death at Camp Miasma and Our Effed Up World is completely genuine. There was no rehearsed industry polish and no carefully manufactured answers. What came across instead was someone deeply passionate about the people they work with, the stories they're helping tell, and the growing community of queer filmmakers carving out space on their own terms.