An Interview with Writer/Director/Producer Penelope Lawson
We chat with Penelope Lawson about her short film, The Dinner Party, her experience founding her own production company, and fun cinema.

Directed by fledgling director Peter Care with a cast of unknown actors, Johnny YesNo, originally released on Cabaret Voltaire’s video label, Double Vision, became an instant cult hit on the independent film circuit helped in no small part by its hallucinatory soundtrack by electronic pioneers Cabaret Voltaire.
We chat with Penelope Lawson about her short film, The Dinner Party, her experience founding her own production company, and fun cinema.
A spoiler-free review of 'Glass Onion: A Knives Out Mystery,' highlighting the way the modern setting and current social climate once again influence Johnson's approach to the whodunit narrative.
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
Netflix's new thriller Apex, starring Charlize Theron, puts a twist on survival horror. Despite its setting in the beautiful- yet-dangerous Australian wilderness, Apex is not a movie about man vs. nature. Instead, it’s woman vs. man. While checking out the title card and its unpretentious Netflix release might lead viewers to believe Apex is just another celebrity project churned out of the streaming machine, Apex - whether by luck or by intention - is a consistently harrowing film about the reality of being a woman in a public space.
You've heard the phrase “If looks could kill,” but have you heard “If dancing could kill?” Pretty Lethal takes that idea and runs with it.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch