French cinema has always invited us to look a little closer—not only at the world around us, but at ourselves.

This Bastille Day, we’re celebrating that tradition with a special selection of clips drawn from the INSIDE THE ARTHOUSE library of filmmaker conversations, featuring some of the most exciting voices in contemporary French cinema.

Rebecca Zlotowski explores family, identity, and the mysteries of memory in A PRIVATE LIFE.

François Ozon reimagines Albert Camus’ THE STRANGER for a new generation.

Louise Courvoisier brings warmth, humor, and authenticity to rural France in HOLY COW.

And Laura Piani reminds us that love, literature, and self-discovery are never far apart in JANE AUSTEN WRECKED MY LIFE.

Different in style and subject, these films share the same spirit: bold, intimate, and deeply human. Because great cinema doesn’t simply tell us stories—it changes the way we see the world.

Celebrate Bastille Day with INSIDE THE ARTHOUSEand revisit highlights from four of our conversations about the best in contemporary French cinema, starting now.

This Fourth of July, while so much of the industry turns to reboots, sequels, franchises, and superheroes, we’re turning our attention to a different kind of American story.

American independents.

Films driven by voice, risk, authenticity, and the courage to see the world differently.

At INSIDE THE ARTHOUSE, we believe independent cinema is where some of the most challenging, surprising, and deeply human filmmaking lives. These are the films that don’t just entertain us — they ask us to look closer, feel more deeply, and think beyond the familiar.

So this week, as America marks its 250th birthday, we’re celebrating American Independents: a curated selection from our library of more than 100 conversations with filmmakers — artists who continue to prove that American cinema is at its best when it dares to be independent.

Join us for this special Fourth of July edition of INSIDE THE ARTHOUSE, featuring some of the filmmakers and films that remind us why the independent spirit remains essential to American cinema.  

There is a particular kind of grief that comes not only from losing someone, but from never fully knowing them.

In ROMERÍA, a young woman travels home in search of the story of the parents she barely knew. What begins as a practical journey into family history becomes something more mysterious: an encounter with memory, silence, and the parts of the past that families cannot always bring themselves to name.

Directed by Carla Simón, whose SUMMER 1993 and ALCARRÀS established her as one of contemporary cinema’s most sensitive chroniclers of family life, ROMERÍA returns to deeply personal terrain while opening onto a larger history of Spain and a generation shaped by freedom, loss, and silence.

It is a film about the secrets families keep, the shame they struggle to reconcile, and the fragile beauty of imagining a past when the truth arrives only in fragments.

Join us on INSIDE THE ARTHOUSE for a conversation with writer-director Carla Simón about memory, cinema, and making peace with what can never be fully known.

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From the directors of HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG comes a new portrait of a man who was somehow at the center of everything — and never quite in the frame.

In PETER ASHER: EVERYWHERE MAN, directors Dan Geller and Dayna Goldfine trace the extraordinary life of a man who seemed to move quietly through the center of everything.

As one half of the singing duo Peter & Gordon, Asher was swept into the British Invasion with songs written by Paul McCartney. At Apple Records, he helped shape the early career of James Taylor. And in the decades that followed, he became one of the defining behind-the-scenes forces in American music — producing and guiding artists including Linda Ronstadt, Carole King, Bonnie Raitt, Barbra Streisand, and many more.

But PETER ASHER: EVERYWHERE MANis not simply a portrait of proximity to greatness. It is a film about listening. About taste, trust, collaboration, and the often invisible work of helping artists find the truest version of their own voice.

Blending musical memoir, documentary, live performance, and a remarkable archive of songs and stories, the film invites us to look again at how culture is made — not only by the people standing center stage, but by those just beside them, shaping the sound, the moment, and sometimes the memory itself.

Join us for our conversation with Dan Geller and Dayna Goldfine on INSIDE THE ARTHOUSE.

In THE CURRENTS, acclaimed Argentine-Swiss filmmaker Milagros Mumenthaler invites us into the mystery of a woman suddenly, inexplicably, set adrift.

There is a moment early in the film when Lina, an Argentinian designer visiting Switzerland, stands at a window and looks out at a river — and something shifts. Not dramatically. Quietly. The way a life can change before you have even found the words for it.

Soon after, Lina survives a mysterious plunge into that icy river. She returns home to Buenos Aires a different woman: unable to explain what happened, and unwilling to pretend that nothing has changed.

What follows is not a conventional mystery, but an intimate psychological journey — dreamlike and quietly unsettling — about identity, memory, exile, and the parts of ourselves we try to leave behind.

Mumenthaler is one of the essential voices in contemporary Latin American cinema. Her films — Back to Stay, The Idea of a Lake, and now THE CURRENTS — share an uncommon quality: they trust silence. They trust the body. They trust the audience to feel before they understand.

Join us for a conversation with filmmaker Milagros Mumenthaler about her haunting new film, THE CURRENTS, on INSIDE THE ARTHOUSE, starting now.