For so many of us who grew up captivated by the strange, haunting world of Twin Peaks, the Log Lady was a mystery, a messenger, and somehow—comforting. But what we didn’t always know was that the actress who played her, Catherine Coulson, was so much more than her role. She was a beloved collaborator of David Lynch, one of the earliest female camera assistants in Hollywood, and someone whose quiet presence left a deep impression on everyone she worked with.

A new documentary titledI KNOW CATHERINE, THE LOG LADY is more than a portrait of a beloved character—it’s a revealing and heartfelt exploration of the woman behind the legend. Through rare archival footage, intimate interviews, and stories from those who knew her best, this film traces Coulson’s singular journey from the sets of avant-garde student films, her prolific career as a stage actress, to the heart of one of television’s most enigmatic creations.

At once a celebration and an act of remembrance, this documentary captures the spirit of a true original—someone who, like her famous counterpart, saw things most of us couldn’t and never stopped quietly guiding us toward something deeper, stranger, and more profound.

Join us with director Richard Green as we sit down with him to discuss his film, I KNOW CATHERINE, THE LOG LADY, on INSIDE THE ARTHOUSE, starting now…

At INSIDE THE ARTHOUSE, we love discovering bold new voices and emerging filmmakers. But there’s something uniquely rewarding about revisiting a classic—whether it’s an old favorite or a legendary film you’ve always meant to watch. And seeing these films on the big screen in a real movie theater is the way they were meant to be experienced.

Repertory cinema in the U.S. has faced its share of challenges, from the rise of home video and streaming to rising urban real estate costs. Many iconic rep theaters have closed. But in recent years, there’s been a revival of interest in classic and cult films, shown theatrically in new restorations and 35mm prints.

One of the most influential figures in this movement is Bruce Goldstein, longtime repertory programmer at Film Forum in New York City and founder of Rialto Pictures. For over 50 years, Bruce has been a champion of film history—curating, restoring, and re-releasing cinematic landmarks. In early 2025, Rialto re-released Claude Lelouch’s A Man and a Woman, and coming soon is a brand-new 4K restoration of Jean-Jacques Beineix’s Diva.

We sat down with Bruce Goldstein in New York to talk about the past, present, and future of repertory film programming in the U.S.—and how he’s helped shape what American audiences get to see on the big screen.

As the new luminous film FAMILIAR TOUCH opens, we meet Ruth, an independent and self-assured octogenarian who is embarking on a journey of both mind and body. Her body is moving into a memory care facility. Her mind is evolving in ways that are hard for her family to understand. But as played by acclaimed actress Kathleen Chalfant, we vividly experience this journey through Ruth’s eyes. And Ruth is never lost. She just is where she is: in the moment.

Inspired by her experiences as a caretaker, writer-director Sarah Friedland has made a “coming of age story” and imbued FAMILIAR TOUCH with a spirit and depth that avoids the usual tropes that we associate with films about cognitive decline. Filmed almost entirely at a retirement community, which involved members and staff of the facility both behind and in front of the camera, FAMILIAR TOUCH feels “real” in a way that most films can only hope to achieve.

The film premiered at the Venice Film Festival, where it was awarded the Best Director and Best Actress prizes, and it is now opening in theatres across the U.S.

We love this movie and are so happy that writer-director Sarah Friedland and actress Kathleen Chalfant were able to join us to talk about making FAMILIAR TOUCH. So sit back and join us for our conversation on INSIDE THE ARTHOUSE,starting now…