Ryan Lattanzio
Ryan Lattanzio is the executive editor and a film critic at IndieWire, where he oversees film features and festival coverage while continuing to write reviews, features, and interviews. His coverage connects festival premieres, awards-season narratives, and the craft of auteur and genre cinema, showing how individual films fit into broader industry and cultural currents.
Festival Dispatches and Awards Coverage
Since returning to IndieWire in 2019, Lattanzio has reported on films and television while moving into roles that put him in charge of the site’s film news and coverage. He now oversees film features and festival reportage, shaping how the masthead covers major events such as Cannes, Toronto, and Sundance, which he has been assigned to for many years. Professional profiles note that he has served on juries at festivals including Cannes, SXSW, and Montclair, adding a selector’s perspective to his reporting on premieres and lineups.
On the weekly Screen Talk podcast, which he co-hosts with Anne Thompson, Lattanzio turns that festival experience into ongoing analysis of programs, discoveries, and how they feed into awards season and distribution pipelines.
Recent episodes highlight him walking listeners through the best and worst of fall festivals, previewing Venice selections, and drawing links between Telluride and Venice buzz and longer-term awards prospects. Other installments show him breaking down Emmy nominations worth paying attention to and speculating which upcoming films might premiere on the festival circuit, reflecting a beat that blends criticism with awards handicapping and industry forecasting.
Critical Voice on Genre and Arthouse Cinema
Lattanzio’s reviews, collected both on IndieWire and via aggregators such as Rotten Tomatoes, cluster around festival titles, international art-house releases, and boundary-pushing genre films.
His Cannes review of Nicolas Winding Refn’s thriller “Her Private Hell” is notably scathing, describing the film as vile, dull, and a kind of public anguish, using that reaction to question the director’s current artistic direction. By contrast, his assessment of Jordan Firstman’s directing debut “Club Kid” treats the movie as brazen and funny yet surprisingly earnest, emphasizing its status as a wild party film with emotional weight, which points to an interest in works that combine excess with genuine feeling.
Coverage of projects like “Leviticus” and “Rose of Nevada” shows him gravitating toward horror and formally experimental work.
In writing about “Leviticus,” he focuses on the film as a potential summer horror sensation and digs into his conversation with the director about the risks and rewards of releasing a gay genre romance on more than a thousand screens, tying aesthetics to questions of representation and commercial scale. His piece on “Rose of Nevada” centers on eerie filmmaking devices and the fact that none of the film’s sound was recorded on set, foregrounding unusual production methods and their effect on mood.
Across other reviews, such as the political-tinged genre film “I Love Boosters,” he treats genre cinema as a vehicle for contemporary anxieties and political messaging rather than mere escapism.
Interviews with Actors and Directors
Interviews are a regular part of Lattanzio’s output, and they tend to track how artists think about their careers and working methods as much as specific releases. A recent long conversation with Willem Dafoe focuses on late fame, the actor’s philosophies on performance, his approach to choosing films, and his ongoing work with director Lars von Trier, framing the discussion around accumulated choices and artistic identity.
In coverage of “Leviticus,” he structures the piece around a dialogue with the director about putting a gay genre romance into wide release, making the interview a way to explore the stakes of queer representation in mainstream horror.
His article on “Rose of Nevada” involves speaking with director Mark Jenkin and actor George MacKay about the film’s haunted atmosphere and the technical devices that produce it, again treating the conversation as a window into process and collaboration. Podcast notes also place him in interviews that connect screen work to stage and festival contexts, including a discussion with actor Christopher Abbott about his career and his role in a Broadway production of “Death of a Salesman,” which ties performance choices to upcoming theatrical projects and ongoing film visibility.
These pieces position him as a reporter who uses interviews to map the interplay between artistic decisions, industry opportunities, and audience expectations.
Editorial Leadership and Critical Standing
Lattanzio’s editorial role places him at the center of IndieWire’s film operation, overseeing film coverage, features, and festival reporting while still contributing reviews and feature stories. He has held multiple positions at the outlet, including time on the Thompson on Hollywood blog and subsequent roles as weekend and news editor and deputy managing editor, before advancing into broader editorial leadership on the film side.
Professional bios indicate that he has also worked as an editor in communications at a major film institute and written for newspapers and alt-weeklies in the San Francisco area, giving him experience across institutional communications and regional arts journalism alongside his online work.
Beyond his home publication, Lattanzio is recognized as a Tomatometer-approved critic and a member of the New York Film Critics Circle, and he has received journalism award nominations, which underline his standing within the critical community. This combination of editorial oversight, festival and awards expertise, sharp genre and art-house criticism, and process-focused interviews makes his coverage distinctive: he treats films as nodes in a network of festival ecosystems, industry power structures, and evolving genre traditions rather than isolated releases.
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