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It’s no small testament to Todd Haynes that this is the second interview this website’s conducted with him since August. Although the opening of his newest film, Wonderstruck, is a proper excuse, that’s only ostensibly the occasion; the truth is that we’d gladly go over his decades- and genre-spanning filmography any day of the week and still have plenty of ground to cover.

So it’s doubly to our fortune that Wonderstruck befits multiple rounds of discussion. A children’s adventure movie wrapped in a two-pronged period piece that can hardly conceal the tragedies this kind of work so often doesn’t want you to think about, it finds Haynes and the usual band of collaborators — Dp Ed Lachman, composer Carter Burwell, and costume designer Sandy Powell among them — working on their biggest canvas yet. For recalling the director’s artistic history as much as anything else,...

For as beloved as his features may be, Todd Haynes boasts a repertoire of short films no less deserving of attention — attention they might receive if they were more readily accessible. One has long been able to find Superstar and Dottie Gets Spanked with little effort, but some pieces were only recently discovered — e.g. The Suicide, found on Criterion’s Safe release; in terms of emotional effect, it makes Carol feel like an episode of Night Court — or have yet to be given a proper restoration.

Which brings us to (drum roll) a Kickstarter campaign to extensively restore and properly release eight shorts from Apparatus, a now-defunct creative house founded by Haynes and longtime creative partner Christine Vachon. Although the former’s work is not immediately on display therein, part of the $30,000 effort is to locate his 1985 Assassins: A Film Concerning Rimbaud, “in which he depicts the poet as...

Carol! Carol! The people, they cannot get enough of Carol, which makes the eve of its release a perfect time to share some Todd Haynes-related material. (Not that there’s ever really a bad time, nor do we need much of an excuse.) It helps that he’s been “on tour” as of late, stopping by festivals to discuss things in his characteristically honest manner, and the latest example comes from the BFI London Film Festival. A Carol screening was accompanied by a Clare Stewart-led interview, but not one that follows the standard chronological format — not even one that’s indebted to focusing on any single title. What matters is the discussion, and even those who’d claim to know a ton about Haynes should find something enlightening.

We’ve paired that with two of his earlier works, Superstar: The Karen Carpenter Story (a work long “banned” but nevertheless long-available) and Dottie Gets Spanked.