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Wynton Marsalis, its artistic director, turns 50 this year, and here comes the retrospective: large and small-ensemble music from the last three decades, with plenty of guests.
Nudging the image in and out of focus, the director turns the camera into an inebriated eye, shifting our attention from foreground to background with blurry regularity.
This time, the director turns on her angrily, calling her the crudest word imaginable, in front of the actors and crew.
But rather than use the familiarity of it all as an excuse to make a lazy film, Stuart Orme, the director, turns it into an advantage: the focus here is all on the characters.
But gradually the deference of producer and director turns into contempt, especially when they take personally Gilderoy's criticisms of the studio's penny-pinching equipment, and when he dares to impugn the integrity of their artistic vision.
In this nonstop short day's journey into nightmare, Mr. Thiérrée as writer and director turns a sleepless night into a masterly display of usually wordless comedy and circus arts.
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Mr. Marshall, a Broadway choreographer and director turned filmmaker, had powered that musical to a best picture Oscar in 2002.
Hitchcock was not the only young British director turning the critics' heads in the 1920s.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com