Posts Tagged: Film
The early skepticism for The End of the Tour may have been misguided. David Poland caught up with James Ponsoldt (the film’s director) and Donald Marguiles (its Pulitzer-winning screenwriter) to touch on Wallaces’s legacy, the Lipsky interview, and the process behind what’s since been deemed a “glorious casting.”...more
The silver screen used to be a lot more colorful. Before Technicolor was an option, hand-painted black-and-white film produced vibrant, surreal images the likes of which the world had never seen. Joshua Yumibe looks into the invention born of necessity....more
The Amy Winehouse documentary is in theaters starting today, following a run of great reviews after its premier at Cannes in May. Director Asif Kapadia had over one hundred hours of footage to work with, ranging from a fourteen-year-old Winehouse singing a friend “Happy Birthday” to a video of the singer’s funeral at age twenty-seven....more
Scary movie of the hour It Follows is peppered with intertextual references to Dostoyevsky’s The Idiot. Ben Apatoff looks for the connection (if there is one):
If anything, The Idiot enhances It Follows more than it represents it, augmenting the film’s foreboding atmosphere with quotes from a writer who could create anxiety and suspense as artfully as any of the Russian greats.
People have been writing about civil rights for years, but it’s taken Hollywood until now to warm up to the subject (of course, not enough). Bill Morris traces the history of the movement’s cinematic representations leading up to Ava DuVernay’s recent triumph:
Movies about the civil rights movement — the successful ones– have tended to follow one of two strategies.
Over at Grantland, Mark Harris looks back on the stories Hollywood told this year, why marquee films are gridlocking the industry, and what that sort of thing can do to your head:
“I did not begin 2014 by imagining that the most resonant movie moment of the 12 months to come would be a quiet, resigned stare-down in a bathroom.
Book-to-movie adaptations are nothing new, but does the transition work the other way around? Over at Electric Literature, Tobias Carroll examines the capacity of prose to put film on paper:
This shouldn’t work, but it does. Perhaps it’s that the deconstructive elements of the novel echo another part of the world of cinema: between film school and film criticism, discussion is as much a part of cinema as images projected onto a screen.
For years, film buffs have been devouring companion material to the original works that captured their interest—deleted scenes, commentary, bloopers, most eagerly that much-loved paean to auteurism, the director’s cut. To accept this practice is to acknowledge the impossibility of artistic perfection; as the saying goes, “art is never finished, only abandoned.” The New Republic wonders why the literary world is so hesitant to make the same admission....more
Yony Leyser, director of the documentary about William S. Burroughs, is making a feature film about Berlin’s queer community, and he needs your help to crowdfund it. Over at Indiewire, Leyser explains his desire to deglamorize the city’s dark underground scene and explore what it means to be a member of a community whose definition is constantly in flux:
I go back and forth from being firmly committed to the “queer community” to being totally and completely disillusioned with the concept and diametrically opposed to it.
The Believer blog has a great interview with avant-garde filmmaker Nina Menkes. Menkes provides some insight into her creative process, as well as her take on being a feminist filmmaker:
I am surely a feminist filmmaker, but not because I set out to become one, or am trying to make any kind of statement.
Fitzgerald was undone by his screenwriting-is-writing mistake. It’s a notion that has its basis in artistic form.