The actress Vera Farmiga, whom you may know from Up in the Air or, possibly, the great guilty-pleasure of 2009, The Orphan, directed a movie called Higher Ground, which came out last year. It may or may not have pinged your radar; there was a decent press push, because actress-turned-director is a nice hook for journalists....more
Posts Tagged: film
At Full Stop, Amanda Shubert reviews Brian Kellow’s Pauline Kael: A Life in the Dark, while interrogating the particularly vitriolic (and often gendered) criticism that continues to be leveled against the influential film critic.
“Kael spoke to people in a voice they recognized, but she demanded something more from them than they were accustomed to....more
Interview Magazine features Belgian filmmaking brothers, Jean-Pierre and Luc Dardenne. The conversation revolves around their latest film, The Kid with a Bike.
“I don’t think we ever make movies that end in a sinister manner. Our characters are always saved....more
The Museum of the Moving Image will be opening a “mini-retrospective” of Hong Sang-soo’s films on March 17th. BOMBlog interviews the director about “process, collaboration, and drinking.” His answers also provide a lesson in brevity.
Sang-soo on why he often returns to the cinematic detail of male characters arm wrestling: “It’s cute.”...more
Meet Philipp Wolter and Michelle Glick, the husband and wife team behind the Brooklyn-born FilmGym Productions. Wanting to merge their love of acting with their dreams of creating introspective films for the masses, the pair decided to create independent production company FilmGym in 2004, and have proven to be a force to reckon with ever since....more
“When you get something that’s thrilling, if it’s working on a couple of different levels, it’s more thrilling....more
Rumpus columnist Nicholas Rombes explores the “Occupy zeitgeist” in 2011 cinema over at Filmmaker. Rombes reveals how films such as Drive, Meek’s Cutoff, Martha Marcy May Marlene, and Tree of Life, while seemingly “far removed” from the movement, “speak to Occupy anxieties of this past year.”
“…It’s possible that films like Tree of Life somehow capture — in their very structure — the decentralized fantasy of the movement....more
“The problem with pulling this kind of thing the wrong way in a speculative-fiction story is that science fiction, fantasy, and horror don’t necessarily share mainstream fiction’s baseline expectations for how reality works, and it’s far too easy to leave audiences feeling cheated, annoyed, or just plain confused when the rules change abruptly, or were ill-defined in the first place.”...more
“But every so often a filmmaker sneaks a piece of mini-perfection into their movie that’s so self-contained, such an unnecessary tangent, it can stand alone as its own perfect short.”
Nerve archives “five great short films” that can be found inside full-length ones. The article breaks down how each short film fits (or doesn’t) within the larger works of Mulholland Drive, The Social Network, Magnolia, A Serious Man, and The Rules of Attraction....more
Manohla Dargis and A.O. Scott evaluate what is boring and why, in the context of film.
They discuss the films that are deemed boring because they don’t distract enough from the passing of time and the ones that incite a level of thinking too deep to be considered exciting or entertaining....more
In yesterday’s San Francisco Chronicle, I chat with artist Eric Drooker about animating Allen Ginsberg’s Howl for the film of the same name as the long poem, and his resulting new book, Howl: A Graphic Novel.
One thing that was edited out of my piece was this sentence: “Howl: A Graphic Novel reads like a panoramic urban altar, demanding something deeper than just the reader’s attention.” Maybe readers are afraid of sacrifice?...more
It doesn’t take a Harvard-trained therapist to know that with love comes madness, obsession, jealousy, mind-fuckery, fear, panic and a healthy dose of psychosexual terrorism.
Maybe these symptoms aren’t manifested in such harsh terms for everyone, but there’ s no denying that love is hard and can make you lose your head....more
I watch movies so people will show me the things that make me flinch, question myself, curse the heavens, and want to enroll in primal scream therapy. I don’t think I read for the same reasons.
But movies, I feel, can be particularly cathartic because they pivot on sight, our most dominant sense....more
“She is, simply, a great filmmaker. Because while it is marginally interesting that she calls “action” and “cut” while in the possession of two X chromosomes, gender is the least remarkable thing about her kinetic filmmaking, which gets in your head even as it sends shock waves through your body.”...more
Bertrand Tavernier is one of the great auteur directors of the French cinema, and certainly among its most prolific and eclectic. Writer and director of numerous award-winning films like Death Watch (1980), Coup de Torchon (1981), ‘Round Midnight (1985), and Safe Conduct (2002), Tavernier’s current film is In the Electric Mist....more
One of the films a few critics I know are looking forward to at this year’s Sundance is a documentary called 211:Anna, about the 2006 assassination of Russian journalist Anna Politkovskaya. Screening several times this week, this is not the first film about Politkovskaya, but it is unfortunately the first one to make its debut amid another high profile murder in Moscow’s streets: This week 34-year-old human rights attorney Stanislav Markelov and 25-year-old freelance journalist Anastasia Baburova were shot in cold blood near the Kremlin following Markelov’s press conference contesting the early release of a Russian colonel found guilty of murdering an 18-year-old Chechen girl....more