Onur Tukel is a boldly independent writer-director-actor who, for more than a decade, has been making cutting edge comedies in New York City that sometimes land in the horror category, sometimes social satire, are often absurd, mostly hilarious and always thoughtful—Catfight, Applesauce, Summer of Blood, The Misogynists, Scenes From An Empty Church, to name just a few. His latest, Poundcake, about a serial killer who only targets straight white men, is maybe his boldest yet, which says a lot. In this hour, he talks about his reluctant approach toward acting in his own films, the ways he has navigated low […]
“How To Watch Birds,” episode five of How To with John Wilson’s final season, presents a familiar trajectory: eponymous documentarian follows through with stated premise before being diverted into a completely different context. Not more than seven minutes into Wilson’s episode about birding he’s interviewing UFO expert Travis Walton, whose alleged abduction story inspired Fire in the Sky (1993), and not long after that he voluntarily agrees to a lie detector test. “Have you ever lied to someone on your show?” asks the administrator. “No,” Wilson replies, following a pregnant pause. When informed he is lying, Wilson quietly mutters, “Fuck.” […]
A ten-gallon hat floating in the ocean and psychedelically patterned polypropylene western wear wandering empty hotel halls might not seem like images from a documentary about the changing nature of American commerce, but those costumes define the dreams at the heart of Emily Mackenzie and Noah Collier’s Carpet Cowboys. After becoming obsessed with the seemingly drug-induced carpet designs lining every banal conference room and casino floor in the United States, Mackenzie and Collier stumbled upon Dalton, GA, known then as the “Carpet Capital of the World.” The pair went in, Mackenzie holding the boom and Collier the camera, with little […]
The following interview was published in Filmmaker‘s Summer 2023 issue and is being reposted today as Bottoms arrives in theaters via Metro-Goldwyn-Mayer. Bottoms, the sophomore feature from Shiva Baby writer-director Emma Seligman, takes the concept of blood and guts in high school to a queer, campy pinnacle. Co-written by Seligman and Rachel Sennott—who starred in Shiva Baby and returns to act in Bottoms alongside frequent comic collaborator Ayo Edebiri—the project embraces a streak of absurdist satire that’s been present in Sennott’s sensibility since launching her highly popular, if now infrequent, Twitter presence. Coupled with Seligman’s directorial desire to “always do […]
The following interview was originally published during our Sundance 2023 coverage and is being republished today ahead of birth/rebirth hitting theaters via IFC Films and Shudder this weekend. — Editor The narrative kernel of birth/rebirth, Laura Moss’s debut feature, was originally planted in the writer-director’s mind 20 years ago. The filmmaker (and former EMT) was creatively stirred after reading Mary Shelley’s Frankenstein and feeling that its interest in unnatural procreation could translate well to an all-female retelling. As the decades passed, Moss began negotiating integral facets of their identity—namely coming out as non-binary and becoming increasingly convinced they would never have […]
A breakout at Sundance, Berlinale and New Directors/New Films this year, Chilean-Serbian writer-director Vuk Lungulov-Klotz’s debut feature Mutt is as scrappy and charming as its canine title. Following a frenzied 24 hours in the life of New York trans man Feña (Lío Mehiel, the first trans actor to win the U.S. Dramatic Special Jury Award for Acting at Sundance), Mutt explores the constant micro-aggressions that trans people face daily—even in a supposedly hyper-tolerant locale, especially from loved ones—and the connections and community that make these encounters sting a little bit less. Even when Feña faces his capricious ex-boyfriend, moody tween […]
“Have you ever seen Romanian TikToks?” It’s a torrid afternoon in Locarno and Radu Jude and I are sitting in a container repurposed as an interview booth, a couple of days after the premiere of his latest, Do Not Expect Too Much from the End of the World. Social media play a prominent role in the film, an electrifying snapshot of life in the 21st century designed to both immortalize our back-to-front digital zeitgeist and dissect its textures. A collage straddling black comedy and road movie, Do Not Expect centers on Angela (Ilinca Manolache), an overworked production assistant whose company […]
Stanley Nelson and Valerie Scoon’s Sound of the Police is an exhaustive exploration of the oppositional dynamics between African Americans and law enforcement, from slavery right up to today. Through a wealth of archival imagery, interviews with academics, authors and assorted deep thinkers of various backgrounds and colors as well as an ear-catching soundtrack (indeed the doc’s title is a nod to rapper KRS-One’s 1993 anti-police brutality anthem “Sound of da Police,” which serves as a sort of sonic exclamation point throughout the ABC News Studios doc), the veteran filmmakers make a compelling case that any relationship built on the […]
Like many Filmmaker readers, I first encountered the work of Elaine McMillion Sheldon a decade ago, when the West Virginia native landed on our annual 25 New Faces of Independent Film list in 2013. She’d just completed Hollow, which began as a documentary about her home state’s struggling McDowell County, and ultimately transformed into a sprawling interactive project; and per Randy Astle’s profile, “a community portrait that includes about three hours of video — including a lot shot by members of the community — audio recordings, text, photographs and user-generated material via Instagram.” Sheldon then popped back onto my radar two […]
Gaining access to an underrepresented community comes with a great amount of responsibility. There are countless examples of a director visiting a site for a few days, getting what they need, then hightailing it out only to use their subsequent press tour to emphasize the “raw grittiness” they observed while filming on location. It’s crucial to question who benefits from this exchange. Does the filmmaker gain authenticity for their work merely by virtue of who they put in front of the camera? Does the portrayed community benefit from being used to confirm an outsider’s predetermined perception? Gina Gammell and Riley […]