Winter 2011

LOST IN AMERICA: KELLY REICHARDT’S “MEEK’S CUTOFF”

Originally published in the Winter 2011 issue. Meek’s Cutoff is nominated for Best Feature. Before you see the first image of Meek’s Cutoff, you hear the film. Simultaneously swelling is the whoosh of rushing water and Jeff Grace’s unnerving, anxious score, which sounds like strings on guitar played backwards. Imagine a rusty fence gate slowly opening. That’s your invitation to the film. Then a title card — hand-stitched on what looks like the potato-sack material used to cover a wagon — announces that we’re in Oregon, and the year: 1845. This happens quickly, in less than 20 seconds, but by […]

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Features

PAST TENSE

Winner of the Palme d’Or at this past year’s Cannes Film Festival, Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives is an enlightening journey graced with a fairytale feel that’s unlike anything you’ll see in theaters this year. By Howard Feinstein.

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  • SPY CAMERA

    For Dana Adam Shapiro’s eerie and erotic relationship drama Monogamy, cinematographer Doug Emmett creates a voyeuristic visual style in line with the film’s conflicted protagonist. Here D.P. Eric Lin chats with Emmett about crafting the film’s unique look.

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  • POSSIBLE SIDE EFFECTS

    From a screenplay by Leslie Dixon, Neil Burger takes us on a pharmaceutical-fueled joyride through a conspiratorially intelligent New York business world in Limitless. By Scott Macaulay PLUS: Leslie Dixon on nurturing your inner Tarantino.

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  • TOURIST SEASON

    With his second feature, the Gotham Award-winning Littlerock, California native Mike Ott explores the dreams of a small California town through the eyes of a visiting pair of young Japanese tourists. By Ray Pride.

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