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“Someone Needs to Shed Light On This Issue”: Justin Chon on His Adoptee Deportation Melodrama, Blue Bayou
Justin Chon first came to the world’s attention playing Eric Yorkie, a supporting character in the Twilight movies. The global success of that young-vampires-in-love franchise helped Chon land lead roles in films such as 21 & Over, Revenge of the Green Dragons, and Seoul Searching, but all the while, the freshly minted movie star was honing his craft as a writer and director. First came 2015’s little-seen Man Up (“That was my film school”), then the breakthrough of Gook, which won the NEXT Audience Award at Sundance in 2017. A bracing look at the 1992 Rodney King riots from a Korean American perspective, Gook showed off Chon’s distinctive strengths as a filmmaker: energetic and emotionally charged storytelling, big-hearted humanism, and… Read more
SFFILM and Kenneth Rainin Foundation Announce 20 Narrative Films Winning SFFILM Rainin Grants
SFFILM, in partnership with the Kenneth Rainin Foundation, announced today the 20 projects that will receive SFILM Rainin Grants totaling $490,000. The grants will support the makers' screenwriting and development activities, with these grants remaining among the very few that fund narrative filmmakers in the development stage. Additionally, two projects have been awarded SFFILM Rainin Filmmakers with Disabilities Grants -- a new initiative supporting applicants whose films specifically address stories from the disability community. According to the press release, "SFFILM Rainin Grants are awarded annually to filmmakers whose narrative feature films meaningfully explore pressing social issues and/or have significant economic or professional impact on the Bay Area filmmaking community." The next application period for SFFILM Rainin Grants opens Winter 2021; for… Read more
“How can you be sure that everybody who had a K-15 in their hands was someone truly evil?”: Gian Cassini on his TIFF-Premiering Doc Comala
Comala
A son’s search for a father he never knew is an emotional and complicated journey in even the best of circumstances. When that dad is a smalltime hitman murdered in Tijuana who left behind another family, including a son who likewise embraced criminality and his own father who supposedly fought for Castro (and also worked for the CIA), that investigation can become something infinitely more complex. And if that child is a brave and thoughtful filmmaker like Monterrey-based Gian Cassini it transforms into a journey much greater than the sum of its tabloid-sensational parts: a study of intergenerational violence, machismo culture, and the collective collateral damage experienced by an entire traumatized society. Filmmaker was fortunate enough to catch up with the… Read more
“We had no bulletproof vests, no armored jeep, just our smiles and good nature”: Mohammed Abugeth and Daniel Carsenty on their TIFF-Debuting Doc The Devil’s Drivers
The Devil's Drivers
Filmed over the course of nearly a decade The Devil’s Drivers is a modern-day “1970s car chase thriller” shot mainly from inside the weathered vehicles of human traffickers. But in Mohammed Abugeth and Daniel Carsenty’s edge-of-your-seat feature these daredevil smugglers prove a far cry from any Hollywood baddie. Zooming through the West Bank desert on their lawbreaking quest to transport desperate Palestinian workers across the border into Israel, the Bedouin drivers bravely dodge occupying forces day in and day out, risking serious jail time for a pittance. Bonded with their cargo in economic need, in the desire just to feed families and to simply survive, choosing illegality in the face of immorality, however, is really no devil’s bargain at all. Filmmaker… Read more
“If Bresson Had Digital Cinematography, What Might He Do?”: DP Alexander Dynan on the Portraits, Inserts and VR Nightmares of The Card Counter
Oscar Isaac in The Card Counter (courtesy of Focus Features)
With The Card Counter, Paul Schrader has written another “man in[to] a room”: William Tell (Oscar Isaac), an ex-torturer turned professional poker player, lives hotel to hotel, making each unit his own by wrapping their furniture in his own sterile, white sheets—“essentially bleached muslin,” the film’s DP Alexander Dynan says. A little light went a long way when capturing these whitened rooms on the light-sensitive, medium format Alexa LF camera. Sometimes Dynan lit Isaac journaling with nothing but a bulb wrapped in diffusion—something he could not justify using on First Reformed, as pastor Toller (Ethan Hawke) did not diary near a fabric-covered lamp. The Card Counter builds upon the camera language that Schrader and Dynan first developed on First Reformed. Both repurpose Robert Bresson’s… Read more
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