Featured
AI, UHD and 35mm: Arbelos Films’ David Marriott on the Present and Future of Film Restoration
The Rubber Gun
Launching in 2017 with a reissue of The Last Movie, Arbelos Films grew out of co-founders’ David Marriott, Dennis Bartok, Craig Rogers and Ei Toshinari’s experiences working at Cinelicious Pics. Since then, their slate of reissues have included Sátántangó, whose restoration opened up a relationship with the Hungarian National Film Archive that’s led to further Hungarian films being put out by the company, including Son of the White Mare and Twilight. In addition to Arbelos, Marriott has now started a second company with Jonathan Doyle, Canadian International Pictures, specifically focused on his native country’s cinema. Invited to the Jeonju International Film Festival to present three of those titles—1965’s Winter Kept Us Warm, 1977’s The Rubber Gun and 1984’s Hookers on… Read more
“Everything About Women Interests Me”: Lizzie Borden on the New York Feminisms Trilogy
Regrouping
In 2022, Lizzie Borden’s virtually unseen first feature Regrouping was restored and given its first-ever theatrical run. That film joins the now-canonical Born in Flames (1983) and Working Girls (1986) in what some have termed her “New York Feminisms” trilogy, all three of which are now screening together on the Criterion Channel for the very first time. Together, the three films set a blueprint for a contemporary model of feminist filmmaking deeply situated in her place and time that prioritized discussion and conflict as ways of building something new. A long-time fan and recent friend of Borden, I sat down with her to discuss the legacy of her alternatively incendiary and intimate body of work. Rovinelli: The streaming release of Regrouping,… Read more
“When Acting Really Became Fun for Me Was When I Stopped Worrying So Much About the Audience”: Mia Vallet, Back To One, Episode 290
Over the past year and a half, no actor in any medium has given me more inspiration through their work than Mia Vallet. As a company member and frequent performer at the exciting NYC “loft theaters” Adult Film and The Brooklyn Center for Theatre Research, she continues to show the thrilling possibilities for this craft of acting, culminating in her performance as Nina in Sea Gull, Adult Film’s new version of Chekov’s masterpiece, opening on Friday May 10th in Manhattan. On this episode, she talks about her training at the University of North Carolina School of the Arts and early success in the business, the setback in her personal life that threw her off course but set the stage for… Read more
“I Hope It’ll Be Comforting to Trans People, Because the Butterfly Narrative Leaves Out the Reality of the Experience”: I Saw the TV Glow Director Jane Schoenbrun Interviewed by Gregg Araki
I Saw the TV Glow
“I often don’t remember my dreams, and so when I do, I’ve learned to listen to what my subconscious could be trying to tell me,” director Jane Schoenbrun told Filmmaker in the leadup to the 2024 Sundance Film Festival, where their sophomore dramatic feature, I Saw the TV Glow, premiered to acclaim. That admission could be seen as something of a mission statement for Schoenbrun, one that might also have been made about their 2021 microbudget debut, We’re All Going to the World’s Fair. In World’s Fair, a sinister online role-playing game haunts the internet, becoming a sort of roiling unconscious for a lonely teenager seeking both connection and construction of identity. The ways in which popular culture can function as… Read more
“I Really Wanted Sounds and Images to Exist Independent of Each Other”: Ryusuke Hamaguchi on Evil Does Not Exist
Ryô Nishikawa in Evil Does Not Exist
Evil Does Not Exist, Ryusuke Hamaguchi’s disquieting new film, is at once a major break from the Japanese director’s previous work and a distillation of the questions and anxieties around which his cinema has long orbited; it’s the film he seems to have been working toward his whole career. Anyone mildly familiar with Hamaguchi’s work will know the cardinal role dialogue plays in his films, which often double as symposiums—a proclivity evident long before Drive My Car’s meandering chats and late-night confessions. Pitted next to its talk-heavy predecessors, Evil Does Not Exist is a stark outlier; it may well be Hamaguchi’s most laconic work yet. The film may skimp on words, but it routinely swells to an achingly melancholic score by… Read more
“As Much As I Want to Explore a Character, I Can’t Lose Sight of Those Thriller Elements”: John Rosman on His Horror Drama Hybrid, New Life
New Life
Fifteen minutes into John Rosman's elegantly scripted and emotionally harrowing debut feature, New Life, you're wired into the psyche of Jessica Murdock, a young woman fleeing an unspecified old life and grappling with primitive elements of survival: where to sleep and what to eat. And, within a few scenes, where to live, find a job and rebuild. In her impressive feature debut, a fierce Hayley Erin brings both a feral intensity as well as a wary calm to these moments, which are of the sort found in many independent films dealing with women leaving bad relationships, or of those searching for work and home in uncertain economies. The grounded realism of these scenes, and Erin's sensitive performance, almost make you… Read more
“I Was Definitely Paying Homage to Stories Set in Chicago”: Minhal Baig on We Grown Now
We Grown Now
Through chronicling a critical turning point for the residents of Chicago’s now-defunct Cabrini-Green public housing project, writer-director Minhal Baig’s We Grown Now explores how the reverberations of this bygone time and place continue to register today. Set in 1992 amid the real-life death of 7-year-old Dantrell Davis—who was walking to school with his mother when a stray bullet struck him—Baig’s film follows young boys Malik (Blake Cameron James) and Eric (Gian Knight Ramirez) as they grapple with the aftermath of the tragedy. Despite the oppressive living conditions due to Chicago Housing Authority (CHA) negligence, Malik’s home life is replete with love and comfort. Grandmother Anita (S. Epatha Merkerson) has lived in the apartment for decades, as has single mom Dolores (a… Read more
