Authors — Carlos Aguilar
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“The History of Your Community Affects Who You End Up Becoming”: Lyle Mitchell Corbine Jr. on Wild Indian
The effects of trauma brewed and replicated over generations serve as dramatic engine for Wild Indian, a film about the radically diverging paths of two boys from the Ojibwe people after a fatal gun incident. Making his feature debut, director Lyle Mitchell Corbine Jr. tapped into his tribe’s own ancient storytelling and recollections from family members, as well as his own, to carve out the story of Makwa and Teddo in two different storylines. The former character, a victim of parental abuse, grows up to rebuild his stoic identity around career success and material wealth, while the other falls into […]
by Carlos Aguilar on Sep 10, 2021 -
“The Camera Gives Me Permission to Feel the Things I’m Always Pushing Down”: Writer, Director and Actor Cooper Raiff on Shithouse
Shithouse, Cooper Raiff’s profanely-titled first feature, chronicles an inspired romance between two young souls on disparate higher education voyages. Told with real insight about college-age characters and their flawed relationships, the picture earned 23-year-old Raiff—a softhearted wunderkind who wrote, directed and starred in the film—the Grand Jury Award at this year’s pandemic-impacted SXSW. Life between dorms and parties doesn’t exactly suit shy freshman Alex Malmquist (Raifff), who’s most comfortable seeking advice from an adorable childhood plush animal he’s brought from home. Though he puts in some effort to adapt to dorm life, he still yearns for the comforting embrace of his protective family. […]
by Carlos Aguilar on Oct 21, 2020 -
“The Interior Lives of People That Aren’t Typically Represented in Cinema”: Andrew Cohn on The Last Shift
Fascinated with the unseen men and women of forgotten America, Andrew Cohn, proud Midwestern and versatile filmmaker, has created a body of documentary work that witnesses modest, real lives without condescension or pity. Features like Medora or Night School engage with their subjects—a teenage basketball team in small-town Indiana or adult students juggling economic and personal struggles—in a compassionate and collaborative manner. Translating that honesty to fiction now with The Last Shift, his first scripted film, Cohn continues to give voice to the working poor, in this case two fast food employees in Michigan, where he’s from, whose relationship exemplifies […]
by Carlos Aguilar on Sep 25, 2020 -
“It Had to Show How We Rip Each Other Apart”: Galder Gaztelu-Urrutia on His Vertical Class-Warfare Netflix Dystopia The Platform
Access to food serves as the most basic representation of wealth in Galder Gaztelu-Urrutia’s The Platform, a dystopian allegory for economic inequality in which a vertical prison pushes people to the edge of their humanity. Inside the Vertical Self-Management Center (Centro Vertical de Autogestión)—as the facility is formally known in the fiction—two individuals are housed per level, and each is allowed to bring one personal item with them. They receive sustenance once a day on a floating platform. Those on the higher floors fill their bellies with disregard for the unfortunate ones below. But once a month each pair wakes up on […]
by Carlos Aguilar on Apr 3, 2020 -
“War Is a Source of Human Nature”: Kantemir Balagov on His Women-Centered Period Two-Hander, Beanpole
Exquisitely grueling yet fiercely humane, Kantemir Balagov’s Beanpole, an astounding Russian period drama, cements the artistically mature director as a prodigy of international cinema moving towards an auspicious career. At age 28, Balagov has had his first two features premiered at Cannes with both earning prizes in the Un Certain Regard section. Situated in 1945 Leningrad among the ashes of World War II, Beanpole, which was also shortlisted for the Best International Film Academy Award, explores the harsh aftermath of the conflict through the tortured friendship between Iya (Viktoria Miroshnichenko) and Masha (Vasilisa Perelygina), two women who served in the […]
by Carlos Aguilar on Feb 19, 2020 -
“There’s Political Relevance to Melodrama”: Karim Aïnouz on His Lush Tropical Tale of Sisterhood, Invisible Life
Greenery abounds in Brazilian auteur Karim Aïnouz’s affecting and bright-colored sisterhood saga Invisible Life. Based on Martha Batalha’s 2016 novel, it chronicles the forced disconnection between siblings Eurídice (Carol Duarte) and Guida (Julia Stockler), whose hearts break with each passing day apart in 1950s Rio de Janeiro. Victims of a male-dominated society that denies their dreams and ambitions, the sisters embody two sides of the same still resonant struggles women of the time endured. In addition to the striking work of French cinematographer Hélène Louvart, top talent was plentiful across the board. Illustrious producer Rodrigo Teixeira (Call Me By Your […]
by Carlos Aguilar on Dec 21, 2019 -
“Cinema Perfects Life”: Pedro Almodóvar on Rewatching His Films, Using Latin American Music, and Fighting Against Penélope Cruz’s Tears
Notwithstanding the many awards seasons and release campaigns he’s endured in the United States, the manufactured climate of hotels and restaurants in Los Angeles still makes Spanish cinema idol Pedro Almodóvar uncomfortable. “Everywhere we go here is freezing,” he says as he sits down to talk and scrambles to find something warm to cover himself with. It’s as if the coldness of these spaces he’s walked repeatedly over the years brings a sensory memory, one that he should have anticipated but still surprises him. Like so, we’ve come to expect a colorful aesthetic brand and tonal irreverence from an Almodóvar […]
by Carlos Aguilar on Nov 11, 2019 -
Streaming, Theatrical and Film School: Barry Jenkins, Boots Riley and Aaron Stewart-Ahn at the Miami International Film Festival
Three of current American independent cinema’s most prominent filmmakers recently came together at the Miami International Film Festival to impart some of the hard-earned knowledge they’ve acquired. Barry Jenkins (Moonlight, If Beale Street Could Talk), musician, activist, and storyteller Boots Riley (Sorry to Bother You), and journalist-turned-screenwriter Aaron Stewart-Ahn (Mandy) were honored at the festival as the first trio of guests to be part of the inaugural Knight Heroes masterclass and symposium. Ahead of their presentations in front of a crowded Olympia Theater in Downtown Miami, the three creators sat down with Filmmaker to discuss a wide range of topics: the […]
by Carlos Aguilar on May 14, 2019 -
Sundance Interview: Gabriel Mascaro on His Near-Future Drama Divine Love, the Seductive Tactics of Religion, and Body Politics
Eroticism in service of faith is the thematic dogma fueling Gabriel Mascaro’s new intellectual affair Divine Love, a near-future drama with measured science fiction elements.Trading the carnal sensuality of 2015’s Neon Bull for extreme religious devotion, the Brazilian auteur continues to captivate with visually seductive frames laced with eye-catching colors and ethereal lighting. Futuristically restrained, the director’s vision of Brazil in 2027, just a few years from our current battlefield of a world, is selective in its use of technology, focusing on inventions or machines that directly speak to the protagonist agenda: doors with pregnancy detectors in public spaces and […]
by Carlos Aguilar on Feb 2, 2019 -
“Since It’s About the Death of a Body, We Wanted the Language of the Film to Be Sensuality”: Mazen Khaled on Martyr
Men touch each other tenderly in Mazen Khaled’s formally eclectic second feature Martyr, about the death of a young adult whose self-perpetuated despair drowns him on the shores of the Mediterranean. In this ethereal Lebanese mood piece, the religious interpretation of martyrdom is counteracted with tangible flesh. Rather than glorifying the loss of life as a divine honor, Khaled subtly revels in the presence of desire and the body as constant reminders that being alive is precious. Unemployed and adrift, Hassane (Hamza Mekdad) only finds respite from his restless mind when tanning by the water with his cherished friends, brothers […]
by Carlos Aguilar on Dec 22, 2018
