Authors — Erik Luers
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“Like a Surveillance Camera”: Christian Petzold on Miroirs No. 3
Following a fatal car crash in the countryside that leaves her injured and her boyfriend dead, Laura (Paula Beer), a pianist visiting from Berlin, is nursed back to health over several days by Betty (Barbara Auer), a quiet woman who lives near the crash site. Through carefully placed moments of subtle exposition, German filmmaker Christian Petzold slowly reveals to the viewer the extent to which Betty (who seemingly lives alone, but then…not) needs Laura to be a part of her daily life. Much of the fun of Petzold’s Miroirs No. 3 then comes in the mysterious yet heartbreaking ways the […]
by Erik Luers on Mar 30, 2026 -
Noah Baumbach on “Jay Kelly”
30 years after his debut feature Kicking and Screaming (1995), writer-director Noah Baumbach, having crafted a notable career both in Hollywood and outside of it, has made his softest film yet, and that’s not meant as a pejorative. George Clooney stars as a fading movie star who embarks on a European trip to attend a film festival that’s planning to gift him a career tribute, using the honor as an excuse to spend time with his unsuspecting, backpacking daughter. Jay Kelly is a movie made by a parent in a time of reflection. That it was co-written by actress Emily […]
by Erik Luers on Dec 19, 2025 -
“My ‘Jaws’ Obsession Had No Boundaries”: Kleber Mendonça Filho on “The Secret Agent”
Kleber Mendonça Filho has never been shy explicating how personal memories have seeped into his professional work. Born and raised in Recife (capital of the Brazilian state of Pernambuco), the filmmaker has consistently dived into its history and, in doing so, his own history as well. While technically a narrative (featuring a remarkable cast led by Wagner Moura), The Secret Agent is also a movie about tumultuous events in and around the filmmaker’s hometown. Anyone who spoke out against the military dictatorship’s brutality was relentlessly harassed, spied on and, in some instances, murdered. An adolescent when these events unfolded, film-critic-turned-filmmaker […]
by Erik Luers on Dec 17, 2025 -
“It’s a Maximalist Kind of Movie”: Producer-Turned-Director Alex Scharfman on Horror Comedy Death of a Unicorn
Death of a Unicorn, the feature debut by producer Alex Scharfman, could also be titled Death by Unicorn, as the film offers numerous stabbings via horn by the title creatures. The A24 production co-stars Paul Rudd and Jenna Ortega as a father and daughter who, on their way to visit an uber-rich pharmaceutical bigwig (Richard E. Grant) at his secluded compound in the woods, hit a unicorn with their car. The father and daughter load it up and plan to dispose of it later, but the mythical creature’s family comes looking for revenge, going on a murderous parental outrage. “When […]
by Erik Luers on Mar 31, 2025 -
“It Took 31 Years”: Zeinabu irene Davis on Compensation
Because I had loved so deeply, Because I had loved so long, God in His great compassion Gave me the gift of song. Because I have loved so vainly, And sung with such faltering breath, The Master in infinite mercy Offers the boon of Death. — “Compensation” (1906) by Paul Laurence Dunbar Zeinabu irene Davis’s Compensation (1999) tells dual stories of pairs of lovers (both played by Michelle A. Banks and John Earl Jelks) at the beginning and end of the 20th century. The film is uniquely attuned to deaf culture, American prejudice and two distinct pandemics. Creative in her […]
by Erik Luers on Feb 28, 2025 -
The Truth Exhumed: Emily Kassie and Julian Brave NoiseCat on Sugarcane
Beginning in 1894, the Canadian government forced Indigenous children to attend segregated boarding schools. The schools were designed to “get rid of the Indian ‘problem.’” Most were run by the Catholic church. For years, students spoke of abuse and whispered about missing classmates. This explanatory text opens Julian Brave NoiseCat and Emily Kassie’s Sugarcane, establishing the basis for a piece of investigative journalism and a portrait of healing familial catharsis. After unmarked graves were discovered in 2021 on land once occupied by the Kamloops Indian Residential School in British Columbia, NoiseCat and Kassie became interested in making a film about […]
by Erik Luers on Dec 16, 2024 -
“You Can’t Tell the Story of America Without a Theft”: Malcolm Washington on The Piano Lesson
Set in 1936, The Piano Lesson—the fourth chronological entry in playwright August Wilson’s ten-play Century Cycle—is both a family drama and a ghost story. The titular musical instrument sits in the living room of Doaker Charles (Samuel L. Jackson), who lives in Pittsburgh’s Hill District with his adult niece Berniece (Danielle Deadwyler) and her young daughter Maretha (Skylar Aleece Smith). As the story opens, Berniece’s brother Boy Willie (John David Washington) and his friend Lymon (Ray Fisher) have arrived at the Charles House from Mississippi, looking to sell a truckload of watermelons they’ve brought from their home state. Once inside […]
by Erik Luers on Nov 22, 2024 -
Cap’n Crunch and the Serial Killer: John McNaughton on His Career
Currently underway at the the Nitehawk Cinema in Prospect Park, “Portraits of Wild Things: The Films of John McNaughton” is a long overdue retrospective of the Chicago-based filmmaker of Henry: Portrait of a Serial Killer (1986). Like The Texas Chain Saw Massacre (1974), I’ve always felt that the most exploitative aspect of McNaughton’s film was its title—it sounds like something you shouldn’t take joy in watching even if you’re even depraved enough to seek it out in the first place. Critically praised upon its (much delayed) release, Henry provided McNaughton with a path to mainstream success, even as the filmmaker […]
by Erik Luers on Oct 2, 2024 -
Shudder Speed: Fantasia International Film Festival 2024
The largest genre film festival in North America, Montréal’s ever-growing Fantasia International Film Festival celebrated its 28th edition this summer. This was my seventh year covering for Filmmaker, my ninth in attendance and I arrived with a severe case of FOMO: at an industry party last year, I met a man dressed head-to-toe in a gigantic beaver costume, allegedly to promote a feature he had at the festival. He was charming, so I told him I’d make an effort to see Hundreds of Beavers, but a part of me, taken aback by the man’s zany attire and commitment to self-promotion, knew […]
by Erik Luers on Sep 24, 2024 -
“We Have Complete Creative Control”: Chuck Russell on Witchboard
The first film directed by Chuck Russell I can remember seeing was the special effects-driven Jim Carrey vehicle The Mask at a multiplex with my family thirty years ago (the summer comedy opened on July 29th, 1994 in over 2,300 North American theaters). However, it was his work in the horror genre with co-writer Frank Darabont that really hooked me. Both 1987’s A Nightmare on Elm Street 3: Dream Warriors—released when the filmmaker was only 28—and 1988’s remake of The Blob were gooey and gory, yes, but also competent adventure films, their charm derived from Russell’s nimble craftsmanship and the […]
by Erik Luers on Aug 12, 2024
