Authors — Natalia Keogan
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“This Is a Safe Space for People Who Are Against Genocide, And Who Want to See a Liberated Future for All”: Inney Prakash Previews Prismatic Ground 2024
Returning for its fourth edition, the experimentally-focused Prismatic Ground film festival will once again host a series of screenings across several NYC theaters and via a free streaming platform. Running from May 8 through 12, the program kicks off with an appropriately urgent Opening Night screening at the Museum of the Moving Image of Palestinian filmmaker Michel Khleifi’s Fertile Memory (1981), preceded by a reading from poet Hala Alyan and concluding with a post-film discussion between Bidoun magazine’s Tiffany Malakooti and researcher, writer and curator Adam HajYahia. “Most of my energy and attention in the last several months has been focused […]
by Natalia Keogan on May 8, 2024 -
“I Was Definitely Paying Homage to Stories Set in Chicago”: Minhal Baig on 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 […]
by Natalia Keogan on May 1, 2024 -
“I Love the Kind of Cinema That [Tells You Everything] Through Images, Where Every Frame is Like a Painting”: Ena Sendijarević’ on Her Metrograph Series, Sweet Dreams
Amsterdam-based, Bosnian-born filmmaker Ena Sendijarević’s two features to date, Take Me Somewhere Nice and Sweet Dreams, hone the filmmaker’s personal cinematic language while expanding the parameters of her own perspective. The former, her 2019 debut feature, follows a Dutch teen as she journeys to visit her ailing Bosnian father in the hospital. The latter, which will screen at NYC’s Metrograph beginning today, chronicles the decline of a wealthy Dutch family’s Indonesian sugar plantation at the turn of the 20th century. While her first feature explores the contours of Eastern and Western European relations—a subject Sendijarević is familiar with as a […]
by Natalia Keogan on Apr 12, 2024 -
“We Shot for Four-and-a-Half Days”: Tynan DeLong on Dad & Step-Dad
Cringe comedy and pathos converge with unlikely grace in Dad & Step-Dad, the debut feature from director Tynan DeLong. Expanded significantly from short films that DeLong crafted with recurring collaborators Colin Burgess (recent star of Ryan Martin Brown’s debut feature Free Time) and Anthony Oberbeck, the premise of the feature is nonetheless pretty straightforward. On a weekend trip to an Airbnb in upstate New York, titular dad Jim (Burgess) and step-dad Dave (Oberbeck) quarrel incessantly, both over the affection of teenage ward Branson (played hilariously by adult Brian Fiddyment) and for inconsequential paternal bragging rights over the other. Passive aggression […]
by Natalia Keogan on Apr 4, 2024 -
“It’s a Confusing World That We Inhabit”: Ryan Martin Brown on Free Time
In Free Time, writer-director-producer Ryan Martin Brown’s debut feature, directionless office drone Drew (comedian Colin Burgess) decides to quit his job. After all, the position is hardly fulfilling (nor is he particularly gifted at it), and why spend all day bleary-eyed behind a screen when all that New York City has to offer exists just outside the door? Soon enough, Drew’s naive work-life musings are proven to be drivel, and his joblessness puts a mighty strain on his few remaining social relationships. His WFH roommate Rajat (Rajat Suresh) doesn’t seem thrilled with Drew’s daytime presence in the apartment, nor does […]
by Natalia Keogan on Mar 22, 2024 -
Forgive My Laughter: Vera Drew on The People’s Joker
The following interview with The People’s Joker writer, director and star, Vera Drew, appears in Filmmaker issue #126 and now appears online as the film receives its U.S. theatrical release from Altered Innocence. Just as The People’s Joker was preparing to premiere at the 2022 Toronto International Film Festival, a “strongly worded letter” arrived that threatened immediate legal action if Vera Drew’s scrappy, bold feature debut went ahead with its multiple planned screenings. Warner Bros. was less than pleased that Drew and co-writer Bri LeRose based their film on a trademarked DC franchise, and it likely didn’t help that the […]
by Natalia Keogan on Mar 18, 2024 -
“We Were a Bit Like a Circus That Came to Town”: Sara Summa on Arthur&Diana
Filmed during a genuine road trip between Germany, France and Italy, Arthur&Diana, the sophomore film from writer-director Sara Summa is fueled by experimentation. Summa and her real-life brother Robin play the titular sibling duo as they embark on a trip from Berlin to Paris in order to renew documentation for the car which carries them, itself a cherished familial relic. In tow is Diana’s two-year-old son, Lupo, also embodied by Summa’s own child. As they drive through Europe and encounter faces old and new—a magnetic young hitchhiker, the pair’s zany Parisian mother, Diana’s partner and co-parent—it becomes clear that their […]
by Natalia Keogan on Mar 17, 2024 -
“The Frame Is a Proscenium”: Graham Swon on An Evening Song (for three voices)
Set in 1939 and told through the intertwining perspectives of characters enmeshed in a bizarre love triangle, writer-director Graham Swon’s sophomore feature An Evening Song (for three voices) is as visually robust as it is dramatically intimate. The story revolves around married couple Richard (Peter Vack) and Barbara (Hannah Gross)—a pulpy crime writer and a prodigious novelist, respectively—who move to a rural Midwestern town after years of city living. Shortly after arriving, they hire a local young woman named Martha (Deragh Campbell) who the couple find independently alluring despite (or perhaps largely due to) her striking innocence and pious nature. […]
by Natalia Keogan on Mar 15, 2024 -
“I Don’t Feel Comfortable Making Cinema That Gazes From Afar”: Tatiana Huezo on The Echo
Located within the Mexican municipality of Chignahuapan in the state of Puebla, the rural village of El Eco acts as a microcosm for various stages of life and the oft-small moments that herald them in filmmaker Tatiana Huezo’s documentary of the same name. The Salvadoran-Mexican filmmaker weaves together intimate scenes among three local families, exploring themes of gender, labor and generational shifts in attitude amid a sprawling and bucolic—yet unpredictably volatile—stretch of Mexico’s highlands. The Echo is Huezo’s fifth feature, marking her return to nonfiction storytelling after helming her 2021 debut narrative film Prayers for the Stolen. With this transition, […]
by Natalia Keogan on Mar 14, 2024 -
“Any Independent Film Is a Miracle These Days”: Alice Lowe on SXSW 2024 Premiere Timestalker
World premiering at this year’s SXSW, writer-director-star Alice Lowe’s sophomore feature Timestalker certainly feels like it’s been a long time coming. Arriving eight years after Prevenge, her 2016 debut that she shot and starred in just weeks before giving birth to her eldest daughter, Lowe’s latest was stalled for a slew of reasons—motherhood, COVID, involvement in other projects—but Timestalker’s extended development served to sharpen Lowe’s filmic instinct while shooting, resulting in an ambitious, blood-spattered time loop rom-com more aesthetically and thematically assured than its 22-day shoot may have initially allowed for. Lowe stars as Agnes, an ordinary woman who we […]
by Natalia Keogan on Mar 8, 2024
