Authors — Vadim Rizov
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Sundance 2021 Critic’s Notebook 5 (Vadim Rizov): I Was a Simple Man, The Blazing World
Sundance 2021 offered two case studies in the anxiety of influence, or lack thereof—neither film’s particularly worried about covering its tracks. Hawai’ian director Christopher Makoto Yogi’s I Was a Simple Man is a logical progression from his first feature, 2018’s August at Akiko’s, which climaxed by layering a Mulholland Drive riff (a sax player soloing inside an empty cave with no audience) on top of Uncle Boonmee Who Can Recall His Past Lives (said shot of cave models its angle and lighting directly on Apichatpong Weerasethakul’s climactic setup). But August at Akiko’s told an essentially simple, literally meditative story about atmospherically re-immersing oneself at home after a long […]
by Vadim Rizov on Feb 3, 2021 -
Sundance 2021 Critic’s Notebook 4 (Vadim Rizov): Users, At the Ready
On its website, XTR describes itself as “a premium nonfiction film and television studio serving the booming documentary film space.” The company is attached to eight feature titles at this year’s Sundance, all but one of which (Faya Dayi) credit the late Tony Hsieh’s name as an executive producer. The Zappos CEO died in November, nearly two months after investing $17.5 million in XTR; his name unites Ailey, At the Ready, Bring Your Own Brigade, Homeroom, Try Harder!, Rebel Hearts and Natalia Almada’s Users—the last sporting an end credits dedication in Hsieh’s memory. I haven’t seen Almada’s previous work, so can’t speak to how Users’s often enjoyably giganticist […]
by Vadim Rizov on Feb 1, 2021 -
Sundance 2021 Critic’s Notebook 3 (Vadim Rizov): El Planeta, Luzzu, Taming the Garden
I generally strive to be a well-informed viewer; in the case of Amalia Ulman’s El Planeta, however, I was perhaps better served by going in uncharacteristically ignorant. I didn’t really know anything about Ulman besides the fact that she’s a performance/video/web-artist, so I wasn’t picking up on any of her debut feature’s connections to the personas developed on Instagram, galleries et al.. Instead, Ulman’s debut feature, shot in the town of Gijón, where she grew up, registered as exactly the type of movie I like, a droll comedy formally descended from Éric Rohmer. Rohmer’s legacy doesn’t just lie in delicately shaded […]
by Vadim Rizov on Jan 31, 2021 -
Sundance 2021 Critic’s Notebook 2 (Vadim Rizov): The Sparks Brothers, Mother Schmuckers
Now entering their sixth decade of steady musical production, Sparks—brothers Ron and Russell Mael’s remarkably enduring musical project—has proved equally alienating to multiple generations of American listeners no matter what phase they were in. During the very first days of MTV, clips for their Moroder-produced “No. 1 Song in Heaven” and “Try-Outs for the Human Race” were in regular rotation (if only because there was so little else to show). But when not involuntarily exposed to them, American audiences rejected Sparks whether in their glam, disco, ’90s synth or 2002-and-onwards minimalist keyboard-loops periods—especially true of the latter, their longest-lasting mode to […]
by Vadim Rizov on Jan 30, 2021 -
Sundance Critic’s Notebook 2021 1 (Vadim Rizov): The Most Beautiful Boy in the World, Flee
“We’re sad to miss you on the Park City mountain this year and look forward to the day we can once again gather under one roof,” read HBO Docs’s email leading up to this year’s Sundance. “Until then, we encourage spending lots of time in front of your screen watching documentaries.” This is admirably direct and succinct, if bleak, and thus a fitting welcome to Sundance 2021; those who’ve physically attended in recent years can stroll down Virtual Main Street and experience brand overexposure all over again. You can “Bring [Chase] Sapphire on Main Home” or pop into the area […]
by Vadim Rizov on Jan 29, 2021 -
10 Months in 10 Movies: My 2020 in Film
2020 was going to be my year of festival-enabled travel. Instead, I went home, the last place I’ve ever wanted to be. This is my year in selected viewing, which begins when my 2020 really did; nothing before March is as vivid or urgent. March A friend generously offers a ride from True/False to Chicago, site of my inadvertently final vacation week; we set out at 7:30 am, breaking for lunch just across the Missouri-Illinois state line at a Steak ’n Shake (good patty melt!). The drive takes slightly over six hours and the conversation will be one of my […]
by Vadim Rizov on Jan 21, 2021 -
“I Don’t Have the Prosthetics Team Sacha Baron Cohen Does”: John Wilson on his HBO Show How To with John Wilson
In his short films, compulsive shooter John Wilson combines a nervous voiceover with impossible amounts of nonfiction footage; the joke often alternates between the unexpected metaphorical/pun juxtaposition of dialogue with shots selected from his vast archives and sometimes nerve-wracking encounters with assorted eccentrics. That seemingly free-form structure, in which Wilson’s voice ties many disparate elements together, was established in shorts with titles like How to Walk to Manhattan and How to Keep Smoking. Now it’s been expanded in the six episodes of the first season of his HBO series, How to With John Wilson. Nathan For You’s Nathan Fielder is an executive producer, and the […]
by Vadim Rizov on Oct 22, 2020 -
Borat Subsequent Moviefilm: Improved by COVID-19
The original Borat wasn’t really a movie so much as a cultural flashpoint, with Sacha Baron Cohen trolling average Americans into casually revealing their racisms (it doesn’t take much!) in between public provocations, many of which invited the possibility of an ass-beating. Fourteen years later, it’s hard to recapture the charge of that very particular cultural moment and nobody really wants to hear “My wife” ever again, so what are we doing here? Borat Subsequent Moviefilm (full subtitle: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan) is mostly tedious or borderline unwatchable for much of […]
by Vadim Rizov on Oct 21, 2020 -
NYFF 2020: Lovers Rock
Steve McQueen: now with handheld camera! Lovers Rock is, per its official publicity copy, one of “A Collection of Five Films” about British West Indian life in the ’70s and ’80s drawn from the backgrounds and personal stories of McQueen’s friends and family. This party film is the only one not directly based on a true story but is instead based on collective experience; judging by synopses of the other four, it’s also the lightest thematically. That makes it a good fit for NYFF’s opening night selection (even if no actual opening night party will be following; two of the other films […]
by Vadim Rizov on Sep 17, 2020 -
Venice Film Festival 2020: Notturno, Dear Comrades, In Between Dying
Seven years after Sacro GRA became the first nonfiction feature to win the Golden Lion, Gianfranco Rosi returned to Venice with Notturno. The opening titles succinctly provide context—three years of footage captured adjacent to ISIS-related warfare in Iraq, Kurdistan, Syria and Lebanon—while the first shot immediately re-establishes Rosi’s total ability to sculpt reality: groups of soldiers jogging in laps, separate squads with just enough time between one brigade passing and the next that it’s a visual and sonic surprise every time, the whole unignorably and beautifully color corrected. The shot holds as multiple divisions jog past the camera, their bodies outlining […]
by Vadim Rizov on Sep 16, 2020
