Authors — Vadim Rizov
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“I Don’t Want to Work in a Place Where I Can’t Touch the Camera”: Gerardo Naranjo on Tribeca 2020 Premiere Kokoloko
A girl, a number of guns, also some cars: recombining knowingly archetypal elements from Gerardo Naranjo’s first two features, Drama/Mex and I’m Gonna Explode, Kokoloko is delightfully loose and unconstrained. In Oaxaca, Marisol (Alejandra Herrera) loves Mundo (Noé Hernández), much to the disapproval of her thuggish cousin Mauro (Eduardo Mendizábal), who literally picks her up and throws her in his car to separate the two. The not-quite-love-triangle unfolds in a larger, equally unsettled arena: road blockades are plotted, cartels are in orbit, and violence erupts at every level. The beachside backdrop recalls the Acapulco setting of Drama/Mex, Marisol and Mundo’s lovers-on-the-run arc I’m […]
by Vadim Rizov on Apr 23, 2020 -
Canon Reformation (2): New Commercials, 12 Monkeys, Mysterious Skin
Along with getting re-accustomed to watching movies at home, I’m also relearning the rhythms of having TV in my life on a regular basis, which hasn’t been the case for a good while. My preferred choice for some daily structure and accompanying info drip is local news via two easily streamable options, ABC and CBS. The former’s preferable because they almost never cut away to, or acknowledge, the daily presidential press conference. Anchor Bill Ritter was temporarily home with COVID-19 before returning to the studio, while weatherman Lee Goldberg was for a while doing the forecast from what looked like […]
by Vadim Rizov on Apr 15, 2020 -
“We’re Definitely Not ‘Social Distancing’ Distance”: Zia Anger on Performing My First Film Online
After nearly two years of performing My First Film live in theaters, Zia Anger has reconfigured her piece for livestreaming. Currently being streamed to small groups in preview mode, each performance is announced on Anger’s Twitter the morning of; capacity is small and quickly filled on a first come, first served email RSVP basis. The middle core of the show—Anger’s story about her never-premiered first feature, told via a mix of video footage and select online browsing, narrated via TextEdit narration typed out in real time—has remained essentially the same. The beginning and ending have been necessarily rethought: where a key […]
by Vadim Rizov on Apr 8, 2020 -
Quarantine Reading: W. K.-L. Dickson’s The Biograph in Battle
As a publication about film, we find ourselves in the peculiar position of publishing during a moment when theatrical access to movies, and their ongoing future, is as much in question as everything else. During this suspension of normal filmwatching habits, we’ve reached out to contributors, filmmakers and friends, inviting them to find an alternate path to the movies by participating in a writing exercise engaging with any book about or lightly intersecting with film, in whatever way makes sense to them. Today: hello, it’s me. — Vadim Rizov Last January, I went to MoMA to see British silent film […]
by Vadim Rizov on Apr 7, 2020 -
Canon Reformation (1): Yi Yi, Ghost World
I’ll keep the establishing premise brief: all articles on every platform are coronavirus-predicated for the unforeseeable future, so no need to belabor that prompt. I almost never watch movies at home: with a tiny attention span, I need the screen to be bigger than me and erase peripheral vision—and in NYC, until very recently, I had the unbelievable luxury of a plethora of big-screen rep viewing to choose from. Now I’m bunkered in a roommate-emptied apartment, pursuing my chosen viewing path for maximal self-soothing distraction: rewatching a personal canon of (mostly) obvious titles I haven’t seen in ten to 20 […]
by Vadim Rizov on Apr 1, 2020 -
True/False Film Fest 2020: The Value of the Theatrical Experience (Coronavirus Remix)
“You guys are going to spend the next year stuck quarantined with buskers,” a friend wrote on my way to True/False, which seemed to be sliding just under the wire of possibility even before I got there–a foreboding confirmed by day two, when SXSW became the first film festival to cancel. Onscreen, every handshake and hug was charged with an unintended jolt; in the theaters, elbow bumps were exchanged, nervous jokes made and telltale pools of soapy foam collected at the bottom of bathroom sinks. On its last day, True/False added one of SXSW’s now-homeless premieres, a special by (noted […]
by Vadim Rizov on Mar 25, 2020 -
Incendiary: Director Alexander Nanau on His Explosive Investigative Documentary, Collective
On October 30, 2015, at the Bucharest venue Colectiv, metalcore headliner Goodbye to Gravity bellowed lyrics denouncing widespread Romanian corruption, inadvertently foreshadowing what happened next. Fireworks were released, the highly combustible club went up in flames and people stampeded for the only, half-closed exit—Colectiv had received an operating license without also obtaining a permit from the fire department. Responsibility lay in part with the mayor of Section 4, the administrative district governing Bucharest, and protesters quickly called for his resignation, as well as that of the prime minister and minister. Inspections of more than 1,000 venues resulted in excess of […]
by Vadim Rizov on Mar 17, 2020 -
True/False Film Fest Announces 2020 Lineup
The lineup is out for this year’s True/False Film Fest, running March 5 to 9. Find the full list below (including this year’s Neither/Nor retrospective sidebar, focusing on Missouri born and raised filmmakers, and a retrospective for True Vision honorees Bill and Turner Ross) along with links to trailers and some previous coverage of a few directors from our end. All descriptions from the festival. 45365 Dir. Bill & Turner Ross; 2009; 94 min. An ode to the colors and characters of small-town Americana, True Vision honorees Bill and Turner Ross’ debut is a sweeping portrait of their birthplace, Sidney, […]
by Vadim Rizov on Feb 13, 2020 -
Sundance 2020 Dispatch 9: Dick Johnson is Dead, Tesla
I don’t have anything like Six Takeaways From This Year’s Sundance to structure my final dispatch: The most I can offer is my general peer group’s consensus that the fiction side was relatively quiet while nonfiction work was stronger and more attention-getting, including the four-film launch of Concordia Studio. They arrived with, among others, my personal best-of-fest Bloody Nose, Empty Pockets and Time, and ended their first Sundance with the (reported) $12 million sale of verité doc Boys State to Apple and A24. Also high on the nonfiction priorities list, via Netflix, was Kirsten Johnson’s Dick Johnson is Dead, which premiered with the director […]
by Vadim Rizov on Feb 4, 2020 -
Sundance 2020 Dispatch 8: Time, The Nest
In 1999, Fox and Rob Rich, desperate to shore up the finances of their business (Shreveport’s first urban clothing store) robbed a bank; she got 12 years, he got 60. The throughline of Garrett Bradley’s Time—a compact epic spanning 21 years in 87 minutes—tracks Fox’s ceaseless efforts to get her husband home. Her website describes her as a “realist speaker”: a motivational lecturer transmuting her difficult experiences for higher ends than the usual conference room guest, as well as a “prospective Nobel Peace Prize winner” who “is both a teacher and servant, entrepreneur, business owner and most of all a humanitarian.” This […]
by Vadim Rizov on Jan 31, 2020
