Authors — Vadim Rizov
-
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese: Tangled Up in Tanner
On a scale of one to ten, I’m probably about a 6.5 when it comes to Bob Dylan. Define one as “Dylan is the single most visible/still living manifestation of hyper-steroidal Boomer nostalgia and must be destroyed,” ten as the level of obsessiveness practiced by the singer-songwriter’s personal scourge A.J. Weberman, who literally coined the term “Dylanology” and famously dug through Robert Zimmerman’s trash for clues. Dylan wasn’t having it; in Weberman’s indelible telling: I’d agreed not to hassle Dylan anymore, but I was a publicity-hungry motherfucker… I went to MacDougal Street, and Dylan’s wife comes out and starts screaming […]
by Vadim Rizov on Jun 10, 2019 -
“My First Studio, Commercially Made Film”: Ryūsuke Hamaguchi on Solaris, Asako I & II and Japanese Film School
When Ryūsuke Hamaguchi’s Happy Hour premiered in 2015, the 317-minute film raised a lot of questions, not least of which: who precisely was Hamaguchi, and what has he been doing for the last decade? There were some unkind trade reviews of his first feature films (Passion and The Depths) but not much else in English to draw upon, and his iMDB resume (including a full feature remake of Solaris!) raised more questions than it answered. Metrograph’s recent retrospective provided some clarity. After his first two features, Hamaguchi collaborated on a trilogy of documentaries collecting testimonies from victims of 2011’s Tōhoku earthquake and tsunami, […]
by Vadim Rizov on May 22, 2019 -
“Arrogance and Confidence Comes with Film School and That Age”: Joanna Hogg on The Souvenir, Shooting 16mm and Film School
There are many movies about making movies, far fewer about film school. Joanna Hogg’s The Souvenir (the first in a diptych—part two is supposed to shoot this summer) grounds itself in the early ’80s at the UK’s National Film and Television School (NFTS), where Hogg herself went to school. It was there that she experienced a tumultuous relationship, dramatized here as the story of clean-living Julie (Honor Swinton Byrne), a student who falls for Anthony (Tom Burke) after they meet at a party. All well and good, but what Julie doesn’t clock is that Anthony is a heroin addict. A real-life […]
by Vadim Rizov on May 15, 2019 -
The 24 Films (More or Less) Shot on 35mm Released in 2018
For five years, I’ve been rounding up the previous year’s US theatrical releases of films shot, in whole or significant part, on 35mm—yes, this year’s tally is lower than any of my previous totals. The total number is unlikely to soar above 40 anytime in the foreseeable future, and every film loyalist taking the year off makes a large difference. Part of the low tally can be attributed to lack of new films from J.J. Abrams, Quentin Tarantino, P.T. Anderson, Ken Loach, Christopher Nolan, Martin Scorsese, Zach Snyder, James Gray—directors who simply won’t budge on working from film. That aside, […]
by Vadim Rizov on Apr 24, 2019 -
Art of the Real 2019: Darkness, Compulsive Cinephilia and Godard
2016: not a good year for most people, and certainly not for Frank Beauvais. His Just Don’t Think I’ll Scream is the opening night film at this year’s sixth annual Art of the Real series, Film Society of Lincoln Center’s perspective on the year in nonfiction. Handily for me, Beauvais (a music supervisor and documentarian making his feature debut) has written his own IMDb synopsis, upon which I cannot improve: January 2016. The love story that brought me to this village in Alsace where I live ended six months ago. At 45, I am now alone, without a car, a job […]
by Vadim Rizov on Apr 18, 2019 -
“Doing a Shot List is One Thing, Bringing It Alive is Something Else”: Kent Jones on Diane, Understanding Costume Design and Tax Incentives
Best known as a critic and programmer, Kent Jones has also made documentaries for years, but Diane is his first narrative feature. Written specifically for Mary Kay Place, Diane begins as a seemingly modest, naturalistic, one-day-at-a-time portrait of a woman grounded in her family life. Volunteering gives her days structure, while trying to take care of her drug addict son undermines that structure; walking that fine line is a challenge. The centerpiece of this hard-earned naturalism is a scene with Diane, friends and family in a kitchen—a long exchange that feels intensely lived in. In its last third, Diane goes in a different, […]
by Vadim Rizov on Mar 28, 2019 -
True/False 2019: Anxiety and Research Projects
The sound of ocean waves links the first two images of Dora García’s Segunda Vez: a crowd of people, standing and watching something unseen in interior darkness, then an ocean cliffside—a “reverse shot” of a totally different space. The waves dissolve into room tone as the third shot cuts to a young man and woman silently regarding each other in a waiting room, then an elderly hand firmly gripping a cane and, finally, an enormous wall clock. None of these seem to share a common space or time; I assumed all would be clarified sooner or later and didn’t worry about it […]
by Vadim Rizov on Mar 27, 2019 -
Moonshot: Todd Douglas Miller on Apollo 11
Todd Douglas Miller’s Apollo 11, which premiered at this year’s Sundance, originated from the simple idea of using archival footage to revisit, in time for its 50th anniversary, the first moon landing. For those who’ve grown up watching the same images trotted out over and over—Neil Armstrong bouncing on the moon, a burning ring of fire propelling itself backwards toward Earth as Apollo leaves the planet—the premise seems tedious and redundant, an ossified staple of Baby Boomer montages regularly intercut alongside clips of Woodstock and the Vietnam War, now freshly recharged by nationalistic rumblings about a space force. And as […]
by Vadim Rizov on Mar 14, 2019 -
“I’m Really Interested in Expanding What We Call ‘Political Cinema'”: Brett Story on The Hottest August
Where Brett Story’s previous feature, The Prison in Twelve Landscapes, interrogated the US’s carceral system in twelve formally and thematically distinct segments, her new film The Hottest August approaches climate change, in its broadest sense, through a freeflowing diaristic chronicle of a summer month. Over August of 2017, Story and her crew traveled to all five boroughs of NYC, capturing a broad polyphony of voices that, pleasingly, refuses to stay strictly on-thematic-task. The film just premiered at True/False before proceeding to SXSW; the first screening there is today. Over FaceTime Audio, I spoke to Story about working with a small crew, redefining […]
by Vadim Rizov on Mar 8, 2019 -
“A Lot of Stories in France are Not Told”: Claire Simon on The Competition
Claire Simon’s The Competition is a sometimes painfully funny documentary about a subject that doesn’t seem humorous at all: the rigorous admission process, heavy on interviews in front of panels, for La Fémis, one of France’s premiere film schools. Its alumni include Claire Denis and Arnaud Desplechin, and its teachers have included Simon herself. One of France’s premiere documentarians, only with The Competition is Simon finally receiving a US release for her work—it’s the first film to be put out by the newly established Metrograph Pictures. Simon follows the process from beginning to end, with students and their interviewing juries speaking in […]
by Vadim Rizov on Feb 26, 2019
