Director Interviews
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MIA TRACHINGER, “REVERSION”
Three years ago Sundance played host to Mia Trachinger’s weird, beguiling take on the low-fi, sci-fi dystopia genre, Reversion. Odd, playful, melancholy and ultimately riveting, it bounced around the fest circuit for the past couple of years without finding a home with specialty distributors, perhaps a sign of just how ahead of its time it was. A couple of years later Sundance began its NEXT section, a category for films just like Reversion; adventurous, low budget mindbenders, genre deconstructions and idiosyncratic visions that SXSW would normally be the target destination for. Trachinger, whose Bunny was a success of the festival […]
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SHAWN KU, “BEAUTIFUL BOY”
It’s been a dozen years since the Columbine tragedy and almost a half decade since the Virginia Tech shooting, but random outbursts of violence by troubled young male students with easy access to weaponry are still among the most troubling topics that our society is struggling to come to grips with. Less self consciously arty than say an Elephant or We Need to Talk About Kevin, Shawn Ku‘s Beautiful Boy tells the story of Bill and Kate, (Michael Sheen and Maria Bello), a relatively comfortable suburban couple who have entered middle age content but relatively uninspired. First and foremost a […]
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GREG JACOBS, “LOUDER THAN A BOMB”
The world’s largest youth slam poetry competition is the subject of Greg Jacobs and Jon Siskel‘s audience-pleasing doc, Louder Than A Bomb, a high school competition pic in the tradition of films like Spellbound and Mad Hot Ballroom. For a decade now the Louder Than A Bomb competition has brought together budding young slam poets from over 60 Chicago high schools for a series of juried team and individual readings. The contest is highly competitive — one school goes home with the prize — but the event itself provides something far more valuable than competition; it is one of the few non-sports related […]
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“LAST NIGHT” DIRECTOR MASSY TADJEDIN
The eponymous prior evening of Massy Tadjedin’s Last Night takes the form of an out-of-town business trip between handsome, somewhat taciturn and very married Michael (Sam Worthington) and Laura, his sexy and very interested coworker (Eva Mendes). Or, you could view it, the “last night” is the clandestine evening spent between Sam’s beautiful author wife, Joanna (Keira Knightley) and her still-charming ex, Alex (Guillaume Canet), while Sam is away. But most accurately — and no matter what your gender or point-of-view on modern relationships is — the film’s “last night” is best considered from its morning after, when whatever rash […]
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JIM MICKLE AND NICK D’AMICI, “STAKE LAND”
In so many ruined, dystopian futures, ravenous beings stalk the burned out countryside, praying on the flesh and/or blood of humans, while a small band of tough survivors, almost always including a grim professional killer, a protege and a young refugee, desperately try to escape this world overrun. This basic conceit resembles Jim Mickle’s somber, post-apocalyptic tone poem fashioned as a late night, grindhouse B movie, Stakeland, which proves altogether more satisfying than any of the recent cable and multiplex ready vampire narratives or dystopian dramas (The Road, Time of the Wolf, One Hundred Mornings or Children of Men). Despite […]
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ALISTAIR BANKS GRIFFIN, “TWO GATES OF SLEEP”
American independent films of the narrative variety are rarely hard art films. But in the case of Alastair Banks Griffin’s Two Gates of Sleep, which bowed at last year’s Directors’ Fortnight in Cannes before finding its way to AFI Fest last Fall, one should be ready to enter a long-take heavy, unspeakably gorgeous dirge that is sure of its influences and even more sure that it has something deeply resonant to express to you. It’s the type of movie that, as the cliche goes, requires the audience to “do some work,” that isn’t going to bend over backwards to entertain […]
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Adam Bhala Lough And Ethan Higbee, Tha Upsetter
Widely revered in reggae and hip-hop circles, Lee “Scratch” Perry is one of 20th century music’s most influential and mysterious artists, a tried-and-true rasta man whose lasting contribution goes beyond spawning some of reggae’s most seminal acts. He was, in fact, the driver for the aesthetic innovations that germinated into the two genres mentioned above, and he reinvented the image of the studio engineer from mere technician to artistic focal point. Now in his mid seventies and expatriated to Switzerland, he’s the subject of the feature-length doc The Upsetter, from the directors Adam Bhala Lough (The Carter, Weapons) and […]
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CHRISTOPHER SMITH, “BLACK DEATH”
Muscular and involving, Christopher Smith’s medieval adventure film Black Death is a satisfying throwback of sorts — a tense, character-driven period piece that is at once an action film and an act of historical reexamination, with a dash of slow burn horror and spiritual rumination to boot. Eddie Redmayne plays Osmund, a monk in a small bubonic plague-ridden hamlet in rural England. Cloistered from the decimation somewhat, he carries on a forbidden love affair with a young woman (Kimberley Nixon) from his home town. After dispatching her back to their village in order to escape the plague, Osmund is tasked with […]
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JORGE MICHEL GRAU, “WE ARE WHAT WE ARE”
In We Are What We Are, first time Mexican helmer Jorge Michel Grau creates a deeply unsettling portrait of contemporary Mexican urban life which steady grows into many things all at once: a sincere family drama, an earnest exploration of the moral implications of cannibalism and a ribald satire of the seemingly intractable political and economic corruption that is haunting present day Mexico. All moody nighttime vistas and grim, claustrophobic interiors, Grau’s film manages both social commentary and grisly, bone-chilling terror the old-fashioned way, but it still manages to have a depth of human feeling that isn’t the stock and […]
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Peter Byck, Carbon Nation
Hope is easy to sell, but fear is easier. Billing itself as a “climate change solutions” movie, Peter Byck’s Carbon Nation doesn’t want you to panic. If fear of the consequences of climate change has been the primary emotional content associated with the slew of climate-themed docs that have found their way to screens in the wake of An Inconvenient Truth, Carbon Nation dwells more on the possibilities that technological innovation, communitarian initiative and an end to political gridlock could have on our world. Time is short, but in Byck’s telling, the means to stymie the long-term catastrophes associated with […]
