“Christopher LaMarca and Jessica Dimmock’s The Pearl is a nighttime movie,” wrote Vadim Rizov out of True False in 2016, “all quiet, warmly illuminated interior spaces populated by a self-supporting community.” That community is one of older trans women living… Read more
Meredith Alloway’s interview with director and DP Reed Morano (one of our top posts of the year), where Morano explains the exhaustive preparation that led her to be hired to direct the pilot of Hulu’s Margaret Atwood adaptation The Handmaid’s… Read more
A German fighter pilot shot down over Crimea, rescued by nomadic tribesmen. A chronically depressed veteran, in near total isolation in the wilderness. A difficult pupil turned iconoclast pedagogue. Whether apocrypha or self-imposed legend, all these identities defined the persona… Read more
Paul Thomas Anderson held a Reddit AMA today, where the subject of a video from 1992 came up. In the video, Anderson wanders the set of the Robert Conrad movie Sworn to Vengeance, asking various crew departments about their work and… Read more
Cinematographer Christopher Doyle’s interview with Kaleem Aftab was one of our most highly-read pieces of last year, and in this concise interview posted at the ARRI channel, he discusses specific aspects of his methodology, including adapting his approach to his physical surroundings and the importance of camera ergonomics.
A hotel left empty during wintertime, a stormy island and a lone caretaker are the poetic elements of Brian Bolster’s elegant Winter’s Watch, a short documentary screening on the Atlantic Selects. For 19 winters photographer Alexandra de Steiguer has worked as a caretaker of the Oceanic Hotel, an imposing structure located on Star Island, 10 miles off the New England Coast. The island’s lone inhabitant, she sinks into her solitude and makes images, although, it is clear that, in this instance, her artistic practice is a byproduct of her need to escape the noise of the mainland and exist, one-on-one, […]
The incontestable highlight of last night’s NYFCC awards dinner was Tiffany Haddish’s acceptance speech for best supporting actress in Girls Trip. An 18-minute set in all but name, punctuated by strategic refueling sips, it was epically uncontained; the best historical record we have is this video from Buzzfeed’s Alison Willmore.
If the 25 films highlighted in David Ehrlich’s annual supercut review of the year in film aren’t enough for you, try this mash-up from Sam Barnett, featuring 304 titles from last year. For a full list of all the titles included, click here.
If you don’t have access to all the work, and if you’re not plugged into the industry development community, the annual Black List — a “most-liked” list of unproduced screenplays floating around in Hollywood — is always a bit of head-scratcher list. Do the loglines — Daddio‘s “A passenger and her cab driver reminisce about their relationships on the way from the airport to her apartment in New York,” or The Mother‘s “A female assassin comes out of hiding to protect the pre-teen daughter she gave up years before” — herald exciting new voices or simply clever takes on durable […]
From 2004 to 2016, Steve Bannon directed nine feature-length documentaries. Bannon, who professes open admiration for the aesthetics of Leni Riefenstahl, believed for a time that his films, which bear dire titles like Battle for America, Fire From the Heartland and District of Corruption, would catapult him to prominence as the right-wing’s cinematic answer to Michael Moore. Diving into his oeuvre is not unlike experiencing the last decade’s-worth of popular political documentaries but through a conservative looking-glass. Bannon’s films illustrate both his dangerously apocalyptic worldview, and provide an object lesson for probing the thin line between documentary and propaganda. They’re also near-unwatchable. But, they are texts worth encountering in order to get […]