One of the great joys of being a critic is the childlike sense of wonder that comes with being the first to discover something new (that, and as the esteemed music critic Lester Bangs once put it, getting free shit). I first met Zachary Oberzan after seeing his one-man show Rambo Solo, developed with Nature Theater of Oklahoma, in early 2009. (Yes, for the record the tickets were comp since I was reviewing for Theater Online.) At the time I wrote, “I have seen the theater future and its name is Rambo – or more accurately, one fearless thespian named […]

Starring True Blood‘s Ryan Kwanten, Red Hill is a suspenseful modern-day Western that uses Australia’s dramatic and vast landscapes to stage a drama of frontier justice with an antagonist right out of Halloween-style horror film. Kwanten plays a city cop assigned to a small outback town where he intends to raise a baby with his very pregnant wife. But his move coincides with the escape of Jimmy Conway (Tom E. Lewis) from the local jail. The indigenous Jimmy was wronged years ago, and his brand of frontier justice consists of non-stop mayhem. In my conversation with Hughes, he spoke about […]

It is both accurate and reductive to call Cam Archer’s Shit Year, which premiered at this year’s Cannes Film Festival in the Director’s Fortnight section, the story of a retiring actress grappling with the emotions produced by her move away from the Hollywood spotlight. Of course, on narrative terms, that is what it’s about. Ellen Barkin plays the actress, who has just given her final talk-show interview, moved to a cabin in the woods, and now spends her days avoiding her neighbors and flashing back to a brief affair she had with a younger actor (Luke Grimes) on the set […]

As filmmakers, we are genetically programmed to look to the future. The next script, the next movie, the next deal. After all, the films — on DVD, on hard drives, in canisters stacked in our closets — are their own memories. Except, of course, that a film only tells part of the story. They are the ends of their tales, not the beginnings, and they only tell their own stories, and not the dramas of their making. If at all, those stories that circle around a film are only sometimes relayed in magazine profiles or in books written by people […]

I’m at the Edinburgh Film Festival, jetlagged bad, and I’m asked for emerging filmmaker advice by some kid. He says, in particular, he wants to know about making art films and being a writer/director. Oh boy. I try to find something to say, but it’s disingenuous and the kid knows it. I go back to the hotel room and roll around in the bed, can’t sleep. The only thing on the T.V. is Michael Jackson’s body bag. I go to the window and look at the ancient castle and the ancient fog and I think about what I would tell […]

Aw man, I am thinking. Last Thursday’s New York Times is up on my computer screen and I’m looking at the virtual front page, just below what would be the fold. The headline: INDEPENDENT FILMMAKERS DISTRIBUTE ON THEIR OWN. It’s turf I’ve become increasingly familiar with in the last couple of months since I started plotting a DIY course for my documentary Strongman and I dig in to the article. I don’t get too far before I realize I have a serious problem—Sacha Gervasi took out a second mortgage on his house to pay for the distribution on Anvil. I […]

For the past three years, we’ve been pursuing a noble goal: to try to talk about movies and meaning in a way that might interest someone other than ourselves. We do this over at The Film Talk, and want our work to be an ongoing conversation about the movies and how they intersect with our lives. You’re welcome to join the conversation. Sometimes it’s difficult enough for us to interest each other, so that can be a pretty tall order. But thankfully there is sometimes also serendipity in talking about cinema – one of us has insights into the human […]

Sometimes people ask me how I went from living in Los Angeles, writing a studio film like 40 Days & 40 Nights, to living in Minneapolis, directing an independent comedy like nobody. It’s a fair question but it seems there’s a subtext here, too. Many people think independent film is a step down from the studio system. And I’m sure it is — for some people. But let’s go back. 40 Days & 40 Nights is about a guy who gives up sex for lent and then meets the perfect girl. The short version of how it was made goes […]

In A Dog Year, the feature film directed by George LaVoo from Jon Katz’s memoir, Jeff Bridges plays Katz, a midlife crisis-stricken writer who, impulsively and in an act of near-deliberate emotional self-destruction, adopts a rambunctious and unsocialized border collie, flying him cross country to his family’s split-level home and their two other dogs. And while Lavoo’s movie has its share of Beethoven-esque moments as the collie sprints down suburban streets or mischievously jumps rides on passing automobiles, the film is less about canine hijinks and more about the complex and unexpected emotional roles that dogs play in our lives. […]

A connoisseur of longing and remembrance who brings great sensitivity to each of his reflective fables, Japan’s Hirokazu Kore-eda should be better known in the States, as his films extend the tradition of world-class artists like Naruse and Ozu. Enthralled with the operation of memory and the impact of grief on the lives of everyday people, Kore-eda has created a body of work that’s as rich with feeling as it is modest in tone. In Maborosi (1995), Kore-eda told the story of a quietly devastated young widow struggling to move on after her husband commits suicide. He then departed from […]