Filmmaking
Filmmaking
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LAFF 2012: CREATIVE NONFICTION
In a very real way, Birth Story: Ina May Gaskin and the Farm Midwives presents the other side of the Pincus coin: where that film teeters near death, Sara Lamm and Mary Wigmore’s documentary focuses on birth. Gaskin, regarded as the “mother of authentic midwifery,” has been present for over 1,200 births, written four books, and lectured across the U.S. and abroad since founding the Farm Midwifery Center in Tennessee in the early ’70s—no slim resumé. Lamm and Wigmore have compiled a great deal of footage from the period – bearded men wielding guitars, fuzzy camerawork, and hippie gatherings are […]
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Five Questions with The Unspeakable Act Director Dan Sallitt
The filmmaker and critic Dan Sallitt has created some uncompromising, beautiful films over the years; from his feature debut All The Ships At Sea to the Honeymoon, Sallitt has examined the intersection of intimacy and personal identity with thrilling results. His latest film, The Unspeakable Act, which examines the incestuous sexual desire of a young woman named Jackie (Tallie Medel), had its World Premiere at the recent Sarasota Film Festival (where I serve as Director) and will be screened at the upcoming BAMcinemaFest on Sunday, June 24th. Filmmaker: I wanted to ask you about the issue of desire. The Unspeakable […]
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DIRECTOR KEITH MILLER ON “WELCOME TO PINE HILL”
Keith Miller’s Welcome to Pine Hill is a totally original mixture of gritty, semi-improvised urban drama and freefloating spiritual journey. When I first saw it, I flashed back to J. Hoberman’s take on Carlos Reygadas’s Japon: “handheld Tarkovsky.” The films are very different, but I sensed a similar impulse in Miller’s story of a drug dealer (played here by a revelatory Shannon Harper) attempting to go straight while receiving catastrophic health news. The film plays tomorrow night at BAMcinemaFest. Here’s an interview I did with Miller, previously posted for the film’s Slamdance premiere.
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The Blue Velvet Project, #129
Second #6063, 101:03 Layered with unfolding narrative information, this frame depicts the brief confrontation with Mike, who threatens to kick Jeffrey’s ass “right in front of your own stupid house.” With the vintage cars, Mike’s friends looking on, the fight over the girl, and the classical-era wide framing, this could be a scene straight of Rebel Without a Cause. Except that there, having just emerged in the background and unnoticed by everyone at this point, is the completely naked and bruised Dorothy, who appears on Jeffrey’s porch just behind Mike’s friends. In a few seconds Mike will be the first […]
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Five Questions with Big Easy Express Director Emmett Malloy
In Big Easy Express, director Emmett Malloy documents a tour by three cult-favorite indie-folk bands: Edward Sharpe and The Magnetic Zeros, Old Crow Medicine Show, and Mumford & Sons. But the free-wheeling travelogue that develops is equal parts itinerant jam, extended family picnic, and traveling carnival, with Malloy and his crew as the cinematic roustabouts getting it all down for posterity. The film follows the three bands from Oakland to New Orleans, giving us a glimpse not only of their concerts but of their camaraderie as they live and travel on a train together, sharing songs, time, and experiences, and […]
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Five Questions with Exit Elena Director Nathan Silver
“Sorry to put you in the middle of this,” says Cindy Akerman (Cindy Silver) to Elena (Kia Davis), as they sit at breakfast and she argues with her husband about her decision to hire Elena as a live in nurse for his mother without telling him. And so it begins. At 71 minutes long, filmmaker Nathan Silver’s Exit Elena is an exquisite gem of a movie. We watch as Elena is dragged into the dysfunction of family life and struggles to maintain her professional role looking after the elderly Florence (Gert O’Connell) while her employer drags her along to zumba […]
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JENNIFER FOX: “IF I HAVE A CHOICE, I ONLY WORK WITH WOMEN”
To mark the 25th season of POV (which kicks off tonight), Filmmaker organized a conversation between two of the PBS doc series’ alums, Jennifer Fox and Cristina Ibarra, which we’ve been running all week on the site. At the end of a wide-ranging discussion, the topic of women in film came up, and specifically the huge disparity between the numbers of men and women working in the industry today. Fox — whose movie My Reincarnation opens the POV anniversary season tonight — had strong, impassioned words about her feelings on the situation: I have to say, the older I get […]
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POV @ 25: Jennifer Fox and Cristina Ibarra on Women in Film
In celebration of the 25th season of PBS’ groundbreaking documentary series POV, Filmmaker is this week running a four-part conversation series between two non-fiction directors with close ties to the show. A few weeks ago, acclaimed documentarian Jennifer Fox — whose 20-year project, My Reincarnation, kicks off the 2012 POV season today — and The Last Conquistador director Cristina Ibarra, a relative newcomer to the non-fiction scene, sat down to talk about a variety of issues that arise from their work. Despite radically different backgrounds and, at the time of the conversation, being literally continents apart — NYC resident Fox was […]
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The Invisible War — A Hammer to Nail Review
(The Invisible War world premiered at the 2012 Sundance Film Festival, where it won the Documentary Audience Award. It is being distributed by Cinedigm and Docurama Films and opens theatrically on Friday, June 22, 2012. Visit the film’s official website to learn more.) There are “important” movies, and then there is The Invisible War. Kirby Dick and Amy Ziering’s investigative documentary about sexual abuse in the American military exposes a heretofore under-reported systematic horror show of unfathomable proportions. To watch it as an innocent civilian is to admit compliance in a crime that you didn’t even know had been committed […]
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The Blue Velvet Project, #’s 126, 127, 128
Second #5922, 98:42 Second # 5969, 99:29 Second # 6016, 100:16 In honor of Andrew Sarris, who passed away yesterday, three frames from Blue Velvet. Although Sarris’s essay “Notes on the Auteur Theory in 1962” (which appeared in the Winter 1962-63 issue of Film Culture) is best-known for its argument that “over a group of films, a director must exhibit certain recurring characteristics of style, which serve as his signature,” the essay also grapples with a more difficult, elusive, less discussed aspect of the auteur theory, what Sarris called a film’s “interior meaning”: The third and ultimate premise of the […]
