Hogir Hirori’s Sabaya tells the untold story of young survivors of Daesh sex trafficking. The documentary follows the actions of the Yazidi Home Center as they infiltrate the Al-Hol camp where several women and children were held against their will as slaves. As the editor of his own film (as well as the cinematographer), Hirori shares how he preserved the exigence of the Sabaya girls’ story while protecting their identities along the way. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this […]

“It’s about energy — how do we preserve the energy around the work and the artist?” That’s Sundance Film Festival director Tabitha Jackson speaking this morning at Sundance’s opening press conference about the thinking that went in to this year’s necessarily altered pandemic edition. With a slimmed-down schedule and screenings happening through the Sundance platform as well as at various “satellite screens,” Sundance has fully embraced the challenges and potentials of translating the Sundance experience to the ways in which we are living our (viewing) lives now. But several principles guided the Sundance team, said Jackson. One was the concept […]

Kenneth Branagh was only 29 when he wrote, directed, and starred in his debut feature, a rousing adaptation of Shakespeare’s Henry V that garnered massive critical acclaim upon its release in 1989. As a result, the young filmmaker was offered every costume drama and literary adaptation on the studios’ development slates, but he turned them all down in favor of an original screenplay by future Queen’s Gambit auteur Scott Frank that had been kicking around for years. Dead Again was Frank’s throwback to the gothic melodramas and film noir pictures of the 1930s and ’40s, a gloriously theatrical combination of […]

Even when a global pandemic hasn’t upended everything, year-end lists and surveys often strike a faintly apologetic tone, acknowledging up front that there’s something inherently frivolous about ranking films in preferential order (whether individually or collectively). “This is kinda dumb, but enjoy!” How, then, should I further diminish a poll conducted in the name of a publication that effectively no longer exists, conducted at the conclusion of a film year that can barely be said to have happened? Movie theaters in many major cities have been dormant since last March, and the Village Voice, which established the original freewheeling critics’ […]

2020 was going to be my year of festival-enabled travel. Instead, I went home, the last place I’ve ever wanted to be. This is my year in selected viewing, which begins when my 2020 really did; nothing before March is as vivid or urgent. March A friend generously offers a ride from True/False to Chicago, site of my inadvertently final vacation week; we set out at 7:30 am, breaking for lunch just across the Missouri-Illinois state line at a Steak ’n Shake (good patty melt!). The drive takes slightly over six hours and the conversation will be one of my […]

A man in a quiet suburban home makes a phone call. He stands by the window and holds the phone to his ear. The light on his face, the reflections from the window…. It’s morning. No one else is up. This seemingly innocuous moment could lead to any number of things, but, in Sean Durkin’s The Nest, an early-dawn overseas call prompts a life-changing shift for Rory, played to the hilt by a frightfully self-possessed and seemingly effortless Jude Law, his wife Allison (a remarkably calculated Carrie Coon), and their two children, the adolescent Sam and prepubescent Benjamin, (Oona Roche […]

When Dennis Hopper and Peter Fonda’s Easy Rider grossed somewhere around 120 times its cost in 1969, the Hollywood studios took notice and began scrambling to find their own Easy Riders, and their own Hoppers and Fondas. Universal executive Ned Tanen’s approach was to start a division that would give young filmmakers creative control provided they stuck to a one-million-dollar budget; the idea was that at that price Universal couldn’t really lose much, but if just one of the movies broke big it would pay for the rest and then some. The experiment yielded several very interesting films, including Fonda’s […]

Screening on The Museum of Modern Art’s Virtual Cinema through January 21, Ernie Gehr’s Lower East Side Trilogy combines three of his recent pieces: Autumn (completed 2017), Aproposessexstreetmarket (2018), and Circling Essex Crossing (2018). MoMA describes the trilogy as a sequel to Gehr’s Essex Street Quartet, currently screening in an installation on the Museum’s fourth floor. For Essex Street Quartet, Gehr reshaped footage he had taken some 45 years earlier. The Trilogy comprises new material that documents a rapidly changing Lower East Side. Gehr spoke with Filmmaker by phone from his home in Brooklyn. Filmmaker: How have you weathered the […]

Amos Poe had already directed one homage to Jean-Luc Godard’s Breathless (his 1976 debut feature Unmade Beds) when he began production on the 1984 thriller Alphabet City, but the latter film is the one that really earns the comparisons it invites to Godard and the French New Wave as a whole. A member of the East Village “No Wave” movement of the late ’70s and early ’80s that also included Abel Ferrara, Bette Gordon, Jim Jarmusch and Sara Driver, Poe began his career with the seminal punk rock documentary The Blank Generation, and Alphabet City is a singular mash-up of […]

In the world of Christopher Nolan’s Tenet, people from the future have figured out how to reverse the entropy of people and objects, making them “time inverted.” Effect precedes cause for inverted objects and people. Inverted bullets return from bullet holes and swirl back into the barrel of the guns that fired them, a fight between an inverted soldier and a soldier operating on regular time looks like a freak-puppet show, and reverse speech sounds like the dream speak from the Red Room in Twin Peaks. All someone has to do to swap their inversion status is enter a turnstile […]