“My First Studio, Commercially Made Film”: Ryūsuke Hamaguchi on Solaris, Asako I & II and Japanese Film School

Masahiro Higashide and Erika Karata in Asako I & II

When Ryūsuke Hamaguchi’s Happy Hour premiered in 2015, the 317-minute film raised a lot of questions, not least of which: who precisely was Hamaguchi, and what has he been doing for the last decade? There were some unkind trade reviews of…  Read more

By May 22, 2019

“Filmmaking is Like Combat — 90% Boredom, 5% Panic and 5% Terror”: Ken Kelsch on Four Decades as a Cinematographer

The Addiction

Born in Brooklyn, Ken Kelsch enlisted to fight in Vietnam when he was still a teenager. He became a decorated officer in the Army Special Forces, and with over four decades as a cinematographer, has amassed more than 50 credits…  Read more

By May 22, 2019

“My Work Has Always Inhabited That Liminal Space Between Desire and Compulsion”: Five Questions for Michelle Handelman On Her New Installation at signs and symbols


In its final week at Manhattan gallery signs and symbols is artist and filmmaker Michelle Handelman’s installation, LOVER HATER CUNTY INTELLECTUAL, a kind of remix of last year’s large-scale SFMOMA installation Hustlers & Empire for the smaller and more intimate…  Read more

By May 21, 2019

“Talking About It is One Thing, Making a Movie About It is Something Else”: Abel Ferrara and Nicola Nicolaou Share Old-School NYC Movie Memories

The Projectionist

Arriving back in New York, a city with which he is synonymous, Abel Ferrara has been popping up everywhere the past few weeks: from the Tribeca Film Festival, where his documentary The Projectionist had its world premiere, to the Museum…  Read more

By May 18, 2019

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