Directors
Interviews - Directors
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Hirokazu Kore-eda on Crafting Shots and Scouting Locations for Like Father, Like Son
Hirokazu Kore-eda is a wanderer. The Japanese director, 51, has been known to disappear on set, leaving his cast and crew wondering where their maestro’s ventured off to. For instance, while making his 2008 masterpiece, Still Walking, Kore-eda vanished for a spell, only to discover the flowering trees that became an invaluable motif in the film. The director’s exploratory nature, which one might partly attribute to his background as a documentarian, has proven crucial in the poetic meticulousness of his exteriors. However, his visual instincts are hardly outdoor-exclusive, and his keenness for selecting ideal settings and compositions is just as […]
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“Trusting the Subject as a Collaborator:” Jillian Schlesinger on Maidentrip
You may have heard of Laura Dekker, the Dutch wunderkind who announced at the ripe old age of 13 that she planned to sail around the world, by herself. Despite initial intervention attempts by her home government, Ms. Dekker set off from Gibraltar in August of 2010, in her 38-footer by the name of “Guppy,” and arrived in Sint Maarten 16 months later, fully intact. Much like her subject, Jillian Schlesinger did not go the safe route in her first full-length voyage as a filmmaker. A project four years in the making, with no opportunities for reshoots or reenactments, Schlesinger’s […]
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Kate Logan Discusses Religion in Documentary and Kidnapped for Christ
Making a documentary about religion can be a tightrope walk. While there is frequently much to criticize within religious communities and cultures, the trick is investigating these issues without belittling the subjects’ beliefs; when done poorly, films like Bill Maher’s Religulous come off as nothing more than ill-informed and ridiculous themselves. Now Kate Logan, a Los Angeles-based documentary filmmaker with an evangelical background herself, is entering that arena with her first feature, Kidnapped for Christ, which plays at Slamdance this week. The film joins others like last year’s God Loves Uganda and 2010’s Sons of Perdition in looking closely at […]
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Blood Money: Tze Chun on Cold Comes the Night
The sophomore effort from Tze Chun (Children of Invention), thriller Cold Comes the Night, uses invigorated noir conventions to evoke the betrayed modern social compact in a dreary, post-industrial strip of upstate New York. Chloe (Alice Eve), a poor widow and single mother, manages a fleabag motel, the type that charges prostitutes and johns by the hour. Social Services is on Chloe’s case for providing such a rotten environment for her eight-year-old daughter Sophia (Ursula Parker), giving her two weeks to straighten out their circumstances before they intervene. Then things get worse — a Slavic drug runner named Topo (Breaking Bad‘s Bryan […]
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Kevin Pearce and Lucy Walker Talk The Crash Reel
I’ve been to many documentary screenings, and even to some attended by the films’ subjects. But seeing The Crash Reel with its subject, Kevin Pearce, present was one of the most riveting movie screening experiences I’ve ever had. If you haven’t read about or seen the movie, The Crash Reel follows champion snowboarder Kevin Pearce through a debilitating accident, his recovery and then his slow coming to grips with the fact that he can’t go back to competitive snowboarding. On the face of it, this may sound unappealing, but The Crash Reel is no 60 Minutes bedside weepy. Instead, it […]
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Director Tomas Leach on In No Great Hurry: 13 Lessons in Life with Saul Leiter
Tomas Leach’s In No Great Hurry – 13 Lessons in Life with Saul Leiter was one of my few true discoveries of 2013. While covering the Thin Line Film Fest in Denton, Texas, I pretty much stumbled upon Leach’s poignant portrait of the legendary NYC photographer in his final years — Leiter died this past November — without knowing much about the man who ushered in the use of color photography. Since that February fest Leach’s film has gone on to screen DOC NYC and now premieres theatrically at the Film Society of Lincoln Center on January 3rd. Filmmaker spoke […]
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Asghar Farhadi on The Past, A Separation, and Crafting Earth-Shaking Drama From Small Moments
Every filmmaker is an anthropologist to some degree, but Iranian director Asghar Farhadi (above with The past actress Bérénice Bejo) is a rarity among the studiers. In his two most recent films alone, the Oscar-winning triumph A Separation and this year’s Cannes sensation The Past (which hits theaters today), the 41-year-old has proven himself a master chronicler of human minutiae, weaving the smallest of quotidian details into the grandest of layered, domestic drama. A filmmaker of richly palpable empathy, Farhadi can turn — as seen in A Separation — the pushing of someone out of a door into a life-destroying choice, […]
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Dutch Masters: Oeke Hoogendijk on The New Rijksmuseum
Clocking in at nearly four hours over several discrete parts, Oeke Hoogendijk’s The New Rijksmuseum details the taxing decade-long process of renovating the iconic Amsterdam art museum, home to many of the key works of the Dutch masters, that became an operatic civic brouhaha. First, the reconstruction of a central entranceway draws the ire of the city’s politically powerful bicyclists lobby, which is opposed to a partial obstruction of the central pathway that runs through the center of the museum’s ground floor that is an extremely popular thoroughfare for the bike riding hordes. The safety of the 13,000 bikes that […]
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After the Wave: Atsushi Funahashi on Nuclear Nation
Nuclear Nation, Atsushi Funahashi’s remarkably touching and informative doc about some of the 1,4000 now-homeless refugees that were forced to abandon their town in the wake of the Fukashima nuclear catastrophe, foregoes the agitprop route, one which given the scale and potential world historical costs of the still unfolding fallout from the disaster seems appropriate, for a more grounded and humanitarian look at the tragedy. Instead the 39-year-old Funahashi, best known in Japan as a narrative filmmaker whose previous credits include 2005’s Big River and 2012’s Cold Bloom, remains focused on a group of refugees who exhibit tremendous poise and […]
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The Fog of War: Shaul Schwarz on Narco Cultura
A war on drugs, or specifically on the drug cartels that profit from them, a war separate from the 40-year-old campaign waged by the United States (though, of course, intricately tied to it) was declared by the Mexican government in 2006. With over 60,000 known murders in the country directly tied to the drug trade since then, what good is this war doing, one is tempted to ask? The Federal Police and the Mexican military’s joint operation, Michoacan, has proven toothless in its attempt to stop either the flow of dope through Mexico or the violence that surrounds this insatiably […]
