Directors
Interviews - Directors
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Cannes 2023: Lisandro Alonso on Eureka
Lisandro Alonso’s Eureka, which premiered as a Special Screening at this year’s Cannes, begins as a parodic reworking of the filmmaker’s last feature, 2014’s Jauja. There, Viggo Mortensen played a Danish captain crossing inhospitable Argentinian territory in the 1880s with his daughter (Viilbjørk Malling Agger), while encountering what from his perspective are “natives” to be fearfully avoided; Eureka renders that feature’s “not without my daughter” elements as a black-and-white Western set in an indeterminate any-Western-town of America. Mortensen and Agger are once again father-and-child, but this time he’s a considerably dirtier and more disreputable cowboy type. In impeccable academy-ratio black-and-white with rounded […]
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Three Bullets in the Gun: Paul Schrader on Master Gardener
If a screenplay packs a big reveal, in which everything you think you know about the lead character is immediately upended, does the film live and die by its twist? Or is it even considered a twist when said reveal arrives 20 minutes into a 112-minute feature? Paul Schrader’s latest, the intentionally provocative but surprisingly gentle (for a Paul Schrader movie) Master Gardener, is not a film that lives or dies by what you know going into it, but, as is the case with most of his offerings, I’d advise you to not look up more than your local showtimes. […]
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“A Shifting Metaphor for a Lost Dream of Society”: Srđan Keča on The Museum of the Revolution
Investigating the death of a utopian vision coalesces with a survey of a “developing” dystopian hellscape in Museum of the Revolution, the sprawling, meditative effort from filmmaker, researcher and educator Srđan Keča. Through a series of charming vignettes that are nonetheless thick with human despair (and radical joy in the face of it), Keča’s documentary examines the crumbling remains of the titular edifice in the otherwise rapidly evolving city of Belgrade, Serbia. Construction of the building originally commenced in 1961, and the never-formally-erected Museum of the Revolution was conceived as a grand tribute to then-socialist Yugoslavia. Yet the project was […]
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“I Sort of Became the Festival Therapist”: Writer-Director Jamie Sisley on Addiction Drama Stay Awake
The delicate coming-of-age process is curbed by one family’s struggle with a so-called “crisis” in Stay Awake, writer-director Jamie Sisley’s feature debut. Of course, the crisis at hand is the opioid epidemic, and the afflicted party is a tight-knit family living in a small Virginia town. Michelle (Chrissy Metz, best known for her role on NBC’s This Is Us) is a single mother who undeniably loves her two sons Ethan (Wyatt Oleff) and Derek (Fin Argus). But unfaltering devotion on its own cannot keep Michelle sober, particularly when her doctor keeps refilling her highly-addictive prescription. Most nights, the brothers find themselves desperately […]
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Binaural Recording, Room Tone, and Voices from the Past: Sam Green on His Documentary 32 Sounds
When it came time to title his 2018 documentary about The Kronos Quartet, director Sam Green chose A Thousand Thoughts. Referring to an older Kronos composition, the title also spoke to the film’s approach, which was to use the music and biography of the Bay Area classical group to summon up a range of allusive meditations on ephemerality, culture, legacy and death. For his latest documentary, ostensibly about the much larger and more amorphous topic of “sound,” Green has gone in the numerically opposite direction. 32 Sounds, which opens today at New York’s Film Forum, announces itself as a sort […]
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Secrecy and the Creation of “Nakedness” On Screen: Director Kristy Guevara-Flanagan and Producer Helen Hood Scheer on Their Documentary, Body Parts
In their documentary Body Parts, which premiered at Tribeca Film Festival in 2022 and is now streaming on digital platforms, director Kristy Guevara-Flanagan and producer Helen Hood Scheer confront issues of the male gaze and male supremacy within the film industry. The vastly informative film explores topics such as body doubling, beauty retouching in post, sexual harrassment on set and the introduction of intimacy coordination. Through candid interviews, an expansive array of archival footage and reenactments, this film thoroughly uncovers the darker history of sex on screen, also highlighting the ways in which tides are changing with more female filmmakers […]
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“I’m Very Comfortable With Repeating Ideas Until They Are Perfected”: Kristoffer Borgli on Sick of Myself
One of John Waters’s favorite movies of 2022, Sick of Myself possesses a distinctly American outlook despite being the creation of Norwegian filmmaker Kristoffer Borgli. Indeed, the ego-driven, crime-ladden pursuit for fame and recognition are as present in Sick of Myself as they are in many of American trash ambassador Waters’s films. “No, it’s not Female Trouble,” wrote Waters in his Artforum blurb of the film, “but it’s just as nuts,” and the film’s overtly American satirical edge has everything to do with his decision to relocate to Los Angeles several years ago. Sick of Myself follows Signe (Kristine Thorp), a […]
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“Self-Aware Doesn’t Work for Us”: Joe Dante on The Movie Orgy, Matinee at 30 and William Castle’s The Tingler
All of Joe Dante‘s films revolve around distinctly American paranoias—consumerism, threats to the nuclear family, suburban NIMBY sensibilities—but none feel more entrenched in a tangible era of American anxiety than Matinee. Now 30 years old, the film takes place during the height of the Cuban Missile Crisis, centering B-movie shlock jockey Lawrence Woolsey (John Goodman, riffing big time on William Castle), who lands in a panicked Key West, Florida for a promotional screening of his radioactive new horror film Mant (half-man, half-ant, all monster!) Both enraptured and horrified by the real-world implications Woolsey’s film hints at (nuclear disfigurement, neighborhoods-turned-warzones, the […]
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“A Fear of the Freedom That You Thought You Wanted”: Saim Sadiq on Joyland
Winner of the Queer Palm at Cannes last year, writer-director Saim Sadiq’s feature debut Joyland depicts a blooming love between closeted married man Haider (Ali Junejo) and Biba (Alina Khan), a trans erotic performer who employs Haider as one of her (heretofore untrained) back-up dancers. The film chronicles the ever-shifting dynamics between Biba, Haider, his wife Mumtaz (Rasti Farooq) and their intensely patriarchal immediate family. A ban on the film in Sadiq’s native Pakistan occurred due to Joyland‘s queer explorations. In a public statement, a right-wing government pundit stated that the film was “against Pakistani values,” adding that “glamorizing transgenders […]
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“Sex and Sexuality Have Been Central to All of My Movies”: Gregg Araki on Restoring The Doom Generation
The tongue-in-cheek title card for The Doom Generation—“a heterosexual movie by Gregg Araki”—isn’t merely an enduring “fuck you” to homophobes. Amid a sexless and puritanical American film landscape, coupled with an equally regressive online discourse on whether sex scenes in films are ever truly necessary, the emphasis on a sexual movie by Gregg Araki, regardless of orientation, transmits a much-needed erotic jolt. Newly restored in a 4K director’s cut, with grisly moments previously nixed for an Araki-unapproved R-rated cut now restored, The Doom Generation follows a trio of heartthrobs on a road trip from hell. After a night out clubbing, teen […]
