Directors
Interviews - Directors
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“This Work is a Product of Survival”: Lea Glob on Tribeca 2023 Premiere Apolonia, Apolonia
[Editor’s note: Apolonia, Apolonia opens Friday, Jan. 12, at DCTV Firehouse.] Premiering in international competition at last year’s IDFA, where it took top prize, Lea Glob’s (2015’s Olmo and The Seagull) Apolonia, Apolonia is an intense character study of French figurative painter Apolonia Sokol. The Danish director met the artist, who is of Danish and Polish descent, while searching for the protagonist of her first doc while attending the Danish Film School, and then trailed her for the next 13 years. And while the bohemian free spirit, who was raised in a Paris underground theater founded by her eccentric parents (an […]
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“I Cried a Lot During the Edit”: Jude Chehab on Tribeca ’23 Premiere Q
Award-winning DP Jude Chehab’s cinematographic talents are on full display in her Tribeca-premiering feature debut Q, a haunting look at three generations of women whose lives were forever upended by a cult. In this case, the shadowy entity is the Qubaysiat—a matriarchal religious order founded in the Middle East, where the Lebanese-American filmmaker moved to from Florida at the tender age of 10—and eagerly joined upon arrival in Beirut, having fallen under the influence of a particularly devout member – her own mother. Filmmaker reached out to Chehab, a 25 New Faces 2021 alum, to learn more about her powerful cinematic […]
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“A Ukrainian National Awakening on Multiple Fronts”: David Gutnik on Tribeca 2023 Premiere Rule of Two Walls
David Gutnik’s Rule of Two Walls, its title a reference to the best place to be between during bombing raids, is a unique take on an exhaustively mined (some would say extracted) story—that of the current war in Europe. Combining doc and fiction, the film follows Ukrainian artists who have chosen to stay and fight for their homeland by making art and preserving culture as a means of resistance. And that includes those involved in the crafting of this very film. To learn all about this meta look at creation in a time of destruction, Filmmaker reached out to the Ukrainian-American writer-director […]
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“Directing Is Being a Professionally Passionate Person”: Celine Song on Past Lives
A lived-in, swooning memory piece on the intersection of roads taken and missed, Celine Song’s Past Lives is as confident as filmmaking debuts come. “I needed to invent the way that this movie should be made. I wanted it to be the first movie of its kind to be made,” Song tells me recently during an interview at the Madison Square Park—one of the locations of her film—over a picnic of petits fours and sparkling lemonade. “I think that every filmmaker pursues this when they approach a new project,” she continues. “I needed this to be something that stands on […]
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“It Really Does Take a Village”: Ted Schaefer on Giving Birth to a Butterfly
Our projected identities—and the constant performance inherent in presenting ourselves—fuel the surrealist philosophy of Ted Schaefer’s Giving Birth to a Butterfly. The filmmaker’s directorial debut, from a script he co-wrote with author Patrick Lawler, delves into a psychedelic psychology of what truly constitutes “the self” (very fitting for a collaborative duo who met through a mutual therapist). Giving Birth to a Butterfly largely consists of a roadtrip odyssey shared by Diana (Annie Parisse), a pharmacist stuck in an unfulfilling marriage to aspiring chef Daryl (Paul Sparks), and Marlene (Gus Birney), a heavily pregnant young woman who’s dating Diana’s son Drew […]
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“I Had Three Art Directors and Two Cinematographers”: Rodrigo Moreno on The Delinquents at Cannes 2023
It’s the rare three-hour film that has as light a touch as The Delinquents while keeping a deft hold on the audience. That’s partly down to its surefire bank heist plot, borrowed somewhat from Hugo Fregonese’s 1949 Argentine noir Hardly a Criminal: a longtime clerk steals enough money to retire on, stashes it, then goes to jail, planning to recover the loot upon release. Morán (Daniel Elias) is the nebbishy thief in Rodrigo Moreno’s new film, which premiered in Un Certain Regard at Cannes to general delight. But his accomplice on the outside, Román (Esteban Bigliardi), gets distracted by another […]
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“Giving Birth to Ourselves”: Kira Kovalenko on Unclenching the Fists
Unclenching the Fists, the sophomore feature from Russian director Kira Kovalenko, is set in Mizur, a small mining town in North Ossetia, one of seven autonomous republics in the perpetually unsettled constellation that is the North Caucasus. The liminal setting—at once vertiginous and cramped, as though a town sprouted up from the bottom of an avalanche—is key to the film’s moods, swinging from yearning to resignation and back. We root for the film’s young central character, Ada, played by Milana Aguzarova in a remarkable debut, to free herself from these shadows upon shadows—her brute father, her lapdog brother, a pile-up […]
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“I Wanted You To Feel Like These Kids Need a Tetanus Shot By the End of It”: Weston Razooli on His Cannes-Premiering Neo-Fairy-Tale Adventure, Riddle of Fire
Weston Razooli’s debut feature, Riddle of Fire, premiering in the Cannes Film Festival’s Director’s Fortnight, begins with a charming and clever premise. After we watch a trio of masked kid adventurers steal a video game console from a warehouse, escaping from the pursuing security guard on their dirt bikes, they’re unable to play it. One of their moms has placed a parental lock on the TV, and, recovering from an illness, she’ll only give them the password if they get her a blueberry pie — something her own mom used to give her when she was sick as a child. […]
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“I Observe Human Behavior With Such Pleasure”: Nicole Holofcener on You Hurt My Feelings
It’s no surprise that Nicole Holofcener prides herself in thinking that she can always tell when people are lying to her about her work. After all, she’s as observant as writer-directors come, able to portray even the slightest nuances in idiosyncratic human behavior across the likes of Please Give, Friends with Money, and Enough Said. “There are certainly some tells,” she says, during a recent Zoom interview with Filmmaker on her latest feature You Hurt My Feelings, centered on the white lies we tell loved ones about their work in order to, well…not hurt their feelings. “The bad ones are […]
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“Sometimes the Present Erases the Past, and Sometimes the Past Erases the Present”: Steve McQueen on His Cannes-Premiering Occupied City
Tourists in Amsterdam typically stop at the Anne Frank House, but the ever-moving conga line of visitors tends to work against reflecting on the reality of its rooms. Steve McQueen’s Occupied City opens up a space for contemplation of a hundred-plus houses, buildings, and other sites across Amsterdam that are marked by World War II and the Holocaust in some way, tracing scars and trauma that may no longer be visible, much less widely known. Informed by an illustrated book by McQueen’s partner, Bianca Stigter (who directed Three Minutes: A Lengthening), it’s a living atlas: scenes of pandemic-era Amsterdam, overlaid […]
