Directors
Interviews - Directors
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Trauma & Transformation: Alma Har’el on Her Shia LaBeouf Drama, Honey Boy
Alma Har’el’s Honey Boy is an emotional prism, generating moments that are warm, traumatic, unsettling and scarring. So, it’s no wonder that the process of constructing such an intimate and emotionally shattering film was equally grounded in feeling. Har’el’s narrative feature debut (her previous features are the documentaries Bombay Beach and LoveTrue) contains Shia LaBeouf’s most gripping performance to date and showcases the two collaborators’ ability to make art containing expressive power and emotional wisdom. In Honey Boy, also written by LaBeouf, we meet Otis (Lucas Hedges), a movie star who’s sent to rehab and forced to confront his childhood […]
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The Forever War
Alejandro Landes’s Monos parachutes viewers atop a hillside in an undefined part of South America, where a group of child soldiers live a cult-like existence—playing, observing various ritualistic rites of passage and waiting for radio orders that will send them fighting into the guerrilla war occurring in the land below. Their identities are already reduced to one-name labels (Rambo, Smurf, Bigfoot et al.), and their training is chaotic—and that’s before they are given orders relating to the hostage they are overseeing, Sara Watson, an American engineer played by Julianne Nicholson. Descending from the mountaintop and along the river, their tenuous […]
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The Soul that Remains: Paul Harrill on Light from Light
Paul Harrill’s Tennessee-set Light from Light, which premiered this year at Sundance, stars Marin Ireland as a paranormal investigator who may or may not believe in ghosts and Jim Gaffigan as a recent widower who still feels his wife’s presence in their house. Harrill is quick to point out that it is definitely not a horror film, and anyone expecting scares will be disappointed. Instead, Harrill investigates seemingly more mundane day-to-day Southern living (as he did in his previous effort, Something, Anything), and in it finds a delicate balance between reality and spirituality. I saw Light from Light at the […]
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Made For These Times: Ulrich Köhler on In My Room
Ulrich Köhler’s In My Room begins with what looks like a DCP glitch. The view is from a handheld news camera entering a press conference scrum, its operator confirming in voiceover that he’s rolling while roaming from lectern to lectern. Each time an official statement is delivered, the image cuts to the aftermath—the as-yet-unseen cameraman, Armin (Hans Löw), has confused the “off” and “on” switch, and the inadvertent B-roll he shot is unusable. All of Armin’s life is similarly shabbily disarrayed: At a club, he picks up a young lady and brings her home, but an ill-phrased refusal to let […]
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“There Was Almost a Competition to See Who Could Spit on the Film More”: Ognjen Glavonić on The Load
A road trip movie where the destination is clear but the intent is hidden, Ognjen Glavonić’s The Load is something of a taut genre film with political subtext. Set in Yugoslavia during the 1999 Kosovo War (that ultimately concluded with the catastrophic NATO bombing that went unapproved by the UN Security Council), The Load goes micro in its study of a truck driver who’s trying to make ends meet by driving unknown cargo from one destination to another. What he’s transporting, he doesn’t bother to ask and he certainly doesn’t want to know. Drab and dreary, war-torn and ravaged, The […]
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“With Digital You Have to Spend a Lot of Money Before It Becomes Free”: Mark Jenkin on His Hand-Processed 16mm Bait
If you’ve heard much at all about Bait, the breakthrough feature of British filmmaker Mark Jenkin, it’s likely concerned the anachronistic means by which he’s constructed the experimental drama. Shot on a hand-cranked Bolex camera in black-and-white 16mm, then hand-processed by Jenkin himself with an assortment of unusual materials that lend scratchiness to the images, the film offsets potential accusations of gimmickry in making these aesthetic choices relevant to evoking something specific about where it’s set, an unnamed fishing village in the county of Cornwall in southwest England. As writer Ian Mantgani describes in his review for Sight & Sound, […]
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“Every Viewer Can Decide What to Believe or Not Believe, Who to Trust and What to Question”: Avi Belkin on His SundanceTV True Crime Series No One Saw a Thing
Currently playing on SundanceTV, the Blumhouse-produced No One Saw a Thing is a true crime series directed by Avi Belkin, whose unexpectedly riveting Mike Wallace Is Here premiered earlier this year at Sundance (and launched in theaters just last month). It revisits a surreal episode in American vigilante history in which the small town bully of Skidmore, Missouri was shot to death while sitting in his truck, his wife by his side. This occurred back in 1981 —and to this day no one’s been charged. Even though a good chunk of the population witnessed the murder. While this mystery remains unsolved, […]
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Brief Encounters: Director Jim Jarmusch on the Poetic Downtime of Coffee and Cigarettes
The following interview with Jim Jarmusch was originally published as our Spring, 2004 cover story, and it is appearing here online for the first time. — Editor “Why do people go to the cinema?” Andrei Tarkovsky writes in a book of essays, Sculpting in Time. “I think that what a person normally goes to the cinema for,” he goes on, “is time: time lost or spent or not yet had.” Time lost, spent or not yet had is the stuff of Jim Jarmusch’s new feature, his ninth, Coffee and Cigarettes. Consisting of 11 short vignettes, all featuring two or three people […]
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“Is That a Little Too Much Like Scooby-Doo?” Radio Silence on Ready or Not
Opening with a wedding and concluding with some kind of funeral, the horror-comedy Ready or Not is a welcomed late summer season addition. Grace (Samara Weaving) and Alex (Mark O’Brien) are married at the Le Domas family mansion. After the ceremony, the family announces that, as is tradition, they will promptly play a children’s game with (or more accurately, against) the bride, as she is the newest member of the Le Domas family and thus must pass a test. The game is Hide and Seek, and if Grace can make it to morning, she lives. If the Le Domas family […]
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“It’s a Choice: To Be a Filmmaker or a Human”: Ljubomir Stefanov and Tamara Kotevska on Honeyland
The award-winning documentary Honeyland marks the second collaboration between directors Ljubomir Stefanov and Tamara Kotevska. Set in Bekirlijia, a rural village in Macedonia, it focuses on Hatidze Muratova, who follows ancient beekeeping traditions while caring for her ailing mother Nazife. Despite her efforts to be self-sufficient, political and economic decisions have a profound effect on Hatidze and her ability to survive. Synopses of Honeyland can make it seem like a dull, self-righteous nature documentary. Instead, it’s a film filled with contradictions and narrative reversals. Characters make self-destructive, at times inexplicable choices, often under the guise of kindness and generosity. Hatidze […]
