Interviews
Interviews
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“A Form of Primal Theater”: Federico Cammarata and Filippo Foscarini on their Venice-debuting Waking Hours
Waking Hours is the auspicious, Venice-premiering feature debut of cinematic collaborators Federico Cammarata and Filippo Foscarini, graduates of the Experimental Center of Cinematography in Palermo. With Cammarata handling camerawork, Foscarini on sound, the duo have been working as a two-man team since their 2020 award-winning, mid-length doc Tardo Agosto. And their less-is-more approach shows (and then some). The film stems from the simplest of premises: a group of Afghan smugglers who’ve set up camp along the border between Serbia, Croatia and Hungary spend their nights smoking and chatting by the fire (the only source of light) when not discussing prices […]
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“You Pick Up Your Tools and Go Wherever the Wind Blows You”: Charli xcx and Pete Ohs on the Toronto-Premiering “Erupcja”
When Charli xcx walked into downtown New York bar Clandestino in May, 2024, she couldn’t have predicted that by the next day she would have committed to star in an independent film — especially one with no screenplay and scheduled to shoot just three months later, right before the start of her Brat tour. But that’s what happened when a chance encounter and free-flowing conversation led the pop star, actress and now writer and producer to say yes to the Toronto-premiering Erupcja, the latest “table of bubbles” film from Pete Ohs, a filmmaker who pursues both constant motion and a […]
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“A Desperate Search For a Reason to Wake Up”: Alexandre Koberidze on Dry Leaf
Georgian director Alexandre Koberidze’s second feature, What Do We See When We Look at the Sky? (2021), was a sprawling city symphony-like romantic fantasy; at 186 minutes, his third feature Dry Leaf runs a half-hour longer, but doesn’t extended the labyrinthine storytelling techniques of his breakthrough film so much as consolidate its strengths and streamline its magical-realist sensibility. Employing a hybrid approach familiar to his award-winning, similarly lengthy debut, Let the Summer Never Come Again (2017), Koberdize brings the more meditative and conversational qualities of that film to bear on a strikingly straightforward road trip tale that, rather than traffic […]
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“I Went Outside with the Idea, ‘This is My Last Day'”: Charlie Kaufman and Eva HD on Their Venice-Premiering “How to Shoot a Ghost”
Her face obscured in shadow, a woman, the poet, Eva HD, takes a photograph. Cut to words on the screen, a quote from another poet, Toni Morrison: “At some point in life the world’s beauty becomes enough. You don’t need to photograph, paint or even remember it. It is enough.” The paradox created by the juxtaposition of those words and that image animates How to Shoot a Ghost, Charlie Kaufman’s new Venice-premiering short film, written by HD, that sensuously and melancholically tangles with ideas around history, memory, cities and where consciousness goes when the body dies. Set in Athens, Greece, […]
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“Stunt-Vis was Never a Restriction”: DP Callan Green on Nobody 2
In Nobody, a government assassin turned middle-aged family man (Bob Odenkirk) breaks out of his humdrum suburban existence by instigating an escalating feud with the Russian mob. In the film’s sequel, out in theaters, a burnt-out Odenkirk now needs a break from his return to espionage. So, he packs up the family and heads to Plummerville, a run-down water park where he spent one of his happiest childhood summers. Action maestro Timo Tjahjanto (The Night Comes for Us) takes the directorial reigns for the follow-up, with New Zealand cinematographer Callan Green behind the camera. Green spoke to Filmmaker about the […]
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From Twin Peaks to Monument Valley: Duwayne Dunham on Legend of the Happy Worker
It’s well known that George Lucas approached David Lynch to direct Return of the Jedi (1983), and that Lynch (thankfully) demurred, instead pursuing Blue Velvet (1985). Less well-known is the fact that the two films share an editor—Duwayne Dunham, an unlikely hyperspace lane between two otherwise distant cinematic galaxies. As a director himself, Dunham has a body of work that poses yet another wrinkle in space-time: since making his feature debut with Homeward Bound: The Incredible Journey (1993), he has specialized in tales of misfit youngsters, predominantly for the Disney Channel. The announcement that his new film, the long-gestating Legend […]
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“There’s Something Very Homoerotic About Intense Male Friendships”: Alex Russell on Lurker
The first time we see retail worker Matthew (Théodore Pellerin), it’s through the eyes of his new friend Oliver (Archie Madekwe), as the up-and-coming popstar films him with a camcorder. It’s an arresting opening image, given how much the rest of Lurker finds Matthew gazing at Oliver in adoration instead. “I need a real person,” the fickle musician says, soon after their chance encounter. He’s talking about seeking the honest opinion of a regular person on his music, not the blind adoration of a fan. Little does he know just how meticulously crafted Matthew’s personality really is. Having secured a […]
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“The Nova Convention… a Free Artistic Experiment”: Aaron Brookner and Rodrigo Areias on Nova ‘78
Aaron Brookner and Rodrigo Areias’s Nova ’78 centers around the Nova Convention, a late ’70s avant-garde extravaganza that took place at NYC’s now defunct Entermedia Theater (Second Avenue and 12th Street) in honor of William S. Burroughs’s return to the U.S. after living more than 20 years abroad. It was also a great excuse to gather a who’s who roster of counterculture icons to perform in the presence of the postmodern wordsmith who’d profoundly impacted them all. That would include Patti Smith and Lenny Kaye, Laurie Anderson and Julia Heyward, Allen Ginsberg and Peter Orlovsky, Brion Gysin, Timothy Leary, Merce […]
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In Memoriam, An Interview with the Late Documentary Filmmaker Joel DeMott and her partner, Jeff Kreines
In my recent Filmmaker conversation with Julia Loktev about the making of her monumental documentary, My Undesirable Friends, I cited the work of the late documentary filmmaker Joel DeMott, because I believe there is a straight line between DeMott’s approach in the late 1970s to shooting vérité documentary using shoulder-mounted 16mm cameras and Loktev’s latter-day methods using iPhones. DeMott, who died in June, has been eulogized in obits in Documentary and The New York Times, so no need to recap her venturesome life and career here. Instead, my way of paying homage to the contributions of DeMott and her partner […]
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From Elitist to Egalitarian: Julian Radlmaier on Phantoms of July
The films of Julian Radlmaier have all been infused with a specific kind of longing for a better future in the sense of Marxist utopias. From his early films—A Spectre is Haunting Europe (2013) and A Proletarian Winter’s Tale (2014)—to the snappy meta-commentary Self-Criticism of a Bourgeois Dog in 2017 and 2021’s Bloodsuckers, aptly sub-titled “A Marxist Vampire Comedy,” Radlmaier has perfected the political allegory for our day and age. Static tableaux paired with outrageously funny one-liners (“Germany is sinking like the Titanic and we’re Leonardo DiCaprio”) make the films meme-friendly without compromising their devotion to labor politics and community. […]
