Interviews
Interviews
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“One Light Has to Win”: DP Michael Simmonds on Halloween Ends
Pronouncements of finality by slasher franchises have always been amusingly premature. Final Chapters. Final Fridays. Final Nightmares: You can’t keep a good (or at least a profitable) slasher down for long. While Halloween Ends—the 13th film in the franchise—probably won’t be the last we ever see of Michael Myers, it certainly does feel like the conclusion of director David Gordon Green’s chapter of the story. Set four years after Halloween Kills, the new entry finds Myers long missing from Haddonfield and Jamie Lee Curtis’s Laurie Strode attempting to move on with her life. She’s relocated from her remote survivalist compound […]
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“This Is as Grassroots as It Gets”: Pretty Problems Star Britt Rentschler, Back To One Episode 225
Britt Rentschler is the star of Pretty Problems, a smart and hilarious new indie adult comedy which she also produced and helped write with screenwriter and co-star Michael Tennant. In this episode, she talks about their lengthy commitment to making the story work, building their characters with depth, and the risky but triumphant decision to cast their talented friends in supporting roles rather than famous actors who might have secured more money. She describes how her apprehension toward playing the lead role of Lindsay actually benefited her performance, the ways director Kestrin Pantera brought the best out of everyone, plus […]
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Karen Lamassonne on the Grupo de Cali, Luis Ospina and Pornomiseria
Currently on view at the Swiss Institute, multidisciplinary artist Karen Lamassonne’s exhibition “Ruido / Noise” is one of the season’s essential gallery shows. In addition to a life-spanning survey of paintings, photography and sculpture by the Colombian-American artist, the show details Lamassonne’s work as an art director, perhaps most famously on Luis Ospina’s pitch-black 1982 vampire parable Pura Sangre (Pure Blood). Lamassonne was a key figure in the storied Grupo de Cali, a posse of artists, writers and filmmakers based in the city of same name, notorious both for their hard-partying lifestyle and their bottomless appetite for the macabre. Ospina […]
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“I’m a Little Bit Sick in the Head”: Scott Adkins on Accident Man: Hitman’s Holiday
Scott Adkins is a proselytizer for the art of Hong Kong action films, receiving his baptism as a bit player on Jackie Chan’s The Accidental Spy in 2001. He has been trying to bring Chan’s level of craft and creativity to English-language action ever since, climbing the ranks of the direct-to-video market with gravity-defying kicks until his picture on the box could sell units alongside those featuring Van Damme and Lundgren. Though he has made memorable spin-kicking turns on big Hollywood productions like Doctor Strange and Day Shift—even landing a role in next year’s John Wick: Chapter 4—his bread-and-butter remains […]
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Nothing Can Fall Out of an Image: Heinz Emigholz on Slaughterhouses of Modernity
Slaughterhouses of Modernity, the latest film by Heinz Emigholz, has arrived in New York. The filmmaker refers to it in passing as a work of propaganda, which means, he reminds me, that it is a film designed to advance an agenda. To this end, Emigholz has adopted a mode of direct address. With John Erdman, Stefan Kolosko and Arno Brandlhuber acting intermittently as chorus, Slaughterhouses of Modernity castigates the works of art, architecture and philosophy—collected post-hoc under the banner of Modernism—nourished by the conditions of genocidal, colonialist, “Western values.” For Emigholz, the century that seemed to place the individual at […]
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“Don’t Shoot Too Many Takes”: Walter Hill on Dead for a Dollar
The closing title card of the new Western Dead for a Dollar includes the dedication “In Memory of Budd Boetticher.” Had director Walter Hill worked during Boetticher’s era, he too may have churned out exceptional, modestly budgeted Westerns at a clip of roughly one a year, like Boetticher did for Columbia Pictures in the 1950s. Instead, Hill has settled for being one of a handful of contemporary repeat practitioners of the Western, a disparate group ranging from Clint Eastwood to the Coen Brothers, Kevin Costner to Quentin Tarantino. Hill’s first Western, The Long Riders—a retelling of the Jesse James story that […]
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“Extremity in All Forms of Human Experience”: Director David Bruckner on Hellraiser
In director David Bruckner’s Hellraiser reboot, it’s clear that co-writers Ben Collins and Luke Piotrowski were committed to representing a more faithful version of Clive Barker’s original Hellraiser text, The Hellbound Heart, than continuing any storyline already explored within the long-spanning cinematic franchise. This is for good reason: While Barker’s 1987 Hellraiser (which he helmed due to frustrations with other filmmakers failing to capture his work’s essence) is a renegade horror classic, the subsequent nine sequels are widely considered to be tepid, half-baked follow-ups. In this version of the story, a young woman named Riley (Odessa A’zion) struggles with drug […]
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Wayward Spirits: Nia DaCosta Interviews Nanny Writer/Director Nikyatu Jusu
Nanny, the feature debut from writer-director Nikyatu Jusu, evokes a truly rebellious spirit, channeling West African folklore as a liberatory chaos agent to confront the xenophobia, racism and misogyny that regularly besets immigrants working as domestic laborers in the United States. Aisha (Anna Diop), a Senegalese woman living in New York City, is initially ecstatic when she lands a gig as a live-in nanny for a wealthy family in Manhattan. Amy (Michelle Monaghan) and Adam (Morgan Spector) appear to be well-intentioned employers, and their daughter Rose (Rose Decker) instantly connects with Aisha. However, she quickly realizes that the family’s swanky […]
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Within Memory: Writer/Director Charlotte Wells on Aftersun
Charlotte Wells has been saying that her first feature, which she calls “emotionally autobiographical,” was inspired by leafing through a family album and realizing how young her father was when she was born. A bittersweet aura permeates Aftersun, in which Sophie, just turned 11, spends a week before the start of term with her father, 30-going-on-31 Calum, on vacation at a Turkish hotel, just across the road from the all-inclusive resort where they sneak food from the buffet. Like Johnny Marco (Stephen Dorff) in Sofia Coppola’s similarly liminal and hotel-set Somewhere, Calum’s arm is initially in a cast—the presumed vestige […]
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Images & Action: Director Laura Poitras on Her Nan Goldin Documentary, All the Beauty and the Bloodshed
Perhaps the simplest way to describe Laura Poitras’s All the Beauty and the Bloodshed is as a conversation between two artists who are committed to the truth potential of lens-based mediums. The film, which won the top prize at the Venice Film Festival and will be released in theaters this fall by NEON, is Poitras’s portrait of Nan Goldin, one of the most celebrated photographers of her generation. What may be less known is that Goldin is also an organizer of campaigns for social justice to which she brings as much fiercely dedicated energy as she does to her photography. […]
