Features
-
“Everything’s Corrupted by Politics”: Paweł Pawlikowski on the Not-Quite Biographical Cold War
The success of 2015’s Ida — an art house hit in America and an Academy Award winner for Best Foreign Language Film — took writer and director Paweł Pawlikowski to the next level. In his new film, Cold War, a romantic epic spanning some 15 years, Pawlikowski uses music, politics and a love story to illuminate a turbulent period of Polish history. Pawlikowski dedicated Cold War to his parents, Zula and Wiktor, who died in 1989. The protagonists — a singer (played by Joanna Kulig) and a composer/arranger (Tomasz Kot) who fall in and out of love, over and over again, […]
-
“I Learned From the First Film Exactly What He Wants”: Jon Davey, Frederick Wiseman’s Longtime DP, Speaks
In another life, John Davey could have been a doctor. He was studying to become one in 1966 when a mining disaster struck the Welsh village of Aberfan, some 20 miles from his campus. Davey heard the news and set off to volunteer with a group of fellow med students. They didn’t know it at the time, but the avalanche had hit an elementary school, burying more than 100 children alive. Their job, it turned out, was to retrieve the bodies. The experience rattled Davey, who was just 19 at the time. “I realized,” he recalls now, “I wasn’t really […]
-
I See a Darkness: Karyn Kusama on Making Nicole Kidman Wild in Destroyer
Ever since her auspicious debut with Girlfight in 2000, director Karyn Kusama has been drawn to stories about flawed, driven protagonists, but she’s never had a heroine as forceful or complex as Erin Bell, the LAPD detective played by Nicole Kidman in Destroyer. Bell is a onetime undercover cop whose experience infiltrating a gang of thieves went horribly wrong, and who lives in a constant state of regret, resentment and rage — a volatile combination when the murder of one of her former associates opens up old wounds. The expertly constructed script, by Kusama’s frequent collaborators Phil Hay and Matt […]
-
Twilight Hours: Shevaun Mizrahi on Her Elegiac Documentary, Distant Constellation
With Shevaun Mizrahi’s documentary Distant Constellation opening at NYC’s Metrograph today from Grasshopper Film, we’re unlocking from our print issue this feature with the director. It’s not news that nonfiction editing can be an attenuated process. Still, with footage so fully formed, I didn’t expect that Mizrahi would keep returning to Istanbul for three more years, logging more hours on the way to showing a nearly-locked cut at 2017’s True/False Film Festival, with her world premiere following later that year at Locarno. The additional time she took turned out to be crucial for capturing two additional strands that give the […]
-
Into the Spotlight: Bradley Cooper on A Star is Born, Consulting with Terrence Malick and Shooting his First Feature in 42 Days
Bradley Cooper’s directorial debut, A Star is Born, is the kind of movie that feels as though it contains decades’ worth of saved-up ideas and feelings, yet never strains under the weight of its ambition. It’s simultaneously sweeping in its scope and razor-sharp in its clarity, passionate and exuberant but restrained and confident. Although the tale has been told several times before, most memorably in George Cukor’s 1954 CinemaScope extravaganza, Cooper (who collaborated on the screenplay with Eric Roth and Will Fetters) makes it his own by using the basic premise as a springboard for a sophisticated meditation on fame […]
-
The Agony and the Ecstasy
I’m a midcareer filmmaker with a few features that have played at major international film festivals, including Sundance and Cannes, followed by modest distribution. So, you can imagine my shock when my third feature, Rogers Park, was programmed by… almost no festivals. Despite having what I thought was a track record, I found myself in the wonderful position of having made a no-star ensemble film that had no industry champions, no curatorial validation and no traction. After regrouping from a year of festival rejections, I had to make a decision. Should I throw in the towel and post my film […]
-
Between Bodies
March 16, 2019: Barbara Hammer died today. On this sad occasion we’re reposting this article from our Fall, 2018 edition — a conversation this extraordinary filmmaker at Temple University with Elisabeth Subrin, Sarah Drury, and a number of attending students. It’s a talk that covers her early years as an artist, her process for making work, and, finally, her thoughts on illness and end of life. *** On May 2, 2018, legendary filmmaker Barbara Hammer was honored at Temple University in Philadelphia, where she was awarded its Department of Film and Media Arts Annual Tribute Award, selected by the film […]
-
Love is Colder Than Death: Luca Guadagnino on Suspiria
I’m not sure whether or not Luca Guadagnino’s Suspiria is a masterpiece, but I’m certain that it warrants being compared to quite a few films that are. The one that immediately sprang to mind when the lights came up was The Godfather. With The Godfather, Francis Ford Coppola took the gangster movie and attempted to expand its emotional range and social and political themes without sacrificing the visceral pleasures of genre filmmaking. Guadagino’s Suspiria attempts to do something similar with the horror film, with a startling degree of success. Here is a curious fact of film history. Though horror movies […]
-
What Can Happen in the Frame: Sasha Waters Freyer on Her Doc, Garry Winogrand: All Things are Photographable
Photography was all over the New York City art world of the late 1980s. There was the Pictures Generation—artists like Cindy Sherman, Barbara Kruger and Laurie Simmons, who began in the mid ’70s and whose conceptual use of appropriated or staged photographs cast a critical and sometimes seductive eye at the way mass media imagery shaped consciousness. Jeff Wall, Philip-Lorca diCorcia and, later, Gregory Crewdson were bringing the staging techniques of film and theater to photographs charged with emotional and narrative possibility. And the work of photographers of an earlier generation, like Diane Arbus and Robert Frank, was still highly […]
-
Moment of Conception
“All it takes is one good egg.” This refrain is uttered more than a few times throughout the course of Tamara Jenkins’s Private Life, her first feature since 2007’s The Savages. A meditation on marriage, middle age and the haves and have-not’s of fertility, the film stars Kathryn Hahn and Paul Giamatti as an artist couple—she’s a writer, and he runs both a theater group and an artisanal pickle company—desperate to conceive in their 40s. While the pair loads up on IVF hormones and diminishing hopes, they must also make room in their realistically cozy East Village apartment for their […]
