Features
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Great Expectations: Alex Ross Perry on Listen Up Philip
Alex Ross Perry’s first feature Impolex was an oblique gloss on Thomas Pynchon’s Gravity’s Rainbow, while his higher-profile follow-up, The Color Wheel, stole the font of Philip Roth’s ’70s hardcovers for its credits, as well as that writer’s abrasive fearlessness and sexual disreputability. Literature hangs heavy over Listen Up Philip as well, not least in its subject: a young, New York novelist on the precipice of success being mentored by a Roth-like literary titan. That writer’s spirit is still present, but the major structural reference is William Gaddis’ behemoth debut The Recognitions, whose main through line is a pure-spirited and […]
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In the Eye of the Storm: Laura Poitras on CITIZENFOUR
Red tail lights glow in an inky black tunnel. In voiceover, a woman’s voice softly reads. “Laura,” the email begins. The sender writes of encryption, passwords, the government documents he intends to send and the reason he addressed this email to her. “You’ve been selected,” Laura speaks, as the sender goes on to explain that every phone call she makes, trip she embarks on, person she befriends will be observed, recorded, surveilled. “This is a story few but you can tell.” With this cool, measured voiceover, drawing us into her life at the moment it changed forever, documentary filmmaker Laura […]
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Fear of a Black Campus: Justin Simien on Dear White People
Justin Simien’s stylized comedy Dear White People takes place at the fictional Ivy League Winchester University, focusing primarily on four students but also capturing within its satiric gaze the campus as social microcosm. Each of the four undergrads takes on a different strategy for dealing with being a “black face in a white place.” Sam White (Tessa Thompson) is a biracial beauty who rocks a Lisa Bonet look. Perhaps in response to her own white privilege, she is trying on a radical identity: the school Angela Davis with a radio show called “Dear White People.” On her show, she leans […]
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A Roof over Their Heads: Jesse Moss on The Overnighters
When Jesse Moss headed to North Dakota to make The Overnighters, it was truly a one-man endeavor. He took no crew with him. He was on his way to meet Pastor Jay Reinke, who had been giving shelter to the many men who uprooted themselves and made their way to Williston, N. D., in hopes of finding work in the town’s booming oil industry. With so many desperate souls appearing in Williston, resources to feed and house them were quickly drying up. Soon, the offices, floor space and pews of Reinke’s church were filled with itinerant workers, and town residents […]
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Glory at Sea: Mike Leigh on Mr. Turner
Within a career that’s now in its fifth decade, Mr. Turner is only the third period film Mike Leigh has made, but, ironically, it’s the first he’s shot digitally. The picture captures the last 25 years of revered British painter J.M.W. Turner’s life — already famous, his days are filled with awkward visits from an ex-wife and daughters, confrontations with both artistic rivals and lesser painters, and the salon visits that constitute the business of being an artist in the mid-1800s. Timothy Spall deservedly won the Best Actor prize at Cannes for his turn as the eccentric Turner, who walks […]
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Positive Trauma: Editor Mathilde Bonnefoy on CITIZENFOUR
Paris-born editor Mathilde Bonnefoy has criss-crossed documentary and fiction, working with directors such as Wim Wenders (The Soul of a Man) and, most prominently, Tom Tykwer. Her first feature editing credit is the director’s time-bending international hit Run Lola Run, and she has continued to work with Tykwer on Heaven, Three and The International, among others. Long based in Berlin, Bonnefoy, as she relates below, was sought after by Poitras because of her work on Tykwer’s films and the “thriller” nature of CITIZENFOUR’s source material. Below, in the final days of post-production, I speak to Bonnefoy about encrypted workflows, working […]
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Digital Tableaux: Cinematographer Dick Pope on Mr. Turner
“Turner was progressive,” says cinematographer Dick Pope. “He was not a Luddite. He was very forward-looking. And if he was making the decision today, whether to shoot on film or digital, with all the tools and control of the palette [digital] offers, Mike and I felt that he would choose digital.” “Mike,” of course, is Mike Leigh, and “Turner” is J.M.W. Turner, the 19th-century painter of roiling seas and fiery vistas containing a near-religious quality of apocalypse. Together, Leigh and Pope have made Mr. Turner, a rare artist biopic that imbues within its visual strategies a sense of its subject’s […]
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Freeze Out: Ruben Östlund on Force Majeure
Amidst the red-carpet mayhem of any major international film festival, critics tend to adopt a sort of cinematic shorthand — a private language of allusions and descriptors. It didn’t take long for Force Majeure to earn its seemingly ready-made sobriquet: “the avalanche movie,” further confirmed by the film’s theatrical poster. Force Majeure does indeed revolve around an avalanche — a controlled blast in the mountains of a ski resort in the French Alps, watched by a vacationing Swedish family with awe until, as it hurtles its way toward the restaurant terrace where they are enjoying their breakfast, awe suddenly curdles […]
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25 New Faces of Film 2014
Click here to see Filmmaker‘s 25 New Faces of Film 2014.
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A Life in the Theater: Philippe Garrel on Jealousy
“We are all very much making Garrel’s film. He would have been happy to film at my place, or right nearby, using my clothes. Not to be realistic but for simplicity’s sake, because none of that counts for much. No colors. Nothing shiny. Elizabeth, the costume designer, and I are sometimes disconcerted by his flat rejections, right down to the stitching (too shiny).” — The Private Diaries of Catherine Deneuve, Catherine Deneuve, 1998 Though arguably less known than his model and actor son, Louis, Philippe Garrel is one of the great French filmmakers. He was considered a prodigy when he […]
