Issues
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Editor’s Letter
Welcome to Filmmaker’s final issue of 2019, which continues something of a new tradition: our Sound and Visionaries section, where we spotlight six below-the-line artists in the awards conversation whose work particularly impressed us. And, accompanying these profiles are three short essays, all by writers new to the print magazine—Mark Asch, Tim Grierson and Beatrice Loayza—that look at 2019 in film through the psychic currents and generational anxieties it mined. There’s a lot elsewhere. On the cover is Josh and Benny Safdie’s Uncut Gems, a wild adrenaline rush of a movie whose major-league ambition is especially exciting for me as […]
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Hits & Misses 2019: Surveying the Success of the Sundance Film Festival’s Theatrical Releases
The times, they keep a-changin’. In its immediate aftermath, the story out of Sundance 2019 was its bounteous acquisition market and record-setting sales numbers—from New Line’s $15 million purchase of Blinded by the Light to Amazon Studios’ $27 million splurge on Late Night and Brittany Runs a Marathon. By the summer, a different narrative began to emerge. While these top acquisition titles earned millions of dollars at the box office, they all still under-performed in theatrical release. Then, Amazon Studios’ veteran head of theatrical distribution Bob Berney left the company, a departure that potentially signaled shifting priorities at what had […]
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The Inner Reaches Out of Space
“I think one of the things I am most concerned about is how we interact with space in a bodily way,” says LA-based video and VR artist Kate Parsons, who will co-teach an undergraduate studio class, “The Inner Reaches of Outer Space,” next spring at ArtCenter College of Design in Pasadena, California, with VR veteran Ben Vance. The pair was asked to teach in the Immersion Lab by professors Jenny Rodenhouse, a faculty member in the graduate Media Design Practice (MDP) program, and Maggie Hendrie, chair of Interaction Design. Parsons, who teaches a basic video production course for first-year graduate […]
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Digital Wanderlust: On Wim Wenders’s Until the End of the World
Two major anniversaries in digital technology happened in 2019. October 29th marked the fiftieth year since the first message was transmitted via ARPANET, an early network of computers developed by the U.S. Department of Defense and hosted at universities including UCLA and Stanford (where the message was, respectively, sent and received)—a relatively pat and mutually agreed upon milestone for the beginning of the internet as we know it. The other anniversary—the thirtieth birthday of the World Wide Web—is much less decisive: You might notice people celebrating the thirtieth year of the internet’s most transformative application well into 2021. A quick […]
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Outta Respect: Remembering the Goodfellas Diner
“We tried to do everything we could.” “What do you mean?” “You know what I mean. He’s gone. And we couldn’t do nothing about it.” So kicks off an iconic sequence in Martin Scorsese’s Goodfellas, the emotional summit of a movie that’s basically one iconic sequence after another: the moment on the pay- phone when Jimmy “The Gent” Conway (Robert De Niro) hears his old friend Tommy DeVito (Joe Pesci) has just been whacked. Jimmy doesn’t just hang up — he bashes the phone into the receiver, finally stomping the booth into the ground between muffled sobs while the film’s narrator, […]
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Outer Visions: Leo Goldsmith and Gregory Zinman on Serving as Ad Astra‘s Experimental Film Consultants
It’s a rare thing for scholars to be asked to serve as advisors on studio films of any size, no matter the topic. (Hell, we’re usually not even asked to authenticate representations of academia itself.) So, it came as a pleasant surprise indeed for Brooklyn-based scholar and curator Leo Goldsmith and Georgia Tech film and media professor Gregory Zinman when they were asked by director James Gray to serve as advisors on his latest film, Ad Astra, scheduled for a September release by 20th Century Fox. Said to be a moody, existential science fiction film (Zinman and Goldsmith have read […]
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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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Also Sprach Kubrick: Sayings, Maxims and Aphorisms of Chairman Stanley
It was 1966, a year into the production of 2001: A Space Odyssey at the MGM Studios in Borehamwood, northwest of London, when I suddenly realized I had been quoting some of Stanley Kubrick’s sayings over the preceding months. One of the props men had complained to me about the difficulty in buying something, and I replied, “Well, you know what Stanley says: ’In England, it is easier to sell something than to buy something.’” Up until then, I’d had an arsenal of quotes from Ambrose Bierce’s The Devil’s Dictionary (a work Kubrick much admired, see below—and right) and one […]
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Emotional Exploration: Cinematographer Natasha Braier on Shooting Alma Har’el’s Honey Boy
Knowing that Alma Har’el worked in a fluid, in-the-moment fashion, and that dancing with the actors in the scene was key to the story, DP Natasha Braier started prep by going through the script and asking the director for each scene, “Describe the scene with a feeling.” During prep and while shooting, Braier always wanted to root the camera in the emotions of each scene. In her previous work on films like The Neon Demon and The Milk of Sorrow, Braier tapped into her ability to capture human experience with stylized camera work and expressive lighting. We discussed how she […]
