Issues
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Crosstown Connections: The Cinephilic Community Building of the Tallgrass Film Center
A group of about 20 people trickles back into the green-lit microcinema after intermission smoke breaks to witness burlesque artist Emerald Spectre perform a striptease. Spectre comes out dressed as Halloween’s Michael Myers, complete with a prop knife dipped in red glitter, and dances to Radiohead’s “Creep.” Over the next ten minutes, the killer’s taciturn visage morphs into that of a gorgeous pin-up wearing strappy lingerie whose pasties occasionally fall out of place, prompting demure attempts at modesty. When we return to our regular programming, 2002’s Halloween: Resurrection, the audience shouts, “Beat his ass, Busta!” I’ve been to my fair […]
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Offscreen Dialogue: India Donaldson on Good One
In writer-director India Donaldson’s feature debut, Good One, 17-year-old Sam (outstanding newcomer Lily Collias) embarks on a weekend camping trip with her father Chris (James LeGros) and his lifelong pal Matt (Danny McCarthy). For Sam, a meek college-bound lesbian, the interactions with the two adult men with whom she treks through the forest fall back on conventional gender dynamics ranging from idly domestic to outright degrading: She cooks dinner, washes utilitarian dishware and fields insensitive comments about her sexuality without protest, demonstrating the extent of her excellent manners, so defining of her character that they’re referenced in the film’s title. […]
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The Gotham Pages: Mel Sangyi Zhao is Creating Space for More Complex Women Characters
Cinema often shrinks from women’s middle age, a site it seems to find either innately unglamorous or melancholy. Middle-aged women are frequently relegated to supporting figures, particularly in tales of girlhood, but there exist so few accounts of their lives on screen. For this reason (and so many intersecting others), women are primed to dread middle age, for few truly know what to expect of it. Return to Youth, the daring short from ascendant filmmaker and Gotham EDU alum Mel Sangyi Zhao, places itself squarely in this long untapped cinematic space. Perhaps unsurprisingly, women directors generally seem more inclined to […]
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Sequential Notes: Angela Schanelec on Music
Since her debut feature, My Sister’s Good Fortune (1995), Angela Schanelec has steadily established herself as one of the Europe’s most idiosyncratic filmmakers. Across nine features, Schanelec’s style has evolved but retained consistent qualities: stark, clean visuals and crisp editing combined with elusive narrative techniques that crescendo into unexpected moments of emotional catharsis. A subject of hardcore cinephile fandom since her 2019 feature I Was at Home, But…, Schanelec seems to be gaining broader acceptance. Still, the peculiarities of her approach can be off-putting for general audiences. I first encountered Schanelec’s work at the Locarno Film Festival, where I was […]
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AI Is Already Changing Filmmaking: How Filmmakers Are Using These New Tools in Production and Post
When Sora, OpenAI’s video generator model, hit the internet in February, realistic-looking demo videos flooded social media, usually accompanied by some form of “RIP Hollywood” commentary. While Sora still isn’t publicly available, between Runway, Pika and a slew of other video and image generators there have been many questions about what the future of filmmaking will look like—and whether humans will even be the ones making movies in the future. Right now, generative AI is still far away from creating consistent characters and the exact, carefully crafted images that industry professionals require. Maybe a movie will be entirely generated with […]
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A Crisis of Faith: Have Funders Lost Faith that Art Films Can Make an Impact?
In April, the collapse of Participant Media sent shockwaves through the film industry. How could a 20-year-old company—with box office hits such as An Inconvenient Truth and The Help and 21 Oscars, including two Best Picture winners (Spotlight, Green Book)—close its doors without warning? But earlier that same month, another nearly two-decade-old indie film company made a surprising move that offers potential answers to what happened, how the film industry is changing and how well-meaning financiers are reacting to it. Cinereach, a longstanding nonprofit that has supported hundreds of indie films through grants, financing and mentorship, announced a major shift […]
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Take Two: Richard Shepard on Redoing The Linguini Incident
Back in 2005, I wrote an article for this magazine titled “Escape From Movie Jail” about my years-long effort to break out from under the career-killing shadow of my first film, the oddball comedy The Linguini Incident. The film was stacked to succeed when we shot it back in 1990—after all, it had David Bowie (!), Rosanna Arquette, Marlee Matlin, Eszter Balint, Buck Henry and Andre Gregory in the cast. Robert Yeoman was the DP; Thomas Newman did the score. I was all set to surf the golden wave of indie film adulation, but then the tide turned and I […]
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True Crime Schedules and Teams
The Alliance of Documentary Editors published scheduling guidelines that suggest one month per ten minutes of finished content as a reasonable editing timeline for the “average” documentary, with adjustments based on quantity of footage, team members’ experience levels and so on. For a single episode of a miniseries, the guide recommends “20 to 24 weeks for a full hour (60 min)” as a starting point. (I am a member of the organization but had no involvement in this paper.) True crime editors report that, increasingly, edits are falling well short of those benchmarks, for reasons that are complex and reflect […]
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Internal Lives: Annie Baker on Janet Planet
For a playwright, making their feature directorial debut comes with a certain degree of anticipatory hype, and the results are evaluated with a fine-toothed comb to make sure they aren’t too “wordy” or “stagey.” As with David Mamet’s House of Games, Kenneth Lonergan’s You Can Count on Me, John Patrick Shanley’s Joe Versus the Volcano or Celine Song’s Past Lives, Pulitzer Prize-winning playwright Annie Baker’s Janet Planet should put any fears to rest as to how the director would take to creating specifically for the screen. Not that there should have been any doubt: Her interests have long been steeped […]
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Over the Horizon Line: Looking for a New Climate Cinema
Everyone who welcomes the seriousness of the climate crisis into their lives does it in a different way, but there are common patterns. For me, it was precipitated by a weeks-long period of research into climate science for work, creating a new intensity that physically manifested as a panic attack, my first time experiencing this. There are a few representations of such realizations/radicalizations in recent films. In First Reformed, there are scenes of Reverend Toller, his face lit by the computer screen at night, researching climate change, looking at many different websites and reports on his computer. In How to […]
