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Adi Rukun in The Look of Silence (Photo courtesy of Drafthouse Films and Participant Media) Subscribers

Corrective Lens

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By Ray Pride

• The Anxiety of Influence: Director James Ponsoldt on The End of the Tour

  “Am I a good person? Deep down, do I even really want to be a good person, or do I only want to seem like a good person so that people (including myself) will approve of me? Is there a difference? How do I ever actually know whether I’m bullshitting myself, morally speaking?” – David Foster Wallace The new tagline for the James Ponsoldt movie The End of the Tour is, “Imagine the greatest conversation you’ve ever had.” I initially took issue with this tagline. Ponsoldt’s film is based on a book arranged around a transcript of an unpublished interview […]

  by Alicia Van Couvering
• Survivor’s Song: Christian Petzold on Phoenix

  The more you consider the nuances of German filmmaker Christian Petzold’s latest feature, Phoenix, the more difficult it is to articulate exactly what this mysterious and allusive drama is really about. It’s the director’s seventh feature for cinema (discounting the five he has made for television), and the fifth he has made in collaboration with actress and avowed muse Nina Hoss. While not quite stripped down to Bressonian levels of formal curtness, Petzold’s style is without fuss. As he explains below, his mode of storytelling is generally more reflective and assiduously built through alternating perspectives than it is literal or […]

  by David Jenkins
• Man Down: Ira Sachs Interviews Writer/Director Oren Moverman about Time Out of Mind

  The following interview was originally published in Filmmaker‘s Summer, 2015 issue. It is appearing online today for the first time. Time Out of Mind opens today via IFC Films. Alongside his biggest professional success as a screenwriter — he co-wrote Bill Pohlad’s hit Brian Wilson biopic, Love & Mercy — Oren Moverman returns to theaters this summer as a director with an equally striking yet very different film. Time Out of Mind, which premiered last fall at the Toronto International Film Festival, joins Moverman’s previous features — The Messenger and Rampart — in its politically aware depiction of compromised masculinity, […]

  by Ira Sachs