Summer 2018
Breaking Character: Josephine Decker Talks to Mike Mills about Madeline’s Madeline
Madeline (Helena Howard) has a hospital bracelet on her wrist and a rehearsal to go to. One of the questions fueling Madeline’s Madeline, Josephine Decker’s third feature as a solo director, is how two of the biggest elements of Madeline’s life — some unspecified form of mental instability and her promise as a young actress — interact, or if they even can safely. Howard’s breakout performance as the troubled thespian is part of an unusual triangle. At one point is her mother Regina (the writer, actress and performance artist Miranda July), whose protective custody of her unstable daughter is unreadable: justifiable […]
Features
Why I Am Hopeful: Programmer Eric Allen Hatch on the Future of Arthouse Programming
As a film programmer who recently made the painful but necessary decision to quit the organization at which I’d worked for 11 years, you might expect me to have a dim view of contemporary film culture. I don’t. Quite the contrary: I feel strongly that this is one of the great watershed moments in the history of cinema. Some of the reasons for my optimism are personal, but most can be generalized. Working more than a decade for a regional film festival that gradually entered the national discussion around independent film, I became increasingly aware of an alarming divide. On […]
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Digital Motion Picture Cameras in 2018: More Pixels, Better Pixels
Alvin Toffler in his prescient 1970 bestseller, Future Shock, predicted that in a post-industrial society the design of goods would turn over frequently as they became quickly outdated and triggered their own replacement. They would grow disposable too, with the cost of repair exceeding cost of replacement. His emblem of discardability was the disposable lighter. (He also foresaw the rise of the freelance economy in which people would change career and workplace frequently—a fact of life for most of us in this industry.) At NAB in April, Blackmagic Design advertised a new “Professional Ultra HD broadcast camera for less than […]
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Class Review
When it came time for A.B. Shawky to make Yomeddine, a road movie about a leper trekking across Egypt in search of lost relatives, he turned to his NYU Tisch School of the Arts colleagues and faculty for advice. After all, the movie is both his first feature as well his NYU thesis film. Unlike many film schools, “NYU encourages you to do features for your thesis project,” Shawky told Filmmaker’s Tiffany Pritchard, explaining that the school granted him an extra year on top of the two normally allowed to complete the arduous production. The school also granted him key […]
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Committed to Paper: Writer/Director Paul Schrader on First Reformed
With Paul Schrader’s First Reformed, which has topped many critics’ lists so far this year, on iTunes today, we’re unlocking from our paywall Darren Hughes’s interview with the writer/director from our Summer print edition. When discussing his latest film, First Reformed, Paul Schrader regularly recounts a conversation he had over dinner with the Polish filmmaker Pawel Pawlikowski. Schrader, who famously discovered cinema as a college student after coming of age in a strict Calvinist home, has very intentionally spent his career exploring darker, more transgressive aspects of the spiritual condition. He was intrigued, however, by Ida, Pawlikowksi’s quiet, black-and-white study […]
Digital Motion Picture Cameras in 2018: More Pixels, Better Pixels
Class Review
Committed to Paper: Writer/Director Paul Schrader on First Reformed
Other articles
- Action and Cut: Film Schools, Guerrilla Filmmaking and the New “Saudi Cinema”
- Notes on Camp: Desiree Akhavan on The Miseducation of Cameron Post, ADR Rewriting and 4 Non Blondes’ “What’s Up”
- Teaching on the Horizon Line
- Complicated Grief: Ari Aster on Hereditary‘s Family Nightmare
- Pre-Course Work
- “One of the Rules Was To Not Centralize Whiteness in Any Way”: On the Path Towards Terence Nance’s New HBO Show, Random Acts of Flyness
- Creative Critical Writing
- Strength Through Humility
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Wide Open or Ajar: Theatrical Windows in the VOD Age
It used to be so simple: Release a movie in theaters and, several months later, it would come to your local video store. Nowadays, each and every film’s release pattern and chosen distribution platforms are—or, at least, should be—idiosyncratic, unique, and specifically tailored. “The first thing you have to ask yourself,” distribution consultant Michael Tuckman says, “is who is your audience, and work backwards from there to figure out what windowing you’re going to do.” If the target audience is a young demographic who spend most of their time on devices, then, according to The Orchard’s Paul Davidson, “a SVOD […]
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You Are Not A Unique Snowflake: Sean Porter on How to Get Ahead in Filmmaking
I don’t think I’d be out of line if I said the DP job market is heavily saturated. IATSE wouldn’t tell me the actual number of jobs available last year, but according to the internet there were 157 TV shows in production and roughly 250 features released (both union and non-union). Currently, there are more than 2,000 Local 600 members on the active DP roster, and while some of them are retiring this number doesn’t include the many operators stepping up and shooting on their way to re-rating. Add to that a small number of in-demand cinematographers who take up […]
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This is Where We Blow Up: Writer/Director Boots Riley on Sorry to Bother You
“The papers on the boardroom table were stained from corpses.” Those lyrics, from The Coup’s 2012 album Sorry to Bother You, offer some idea of the ideological imperative propelling Boots Riley’s wildly inventive, Brazil-meets-Afrofuturism satire of the same name. Struggling to make ends meet in Oakland, Cassius Green (Lakeith Stanfield) takes a job with telemarketing firm RegalView, where he finds himself rocketing to the top of the corporate ladder after he uses his “white voice” to drum up sales. His activist girlfriend Detroit (Tessa Thompson) disapproves, especially after Cassius comes to the attention of deranged tech bro Steve Lift (Armie […]
Wide Open or Ajar: Theatrical Windows in the VOD Age
You Are Not A Unique Snowflake: Sean Porter on How to Get Ahead in Filmmaking
This is Where We Blow Up: Writer/Director Boots Riley on Sorry to Bother You
