Summer 2019
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The Kindest Denial
Features
Mansion on the Hill: Jimmie Fails and Joe Talbot on The Last Black Man in San Francisco
Jimmie Fails and Joe Talbot, the creative team behind The Last Black Man in San Francisco, have the kind of backstory that’s the stuff of publicists’ dreams, a compact anecdote that grounds their feature debut. Both are native San Franciscans and met around age 10: Talbot had gotten into a fistfight, and Fails came onto the street just in time to help. The two became lifelong friends, a relationship that mutates into new form in their film. Fails (who cowrote the film’s story with director Talbot; the script’s cowriter is Rob Richert) stars as a version of himself: a lifelong […]
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Subscribers Seamless Transitions
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Subscribers Act Naturally
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The American Way: Writer/Director Rick Alverson on The Mountain
Divisive. Vexing. Hilarious. Disturbing. Stimulating. Exhilarating. However one feels about the films of Rick Alverson, one thing’s for certain: the adjectives used to express that opinion will be strong. From The Builder (2010) to Entertainment (2015), Alverson has relentlessly challenged his audiences to confront—and dare to release—their preconceived notions of narrative cinema. At a time when the independent festival circuit has begun to feel more like a breeding ground for the major studios and television networks than a showcase for brash, defiantly original stand-alone works of art, Alverson is providing a desperately needed jolt—a reminder of what truly independent cinema […]
Other articles
- The Clear Identification of Priorities: Ricky D’Ambrose on Being His Own Graphic Designer
- The Art of Listening
- From All Angles: The Groundbreaking Volumetric Filmmaking of Scatter
- Glitches in the Matrix: Adventures in the CGI Wilderness
- Crisis of Representation: Why Independent Filmmakers Still Need Agents and Managers
- Optimal Value
- Bigger, Shorter, More Expensive
- The Most Valuable Lessons
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Subscribers Screen Overload
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Subscribers Show Us the Money
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Ungentrified: Production Designer Scott Dougan and Visual Effects Supervisor Jim Rider on The Deuce
David Simon’s latest HBO series, The Deuce (co-created with George Pelecanos), represents another entry in a career-spanning investigation of institutional corruption and decay, this time focusing on the sex and pornography industry in New York City during the 1970s. Primarily viewed through the eyes of bartender and club owner Vincent Martino (James Franco) and sex worker-turned-pornographer Eileen “Candy” Merrell (Maggie Gyllenhaal), The Deuce uses the sex trade as a microcosm for various developments in late-stage capitalism, including gentrification and urban renewal. As the series shifts periods over the course of its three-season run—1971–1972 in the first season, 1978 in the […]
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