Latest Issue — Summer 2025
Chapter Break: Eva Victor on Sorry, Baby
Sorry, Baby opens with a wide shot of a lone house on a quiet New England country night—an image that could be the height of snoozy serenity or scary isolation. Writer-director Eva Victor remembers this being a genuine issue in the edit of her first feature. “It ended up feeling like the beginning of a horror movie. I was like, ‘I don’t really care that it does.’ And everyone else was like, ‘Is that what we’re doing?’” The same thoughts might occur to viewers at the beginning of any movie dealing with the trauma at Sorry, Baby’s core while also […]
Features
Independent Rescue Mission: The Future Film Coalition’s Ecosystem-Saving Activism
Indie Avengers, unite! OK, perhaps the MCU isn’t the best analogy for an all-volunteer group working to keep independent film alive, but as Future Film Coalition producer and board member Sanjay Sharma says, “The streamers have lobbyists, the studios have the MPAA, but there really isn’t a nationwide nonprofit that is looking after this ecosystem, so we need the Avengers of indie film. Nobody else is fighting for us.” Announced during the Sundance Film Festival, the Future Film Coalition was formed to create a bulwark against threats to the field by, as described on the organization’s Substack, the “business practices […]
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Fresh Starts: 2025’s New Microdistributors
The crisis in independent film distribution started in 2007/08, when the global financial crisis hit; acquisitions plummeted and studios shuttered their specialty divisions. Since then, fewer and fewer filmmakers have walked away from festivals and markets with satisfactory distribution deals. This crisis has led to more of them pursuing an independent path to distribution, either by choice or necessity, but it’s also led to newer companies embracing social media and sophisticated psychographic marketing, such as A24, NEON and MUBI. Now in the mix are a fresh crop of smaller distributors, such as the ones profiled here, reinventing the filmmaker/distributor partnership. […]
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Be True to Your School
When considering applying to a film school, either as a student or faculty member, it’s worth thinking about those film programs in much broader academic and political contexts. For example, will the school, and the broader institution that it’s a part of, stand up for academic and creative freedom in the face of withering actions from the Trump administration? In the spring of 2025, the Trump administration went on the offensive against academia, beginning by essentially demanding that universities drop all DEI programs. They used the cynical guise of defeating “anti semitism” as a cudgel to bludgeon schools into submission. […]
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Hollywood Underground: Joanne McNeil on EZTV’s Inventive Body of Work
In 1986, ia Kamandalu showed up at the EZTV space in West Hollywood for a screening of video art by Doris Chase. People recognized her, even though it had been a few years since she was a dancer in music videos like “Super Freak” by Rick James and on variety shows like Don Kirshner’s Rock Concert, performing at the time under the name Kim McKillip. Michael Masucci, an artist and longtime participant in the EZTV community of video-makers, started talking to her. They kept up over the phone and made plans to work together. Kamandalu, who was living Phoenix at […]
Other articles
- Learning By Doing: Producing My First Feature
- Transformer Model: AI in Film Schools
- Open House: Callie Hernandez’s Berskhire Home and Temporary Film Studio
- The Hypocrite: James N. Kienitz Wilkins on Cine-phobia and Film School
- Going Up: Knoxville’s Elev8or Pitch Competition
- Sleep Dealers: Engineering Dreams with AI
- Moments of Flight: Lili Taylor and Amalia Ulman Go Birding
- Media in the Middle: The Emerging Media Arts Program at University of Nebraska-Lincoln
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Duty of Care: Sarah Friedland on Familiar Touch
Sarah Friedland’s Familiar Touch follows Ruth, an octogenarian woman experiencing memory loss as she transitions into assisted living. Played with luminous restraint by Kathleen Chalfant, Ruth is not someone we observe from a distance—we move with her. Told entirely from her perspective, the film unfolds through a sensory experience of time and memory. Through light, texture, sound and gesture, we come to understand what it means to live inside a body—and a mind—that is transforming. Ruth is looked after by Vanessa (Carolyn Michelle Smith), a personal support worker, and Brian (Andy McQueen), the home’s doctor. Over time, she begins to […]
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Order of Operations: Wes Anderson on The Phoenician Scheme
Wes Anderson has retroactively described the over-schedule and over-budget making of his fourth feature, 2004’s The Life Aquatic with Steve Zissou, as the kind of production that would never be allowed to happen now. That’s partly because of shifting Hollywood windows of financing possibility, but that’s likely also in part because the writer-director wouldn’t let it happen again. On 2007’s The Darjeeling Limited, Anderson made sure to work in a more sustainable and flexible way. As Jason Schwartzman told Richard Brody in 2009, “Wes not only pitched a rough idea for a movie, he also pitched a rough idea of […]
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Writing Between Worlds: Madeleine Hunt-Ehrlich on The Ballad of Suzanne Césaire
“For the pattern of unfulfilled desires has trapped the Antilles and America. From the time of the arrival of the conquistadors and the rise of their technical know-how (beginning with firearms), the lands from across the Atlantic have changed, not only in facial appearance but in fear. “So, far from contradicting, diminishing or diverting our revolutionary feeling for life, surrealism shored it up. It nourished in us an impatient strength, endlessly sustaining this massive army of negations.”—Suzanne Césaire, The Great Camouflage I recently had the opportunity to (virtually) sit down with my friend and fellow artist-filmmaker Madeleine Hunt-Ehlrich to discuss […]
Also: The Gotham Pages: Brian Tyree Henry is Reclaiming His Name Editor’s Letter
