Filmmaker

Filmmaker Magazine's fall 2022 issue, with the annual 25 New Faces of Film list, Amy Taubin interviewing Laura Poitras about "All the Beauty and the Bloodshed" and more.

Winter 2020

Parlays and Teasers

I first learned of Josh and Benny Safdie’s Uncut Gems—a comedy/drama built around the self-delusions, self-destructions and unbridled compulsions of a midtown Manhattan diamond dealer—back in 2011. The brothers had just completed their first feature as a directing duo, Daddy Longlegs (Josh previously directed 2008’s The Pleasure of Being Robbed), and shared a 161-page early draft. Much of the ingenious plotting of their new film was missing, but the character of that dealer, Howard Ratner, screamed out. Indelibly portrayed by Adam Sandler eight years later, Howard is a perpetual motion machine of mishap, whose schemes spiral more and more painfully […]

By

Features

Self Reflection in Theater Two

Over the past year, various reckonings—from continued collective and individual action around #metoo to protests against institutions accepting donations from the Sackler family, Warren B. Kanders and oil giants like BP—that media and arts institutions have gone through have brought the weaponization of cultural capital via art-world philanthropy onto the front pages of newspapers. Meanwhile, in the U.S. documentary film field, the way we’re talking about who holds power and how it’s dispensed has remained narrowly focused.  Film festivals have jumped into this fray with public forums, panels and talks at which emboldened filmmakers and a new crop of festival […]

By
  • Hits & Misses 2019: Surveying the Success of the Sundance Film Festival’s Theatrical Releases

    The times, they keep a-changin’. In its immediate aftermath, the story out of Sundance 2019 was its bounteous acquisition market and record-setting sales numbers—from New Line’s $15 million purchase of Blinded by the Light to Amazon Studios’ $27 million splurge on Late Night and Brittany Runs a Marathon. By the summer, a different narrative began to emerge. While these top acquisition titles earned millions of dollars at the box office, they all still under-performed in theatrical release. Then, Amazon Studios’ veteran head of theatrical distribution Bob Berney left the company, a departure that potentially signaled shifting priorities at what had […]

    by
  • Fast, Cheap and Good

    “I’ve wasted the greater part of my life looking for money, and trying to get along… trying to make my work from this terribly expensive paint box which is…a movie. And I’ve spent too much energy on things that have nothing to do with a movie. It’s about two percent moviemaking and 98 percent hustling.” — Orson Welles I never heard “hustling” mentioned in film school, college theater or acting class. I agree with Mr. Welles about the two percent moviemaking part of the equation; it’s just that, for my kind of independent filmmaking, the other 98 percent is self-reliance. […]

    by
  • Every Day I Write the Book

    Creating cinema without concern for the economic system in which you operate is a privilege few can exercise. Like most filmmakers I know, I make films not only as a form of expression but also as a means of financial subsistence. I wrestle with the impact this dependency has on my work on a daily basis. Greta Gerwig’s Little Women, a film that she pitched as being about “art and women and money,” examines the complex relationship between profit and power in storytelling. Gerwig’s adaptation of the century-and-a-half-old text boldly restructures the narrative and further blurs the line between author […]

    by

Other articles

  • The Parasite Eight-Minute Meal

    Bong Joon-ho’s class warfare thriller Parasite has already entered the food film canon, and its signature entrée sits in the dead center of the highbrow-lowbrow matrix. Jjapaguri (translated as “ram-don” in the subtitles) is a mashed-up concoction of two different types of instant noodles: jjapaghetti (an abridged version of the Chinese-Korean black bean noodle dish, jjajangmyun) and Neoguri (a brand of packaged spicy seafood udon). The dish is prepared in just under eight minutes in Parasite, as the wealthy Park matriarch, on the way home from a cancelled family camping trip, calls in an order to her new housekeeper. Against […]

    By
  • Economy of the Arcane: Pedro Costa on Vitalina Varela

    Pedro Costa will not separate films from how they are made. We cannot escape that “how” from what we are seeing on screen, so we must make films the hard way. It is not enough for us to get them made: We must know our technicians closely, see that they are compensated fairly, ensure that our project is optimized for our tools and that those tools only operate at their zenith. Ease, Costa warns, is the sure sign of a “trap,” that, if succumbed to, will expose one’s work to “bullshit,” a word he does not use lightly. If we […]

    By
  • Digital Wanderlust: On Wim Wenders’s Until the End of the World

    Two major anniversaries in digital technology happened in 2019. October 29th marked the fiftieth year since the first message was transmitted via ARPANET, an early network of computers developed by the U.S. Department of Defense and hosted at universities including UCLA and Stanford (where the message was, respectively, sent and received)—a relatively pat and mutually agreed upon milestone for the beginning of the internet as we know it. The other anniversary—the thirtieth birthday of the World Wide Web—is much less decisive: You might notice people celebrating the thirtieth year of the internet’s most transformative application well into 2021. A quick […]

    By

Also: Sonic Menace: Composer Mark Korven on Scoring Robert Eggers’s The Lighthouse Photographing Memory: DP Rodrigo Prieto on the “Three-Headed Monster” Used to Shoot Martin Scorsese’s The Irishman Where Do I Go From Here? Southern Subjects When the Streaming’s Over: The Fight to Save Vulcan Video The Inner Reaches Out of Space Editor’s Letter

© 2022 Filmmaker Magazine. All Rights Reserved. A Publication of The Gotham