In the last two years, the main slate of the Locarno Film Festival had been nigh miraculously star-studded (in strictly arthouse terms), boasting premieres by the likes of Chantal Akerman, Pedro Costa, Lav Diaz and Andrzej Żuławski, to name but four of the most prominent. Perhaps inevitably, normality had to be reinstated eventually and this year presented less immediately mouth-watering offerings. Indeed, the best films in this first half of the festival were to be found outside of the international competition. Thus far, the most anticipated title has also been the most disappointing: Portuguese auteur João Pedro Rodrigues’ The Ornithologist, […]
In the opening shot of Smithereens, a pair of checkered black-and-white sunglasses dangle in the frame. Self-starter Wren (Susan Berman) swoops in, grabs them from the owner and keeps pushing through the subway station as if nothing’s happened. Wren wants to be in a band, but she doesn’t have any discernible abilities besides her fabulously on-point New Wave fashion sense. When not working a crappy copy store job, she’s going to shows and plastering up Xeroxes of a black and white still of herself all over the city, trying to drum up some kind of attention for herself. She only has eyes […]
Aspect ratios are a film’s canvas; the size of your frame determines the look of your film and is one of the essential questions that a filmmaking team faces in preproduction. Lawrence of Arabia wouldn’t be Lawrence of Arabia if it wasn’t for its incredible widescreen cinematography and sense of scale. Filmed with anamorphic lenses and screened in both 35mm and 70mm, the film was shot and projected at a 2.20:1 aspect ratio. Properly presented in movie houses, the widescreen image would be masked to remove the negative space around the image that we commonly call letterboxing. One would think […]
John Wilson worked as a private investigator in Boston for a year right after graduating from film school in 2008. “That was more of an education than anything else prior to that,” Wilson asserts. “I spent a lot of time watching and observing people without any barriers, and also without them knowing.” Inspired by his previous occupation, he started shooting in a style that he calls documentary memoir, capturing lo-fi quotidian images of people and places mediated by his distinct narration style. Growing up in Long Island, Wilson’s interest in film began as a teenager when his dad got a […]
The debut edition of The Rumpus Lo-Fi Film Festival unspools this coming Saturday, July 30, at the Brewery Arts Complex in Los Angeles. Encompassing four features and two panels, the one-day event is, according to author, filmmaker and The Rumpus founder Stephen Elliott, an extension of the literary site’s personality and ethos into the film festival world as well as a kind of a DIY battle cry. Frustrated by the festival rejection notices he was receiving for his third feature, After Adderall, Elliot surveyed other filmmakers about their festival submission experiences. He published the results in a much-debated blog post […]
Determinism or free will? I’m flummoxed. This is my second successive review of a film about nuns. The first was Zach Clark’s Little Sister, in which meek ex-goth Colleen Lunsford (Addison Timlin) is a novice in a New York City convent whose mother superior, like the newcomer herself, doubts the young woman’s faith and commitment to the order of the Sisters of Mercy. During a trip to the family home in North Carolina — half therapy, half reunion with a brother mutilated from combat — she appropriates the flamboyance and kitsch that had been a substantial part of their youth. […]
What to do when your film doesn’t get accepted to any film festivals? Why, start your own film festival! Of course, it’s helpful if you’re the founding editor of a successful web site such as The Rumpus. That’s the case with Stephen Elliott, who was frustrated when his latest film, After Adderall, didn’t get accepted to any film festivals. Elliott wrote an in-depth report investigating a “rigged” system of film festival programming which makes it nearly impossible for paid submissions to be programmed. Titled “The Great Film Festival Swindle”, the article, published recently on The Rumpus, analyzed the odds of getting into various film festivals […]
In recent decades, some of the best documentary films — including Oscar-winners such as Bowling for Columbine and Searching for Sugar Man, and, more recently, festival favorites Point and Shoot and Meet the Patels — have have relied on animation to tell compelling nonfiction stories in nontraditional ways. It’s a technique audiences have grown accustomed to and nonfiction filmmakers have learned to adopt with varying degrees of success. While in the past, documentary purists might have posited that animation had no place in non-fiction storytelling, it’s now largely accepted that even observational documentaries involve some degree of manipulation. If anything, by using animation in a documentary, the manipulation is more […]
Shane Black was just 24 years old when he sold the spec script that would become Lethal Weapon. Since then Black’s name in the credits – whether as writer or director – brings a certain set of expectations: tarnished, mismatched heroes (likely of the cop and/or private detective variety); a plot overflowing with set-ups and pay-offs, reversals, and sly humor; the subversion of genre tropes; and at least an 85 percent chance of a Christmas setting. Most of that checklist gets ticked off in Black’s latest The Nice Guys, a detective yarn in which a private investigator (Ryan Gosling) and […]
“I needed structure!” says former goth Colleen Lunsford (Addison Timlin, star-to-be) in a revelatory moment in Little Sister, the latest feature by Brooklyn-based Zach Clark (White Reindeer, Vacation). It is one of two unaffected masterpieces (the other is Ira Sachs’s Little Men, which I’ll review when the increasingly daring Magnolia Pictures releases it) screening at BAMcinemafest (Jun 15-26) that I was fortunate enough to catch early — two for two! Colleen is exasperated trying to explain to her estranged, self-absorbed mom, Joani (Ally Sheedy, better than ever), why she left home to seek out spiritual redemption in a cloistered New […]