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“You Never Know When You Will Have a Great Image”: Ryusuke Hamaguchi on the Oscar-Winning Drive My Car
Originally appearing here in July, 2021, Filmmaker‘s interview with Ryusuke Hamaguchi about Drive My Car is being reposted today alongside the film’s Best International Feature win at the 2022 Academy Awards. — Editor It might strike some as sacrilege when I say that the excitement I’ve felt around Ryusuke Hamaguchi’s run of recent work reminds me of watching (and catching up with) the films of Arnaud Desplechin in the 2000s. Drive My Car, which had its world premiere in Competition at Cannes, follows the ecstasies and agonies and everything in-between of Happy Hour, Asako I & II (worth singling out […]
by Nicolas Rapold on Mar 28, 2022 -
The Gold Mine of Uncomfortable Social Interactions: Ted Fendt on Outside Noise
I distinctly remember precisely where I was when I watched my first Ted Fendt film, his 2011 short Shattered Sleep. I can very easily envision the room (not my own) and where the laptop (also not my own) was positioned. My experience watching it is also very clear. I remember feeling somewhat befuddled at first—where did this film and filmmaker come from?—but soon that befuddlement turned into amazement. The work was funny, weird, genuine and utterly original—rare qualities then and even rarer qualities now. Since that fateful night, I’ve been thankful to share noodles, tacos, unending pastries and even an […]
by Gina Telaroli on Mar 25, 2022 -
“Coexisting in the Same Universe”: Directors Justin Chon and Kogonada Discuss Dividing Directing Duties on the New Apple TV+ Series Pachinko
In Pachinko, a Korean family struggles for a place in a hostile world. Born into poverty on occupied land, Sunja (played at different ages by Minha Kim and Yuh-Jung Youn) emigrates from Busan to Osaka just before World War II. Trying to keep her family together, she faces relentless bigotry, as well as the pressure to succumb to a criminal gang led by Hansu (Lee Minho). Stretching over several decades, with scenes set in Korea, Japan, and the United States, Pachinko was a gigantic production sidelined for a time by COVID. Based on the bestselling novel by Min Jin Lee, […]
by Daniel Eagan on Mar 25, 2022 -
“All These Different Michelles Are the Stars of Their Different Stories” The Daniels on Their Michelle Yeoh-Starring Everything Everywhere All At Once
The multiverse threatens to swallow up Evelyn, a wife, mother, and laundromat owner in Everything Everywhere All At Once. Written and directed by The Daniels (Daniel Scheinert and Daniel Kwan), the film is a spectacular showcase for Michelle Yeoh, one of the great icons of Asian cinema. Like their earlier feature Swiss Army Man, EEAAO is by turns experimental and defiantly audacious. But it also taps into a commercial sensibility that finds a way to combine social media supercuts, Russo brothers spectacle, and old school Hong Kong filmmaking. In addition to Yeoh, the cast includes Jamie Lee Curtis, Stephanie Hsu, […]
by Daniel Eagan on Mar 24, 2022 -
Watch Now: Short Films from the Filmfort Film Festival
Filmmaker is happy to partner with the Filmfort Film Festival, part of the Treefort Music Fest, by exclusively hosting selections from their online showcase. These films will stream exclusively here on the site through Saturday. This year five films travel from the caves of Italy to interior mindscapes to places in between. You can watch all the films embedded below, and check out the rest of the lineup at Filmfort. Cyllinder Day dir. Milly Cohen 2021, USA, 3 mins As the whole town rejoices around a maypole to celebrate the arrival of spring, this tradition holds a dark underlying secret. […]
by Scott Macaulay on Mar 24, 2022 -
“There Has Been a Deliberate Rebranding of the Alt-Right Women To Have the Veneer of Smart, Sophisticated Instagram Influencers”: Director Beth de Araújo and DP Greta Zozula on Soft & Quiet
One of the most chilling moments in Beth de Araújo’s masterful and outraged Soft & Quiet occurs early on, before the film’s sickeningly violent chain of events formally begins. After shooting side eye at her school’s immigrant female custodian, blonde thirtysomething elementary school teacher Emily (Stefanie Estes) coaches a young boy to go back inside the lunchroom and tell the woman off — to tell her that she must wait to do her job until the school is totally empty. Emily is not just using the child to disrespect the custodian, she’s instilling in the boy the sort of racial […]
by Scott Macaulay on Mar 23, 2022 -
Back to One, Episode 194: Ani Mesa and Alessandra Mesa
Alessandra Mesa and Ani Mesa are the stars of Erin Vassilopoulos’ debut feature Superior, a fascinating, fun, and suspenseful genre-blending exploration of identity. The three collaborated on a short of the same name six years earlier, and the feature functions almost like a sequel. In this episode they talk about the benefits of having the “real memories” of the short as a kind of backstory to use in the feature, how they made the anxiety of shooting on film work to their advantage, the interesting way Ani helped Alessandra (who co-wrote the script) take off the writer’s hat and put […]
by Peter Rinaldi on Mar 22, 2022 -
Full Frame Documentary Film Festival Announces its 2022 Program
Full Frame announced today the films comprising its virtual 25th Annual Full Frame Documentary Film Festival, which takes place April 7–10, 2022. Among the 37 films are two world premieres, one North American premiere and three U.S. films. “It is an honor to present these 37 films at our 25th annual festival,” said interim festival director and artistic director Sadie Tillery in a press release. “I am humbled by the range of experiences revealed on screen—the palpable tenderness, violence, pain, strength, vulnerability, and resolve witnessed in these works. And I am equally moved by the commitment and artistry displayed by the filmmakers, […]
by Scott Macaulay on Mar 22, 2022 -
Berlinale 2022 Critic’s Notebook: Queens of the Qing Dynasty, Dry Ground Burning, Rewind and Play, Camouflage, Happer’s Comet, The Middle Ages
My favorite film of the Berlinale was Queens of the Qing Dynasty, Ashley McKenzie’s ambitious and otherworldly fantasia about a “queer friendship romance” between a suicidal young woman and a Chinese immigrant she meets while hospitalized. Inspired by two teenagers she befriended during the casting of her previous feature, Werewolf (2016), McKenzie first sketched out the central character, Star (Sarah Walker), whose everyday life is mediated by endless negotiations with social workers, doctors, guardians, landlords and the various bureaucracies that employ them. Star is aging out of child protective services and has been deemed unfit to live independently, so as […]
by Darren Hughes on Mar 22, 2022 -
True/False 2022: Reconvening
One of my favorite memories of attending a decade-plus of True/False is from the 2015 edition of the now-defunct Neither/Nor sidebar, annually dedicated to a small retrospective with accompanying monograph. A selection of unknown-to-me Polish cinema programmed by Ela Bittencourt structured that year’s on-the-ground experience from my first screening, Marcel Łoziński’s 1981 How to Live, as hilarious as promised by its description: “In the 1970s, young Polish couple [sic] attend a government-sponsored summer camp where they learn to become the ideal communist family.” The sidebar produced a number of related beguiling sights, not least the now very senior filmmakers in attendance […]
by Vadim Rizov on Mar 21, 2022
