17727 Results for “”
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Biscuits, Blackwings and Busby Berkeley: Cinematographer Matthew Libatique on Don’t Worry Darling
When choosing a project, cinematographer Matthew Libatique says, “My first priority is that whatever I’m doing next is different than what I did last.” That guiding principle is how one bounces from Requiem for a Dream to Josie and the Pussycats, Noah to Straight Outta Compton. The two-time Oscar nominee’s quest for variety found him wrapping the Netflix musical The Prom, the Stepford Wives-esque thriller Don’t Worry Darling and the Darren Aronofsky-directed drama The Whale in the span of a calendar year. In Darling, Florence Pugh and Harry Styles star as a young couple that relocates to an almost too […]
by Matt Mulcahey on Nov 18, 2022 -
“The Complexity of a Disorder”: Svetislav Dragomirovic on I’m People, I Am Nobody
Svetislav Dragomirovic’s debut feature I’m People, I Am Nobody is a film I wasn’t prepared to watch. From its coy DOC NYC synopsis, we learn it’s the story of a 60-year-old retired porn performer from Serbia named Stevan who’s found himself stuck, Kafka-style, in a Maltese jail, accused of indecent exposure. What we don’t learn from that brief description is that Stevan is actually Dragomirovic’s father-in-law, and that the filmmaker received a series of “audio-letters” that Stevan had sent from prison, which form the basis of I’m People, I Am Nobody, an experimental collage that takes us on a shocking […]
by Lauren Wissot on Nov 18, 2022 -
What Do You Do With a Donkey? On Jerzy Skolimowski’s EO
Although the film production process has had to undergo huge changes since the default adoption of digital media, most movies still look like their analog predecessors in both style—directors frequently process digital files to mimic the look of celluloid—and narrative: beginning, middle and end. But, although we are looking down the barrel of the afterlife of cinema, to embrace digital media at this moment only means making movies explicitly about, or attempting to look of, the Internet. It takes a New Wave-adjacent filmmaker to “explode the frame” for us once again with organically reconsidered digital techniques. Billed as a contemporary interpretation […]
by Rebecca Turner on Nov 18, 2022 -
Animal Collective, David Lynch and the Marines: Elegance Bratton on The Inspection
While it’s been 35 years since the release of Full Metal Jacket, Stanley Kubrick’s U.S. Marines drama that featured R. Lee Ermey showering young male recruits with derogatory four-letter words, numerous films have sought to further emphasize the dehumanizing nature of military training bootcamps. At first glance, it might appear that The Inspection, writer-director Elegance Bratton’s narrative feature debut, fits comfortably within those expectations. Set in the early 2000s, the film opens as Ellis French (Jeremy Pope) has been kicked out of his mother’s (Gabrielle Union) apartment for being gay and finds himself at a homeless shelter in New Jersey. […]
by Erik Luers on Nov 18, 2022 -
“I Just Don’t Think Nice People Are Interesting”: Kit Zauhar on Actual People
Kit Zauhar, the writer-director-star of her debut feature Actual People, does not want you to refer to her film as “mumblecore.” Set in New York City, the plot revolves around the near-daily indignities suffered by a young woman named Riley during her last week of undergrad at NYU: she runs into a cheating ex, roommate tensions come to a head and her ability to graduate becomes increasingly uncertain. Above all, she’s consumed by a crush she harbors for a fellow Philly native she recently hooked up with, traveling to her hometown in a desperate attempt to seduce him. Predictably, nothing […]
by Natalia Keogan on Nov 17, 2022 -
“Carrots Played an Important Part in the Whole Process”: Jerzy Skolimowski on EO
In a year that saw the passing of Jean-Luc Godard, it’s astonishing to see a sometimes overlooked fixture of golden age European art cinema, Jerzy Skolimowski, directing one of his strongest films now—with a donkey for a star, no less. Boxer, poet, actor, painter: the 84-year-old director has brought a restlessness to his career, often expressed on film through a muscularly lyrical approach to mobile camerawork that remains unique in many ways. His classic Deep End (1970) heaves and wheels and gawps alongside its awkward, sexually frustrated teenage protagonist, Mike, who stalks a facsimile of curdled Swingin’ London shot in […]
by Nicolas Rapold on Nov 17, 2022 -
“I Wanted the Camera To Be a Good Listener”: DP Natasha Braier on She Said
In Maria Schrader’s She Said, two New York Times reporters investigate allegations of sexual misconduct against Hollywood producer Harvey Weintstein. Their work not only leads to a measure of justice for victims, but helps inspire #MeToo, an ongoing effort to improve professional practices for women in a male-dominated industry. Schrader and her crew shot largely on location, including inside the New York Times headquarters near Times Square. The heavyweight cast includes Carey Mulligan (Megan Twohey), Zoe Kazan (Jodi Kantor), Patricia Clarkson (Rebecca Corbett), Jennifer Ehle (Laura Madden) and Samantha Morton (Zelda Perkins). Director of photography Natasha Braier has worked on […]
by Daniel Eagan on Nov 17, 2022 -
“The Consequences of Putin’s Playbook”: Marusya Syroechkovskaya on How to Save a Dead Friend
“Russia is for Russians!” goes the far-right rallying cry. To which Marusya replies, “Bullshit. Russia is for depressed people.” She should know: Moscow-born Marusya Syroechkovskaya spent a dozen years turning her camera (multiple cameras, really) on herself and her co-credited cameraperson and best friend (turned lover, turned husband, turned ex) Kimi Morev. The two met as suicidal teenagers in their nation’s capital in the aughts, both part of the spiraling “silenced generation” under Putin. They shocked one another by deciding to stick around for a spell to see how their—and perhaps their antiauthoritarian compatriots’s—story would end. (That said, the soulmates […]
by Lauren Wissot on Nov 17, 2022 -
“This Myth Has Plagued the World for Centuries”: Maxim Pozdorovkin on His DOC NYC Closing Night Film The Conspiracy
From robot-inflicted deaths (2018’s The Truth About Killer Robots) to the rise of Donald Trump through Russian state-sponsored media (2018’s Our New President), Maxim Pozdorovkin recently has taken some unconventional routes down the darkest of rabbit holes. So perhaps it’s no surprise that the Russian-American filmmaker’s latest, The Conspiracy, closing this year’s DOC NYC, is both artistically inventive (featuring evocative animation seamlessly wed with archival imagery) and downright chilling. With a powerful score and big names such as Liev Schreiber (Trotsky) and Jason Alexander (Max Warburg) added to the mix, Pozdorovkin weaves together the interwar stories of three prominent Jewish families: […]
by Lauren Wissot on Nov 17, 2022 -
Artlist Set to Launch Artlist Max, an Industry-Disruptive All-in-One Platform (Sponsored Post)
[Tel Aviv, Israel, November 15, 2022] – Artlist, the industry-leading creative technology company, announced the consolidation of its services under one ultimate creative bundle that provides creators with music, sound effects, stock footage, templates, plugins and editing software. Since its founding in 2016 as a music licensing company, Artlist has continuously worked to expand its catalogs and services. The first expansion move was to launch the stock footage site Artgrid in the spring of 2019. In 2020, they released a vast catalog of high-quality sound effects. The third move was the acquisition of digital assets marketplace Motion Array, and the […]
by Filmmaker Staff on Nov 16, 2022
