6296 Results for “Open ”
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“Spielberg is the Master of Layering Multiple Actors Within a Frame”: DP Jeff Cutter on Prey
1987 was a good year to be a young action movie fan. RoboCop, Lethal Weapon and Predator all hit theaters within five months of each other before landing on VHS, where they could be watched again and again provided you or a friend had parents with an appropriately laissez faire attitude toward R ratings. That cycle of action films made a deep impression on a teenaged Jeff Cutter. Predator, in particular, brought forth an unexpected revelation about the nature of moviemaking. “I saw Predator in the theater when it came out and absolutely loved it,” said Cutter. “The Terminator was […]
by Matt Mulcahey on Aug 16, 2022 -
“Film Can Be a Powerful Medium for Disrupting Assumptions About What Is Normal”: Evan Bode on His Student Short Film Showcase Winner Thine Own Self
Currently a candidate for an MFA in Syracuse University’s film program, Evan Bode recently pursued a cinematic undertaking that is staggeringly bold in its sheer gumption. Though he had never formally dabbled in helming animated films, Bode decided to use the newfound creative freedom of film school to make Thine Own Self, a 5-minute, dialogue-free animated film that utilizes desk drawer clay, green poster paper and the filmmaker’s own hands as its principal storytelling devices. The film begins by introducing the viewer to a sect of colorful entities that exist in whimsical tranquility, floating above the horizon without qualm. That […]
by Natalia Keogan on Aug 15, 2022 -
“By No Means a Film Against Boys”: Alli Haapasalo on Girl Picture
Girl Picture, the sophomore feature from Finnish director Alli Haapasalo, ditches hokey coming of age conventions while preserving the crushing emotional weight inherent to being a teenage girl. The film’s protagonists—best friends Mimmi (Aamu Milonoff) and Rönkkö (Eleonoora Kauhanen), alongside Mimmi’s lover Emma (Linnea Leino)—navigate the threshold of impending adulthood, oscillating wildly between manic self-centeredness and graceful altruism, encapsulating the disparate emotional poles one must traverse to arrive at self-actualized adulthood. What truly sets Girl Picture apart from the otherwise cloyingly twee coming of age landscape is its depiction of teenage sexual awakenings as something that can be natural, pleasurable […]
by Natalia Keogan on Aug 12, 2022 -
Trailer Watch: Juan Pablo González’s Dos Estaciones
The trailer has been released for Juan Pablo González’s sophomore feature Dos Estaciones, a naturalistic gem that details the daily minutiae (and unusually gorgeous monotony) integral to the operations of a struggling tequila ranch. The film focuses on the ranch’s stony owner Maria (Teresa Sánchez), a pillar of her community who can’t always deliver paychecks but consistently finds the time to attend employee family gatherings. The film premiered earlier this year at Sundance, where Sánchez won the Special Jury Award Acting Prize. González was one of Fiilmmaker‘s 25 New Faces of Film back in 2015, and Vadim Rizov interviewed the […]
by Natalia Keogan on Aug 12, 2022 -
All Tomorrow’s Yesterdays: Keith Gordon, Radley Metzger, Errol Morris and Christopher Münch on the Films of Alain Resnais
In 2000, Filmmaker, timed to a traveling retrospective, asked four directors to reflect on the work of legendary French film director Alain Resnais. We are reposting this piece now as another retrospective, Film Forum’s Alain Resnais 100, opens tomorrow. The below films, with the exception of Je T’aime, Je T’aime, are all also streaming now on the Criterion Channel. See as well this article’s original sidebar, in which producer Anatole Dauman reflects on the making of Night and Fog and Hiroshima, Mon Amour. — Editor Perhaps more than those of any other modern director, the films of Alain Resnais are […]
by Filmmaker Staff on Aug 11, 2022 -
“The Very First Cut Lasted About 25 Hours”: María Álvarez on Her Proust Documentary, Le temps perdu
María Álvarez’s 2020 doc Le temps perdu (premiering theatrically on these shores at NYC’s Film Forum August 12th) is the second film in an exquisite trilogy, beginning with 2017’s Las cinéphilas and ending just last year with the IDFA debut of Las cercanas. All three docs are poetic meditations on the intersection of art, aging and memory, similarly focused on vibrant geriatric characters whose connections to cinema, literature and music (in ascending part order) are as profound as life itself. In the case of Le temps perdu reading becomes, in the apt description of one enthusiastic gent, “a creative act” — and an epic one at that. For […]
by Lauren Wissot on Aug 11, 2022 -
“What Sound Does It Make?”: Fantasia International Film Festival 2022
For its 26th edition, the Fantasia International Film Festival returned to a fully in-person, three-week event in downtown Montréal. The festival has always been my own personal summer retreat, affording me a few days in Canada to embrace the undying creativity of the independent horror scene and the festival’s homegrown traditions. For reasons I’ve never fully understood but have always been happy to accept the entire audience erupts in applause at a generic TV spot for Nongshim ramen and, as the lights go down before a film, loudly meows like a cat. If you attend a screening in Concordia University’s Sir […]
by Erik Luers on Aug 10, 2022 -
Film at Lincoln Center Announces 2022 NYFF Main Slate
Film at Lincoln Center has announced the main slate for the 2022 New York Film Festival, featuring anticipated films from celebrated auteurs and promising newcomers alike. Noah Baumbach’s adaptation of Don DeLillo’s novel White Noise will open the 60th edition of the festival, while Laura Poitras’s All the Beauty and the Bloodshed serves as the Centerpiece selection and The Inspection, the narrative debut from director Elegance Bratton, closes it out. Directors also featured in the program include James Gray, Claire Denis, Frederick Wiseman, Park Chan-wook, Paul Schrader, Kelly Reichardt, Ruben Östlund and Todd Field. Filmmakers Mia Hansen-Løve, Joanna Hogg and […]
by Filmmaker Staff on Aug 9, 2022 -
Experiments in Darling Killing: Director Nastasya Popov on Respecting the Edit in Her Short, Good Grief
Recently, as part of my writing process, I’ve started to read through the junk that gets mailed to my apartment. This endless, unsolicited mound, consisting of the local councilwoman’s campaign booklet one day and “The Real Yellow Pages” the next, could contain the spark of a story. Just a few weeks ago, as I was emphatically flipping through an alumni magazine, I came across an article titled “The Secret to Creating a Masterpiece.” Of course, I was curious. Using AI to mine big data (I know exactly what that means), researchers at Northwestern had concluded that artistic genius is born […]
by Nastasya Popov on Aug 3, 2022 -
“We Can Shoot the Sun and the Characters Dramatically, but the World is Humble”: Writer/Director Max Walker-Silverman on A Love Song
The sun is harsh in Max Walker-Silverman’s A Love Song. Intense in the mid-day, it beats down on Faye (Dale Dickey) — ruddy, her face lined by hard living, her blonde hair lightened further by all the incandescent days. Ensconced in her small trailer sitting in a lakeside patch of dirt somewhere in Colorado, the widow waits for a man, also familiar with loss, she knew decades ago. She wrote to him — will he show up? It’s not a spoiler to reveal that he does, in the form of Wes Studi, and theirs is a bittersweet, gently melancholic connection […]
by Scott Macaulay on Jul 29, 2022
