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Back to One, Episode 174: Vicky Krieps
Phantom Thread solidified Vicky Krieps as an acting force to be reckoned with. Her incredible performance in that film felt new, like a beginning of sorts. Her latest is Mia Hansen-Løve’s Bergman Island. She talks about figuring out ways to turn the difficulties of that production into opportunities to create something magical. Plus she gives us a glimpse inside her process-less process, made up of deconstruction, openness, acceptance, listening, embracing chaos, exploding the method, living with failure, holding space for the unknown, and letting intuition lead the way. Back To One can be found wherever you get your podcasts, including […]
by Peter Rinaldi on Oct 19, 2021 -
Cinematographer Michael Fimognari on Shooting the Netflix Series Midnight Mass and Stripping Away Departmental Hierarchy with Red, Green and Blue Camera Teams
In Midnight Mass, the arrival of a new priest upends the small, isolated fishing community of Crockett Island. It’s an original idea from writer/director Mike Flanagan, who made his name in the horror genre adapting Shirley Jackson, Henry James and multiple Stephen King opuses. Flanagan has been excavating the bones of Midnight Mass for years and at various stages it morphed from novel to film to series. The characters’ inner demons and struggles with addiction and faith mirror his own, with details taken from Flanagan’s youth as an altar boy on New York’s Governors Island. With the personal nature of […]
by Matt Mulcahey on Oct 15, 2021 -
“Sending Your Script to Someone is Like Asking Them to Never Speak to You Again”: Fran Kranz on the Making of His Grief and Reconciliation Drama, Mass
Two sets of parents enter a plain, drab room located down the hallway of an unassuming Episcopalian church. Their reason for meeting pertains to their respective sons, both of whom have died. One set of parents have lost their son to a mass shooter at his high school, the other set’s son was himself the mass shooter. That is the basis for Fran Kranz’s emotionally raw debut feature, Mass, a film that is necessarily an actors’ showcase but also an exercise in pared-down filmmaking that finds tension and release in the subtlest of camera gestures. As the parents debate everything […]
by Erik Luers on Oct 15, 2021 -
Death Ride to Osaka, The Equalizer and Escape Room: Tournament of Champions: Jim Hemphill’s Home Video Recommendations
Among graduates of the “Roger Corman film school,” Jonathan Kaplan doesn’t have the same level of name recognition as Martin Scorsese, Jonathan Demme, or Francis Coppola, but he clearly learned the same lessons they did while plying his trade directing exploitation flicks for Corman’s New World Pictures. Although it might seem like the only thing Kaplan’s films have in common is that they have nothing in common – his filmography includes blaxploitation (Truck Turner), Oscar winning and nominated dramas (The Accused, Heart Like a Wheel), science fiction (Project X), Westerns (Bad Girls), and one of the greatest teen movies ever […]
by Jim Hemphill on Oct 15, 2021 -
Socks, Scope and 35mm Projection: Mia Hansen-Løve on Bergman Island
Filmmaking couple Chris (Vicky Krieps) and Tony (Tim Roth) arrive at Fårö Island to begin a real-life residency for artists who wish to work in Ingmar Bergman’s former home. “All this calm and perfection, I find it oppressive,” she says; “soothing,” he counters. Mia Hansen-Løve’s seventh feature, Bergman Island, sets up a number of binaries, most directly in the film’s bifurcated structure: the first half is a third-person POV of Chris and Tony’s time on the island, the second a film-within-a-film of the project Chris is writing and recapitulating for Tony. (For schedule availability reasons, the second half was shot first, while […]
by Vadim Rizov on Oct 13, 2021 -
The Year of the Hybrid: 9 Ways to Make the Most of a Hybrid Festival Premiere
This is a very weird time for film festivals and filmmakers. During the first year of the pandemic, it was fairly simple: Almost every festival around the world became online only. There were a few exceptions, of course: The Göteborg Film Festival in Sweden stranded one person on a tiny island for a week to watch every film. The Oldenburg Film Festival in Germany had living room premieres. And many festivals pivoted to drive-in and other outside venues (especially where the climate allowed for that). By summer of 2021, the feeling among festival organizers was that now that we have […]
by Dan Mirvish on Oct 13, 2021 -
Wang Qiong
Wang Qiong had her first exposure to filmmaking and documentary when, dissatisfied with the courses she was offered as an undergraduate Broadcasting, Television, and Journalism major at Jinggangshan University in China, she decided to use her time volunteering with IFChina Original Studio. Founded in 2008, the nonprofit organization is dedicated to capturing the experiences of Chinese citizens and, fortuitously for Wang, was based in her hometown of Ji’an, Jiangxi Province. Wang immediately embraced its projects related to oral history and memory; when one began that asked participants to interview their mothers about their birth stories, she decided to get personally involved. […]
by Vadim Rizov on Oct 11, 2021 -
Suneil Sangziri
In three 16mm shorts that premiered over the past three years, Suneil Sanzgiri uses a broad array of formats to delve into his father’s memories and their inevitably political intersection with Goa’s history. CG renderings of now-gone and never-visited locations, desktop documentary, commissioned drone footage, archival excerpts of classic Indian films, still-resonant news footage of past protests: All are in the mix as Sanzgiri thinks through key thematic preoccupations—diaspora, colonialism, how to understand a homeland from a distance, political activism and genocides—in overlaid, Roboto-font text. In 2019’s At Home But Not at Home, which premiered at the International Film Festival […]
by Vadim Rizov on Oct 11, 2021 -
Rebecca Adorno
Rebecca Adorno has two websites, with only the subtlest of hyperlinks between them. The first is for her editing work—cutting documentaries like Peter Nicks’s Homeroom, Cheryl Dunn’s Moments Like This Never Last and episodes of Jehane Noujaim and Karim Amer’s HBO series, The Vow. The other is for her work as a visual artist whose installations have titles such as The Heat Death of the Universe and On Underwater Background Noise. “By recontextualizing scientific data, technology, and concepts involving physics of sound,” reads her artist statement, “Adorno creates physical representations of intangible phenomena while drawing parallels between aesthetics of beauty […]
by Vadim Rizov on Oct 11, 2021 -
Jordan Lord
Make a film and along with the movie comes, usually, a folder containing all the associated contracts: financing docs and loan agreements, footage releases, location agreements and, especially for documentaries, appearance releases. Together, they constitute a matrix of power relations, a charting of the debts incurred, risks undertaken and obligations owed by all of those participating in the film’s creation. The deconstruction of these relationships is both subject and method in the films of New York–based filmmaker Jordan Lord. In the 2018 short After…. After… (Access), Lord and their producer attempt to secure permission from a hospital to film Lord’s […]
by Vadim Rizov on Oct 11, 2021
