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“The Script Had to be Drunk — Drunk Alongside the Characters”: Director Thomas Vinterberg on Balancing Humor and Sadness In His Unexpectedly Life-Affirming Another Round
A besotted cinematic sub-genre consists of films about drinking — liquor, bars and the imbiber’s life. Whether the lives portrayed are rowdy and boisterous ones, or, as is often the case, destructively out-of-control, these films — ranging from Days of Wine and Roses and The Lost Weekend to Leaving Las Vegas — usually map their character arcs alongside their characters’ physical and social deterioration; they wind up as cautionary tales. A recent film that took a different approach is the Ross Brothers’s hybrid documentary, Bloody Noses Empty Pockets, which captured the woozy exuberance of one intoxicated day/night while not eliding […]
by Scott Macaulay on Mar 31, 2021 -
“I’ve Always Been Very Frustrated with Sports Films”: Julien Faraut on The Witches of the Orient, Learning from Chris Marker and Volleyball Anime
In his extraordinary portrait of American tennis champ John McEnroe, In the Realm of Perfection (2018), French filmmaker Julien Faraut engineered a hypnotizing meditation on the intersection between sports, performance and the creation of images—not at all the conventional retread of history one might expect from anything with the “sports movie” label. In his latest, The Witches of the Orient, Faraut returns to the arena of athletic competition in similarly idiosyncratic fashion, profiling the women of Japan’s most famous volleyball team. Made up of former textile workers, team “Nichibo Kaizuka” nabbed gold at the 1964 Tokyo Olympics and inspired a […]
by Beatrice Loayza on Mar 31, 2021 -
SXSW Critic’s Notebook: The Feast, Gaia, The Spine of Night, Swan Song
William Burroughs’ explained the title of his 1959 masterpiece Naked Lunch as “a frozen moment when everyone sees what is on the end of every fork.” Director Lee Haven Jones appears to share the Beat novelist’s intention in his feature film debut (after a decade of UK television), The Feast. The Welsh-language shocker serves up a stomach-churning bounty of visceral delights and/or dread in its deliberate 90 minutes, as it builds to a jaw-dropping third act – steadily foreshadowed throughout the preceding course (er, courses) of events. Yet another entry in the resurgence of the folk horror genre, the film […]
by Steve Dollar on Mar 26, 2021 -
“The Only Similarity Between My Film and Brecht’s Play Lies in the Title”: Sabrina Zhao on The Good Woman of Sichuan
“This is neither an adaptation nor a work of fiction,” an intertitle informs the viewers after five minutes of uninterrupted observation of the rural landscape through the window of a passing train. “Only the quoted lines from The Good Person of Szechwan are supposed to be fictitious.” Sabrina Zhao’s directorial debut The Good Woman of Sichuan is upfront when it comes to disclosing its hybrid nature—between documentary and fiction, the film borrows the little plot there is from Bertolt Brecht’s play The Good Person of Szechwan. Or does it really? After the first disorienting encounter with the film’s seemingly disjointed […]
by Ren Scateni on Mar 26, 2021 -
SXSW Critic’s Notebook: Poly Styrene: I am a Cliché, Delia Derbyshire: The Myths and the Legendary Tapes, Disintegration Loops, J’ai Été Au Bal
I’ll never forget the first time I heard Poly Styrene. I was in college, hanging out at a buddy’s one evening. We were drinking beer, smoking pot and playing records. One of them was something new, a document of the current London punk-rock scene: Live at the Roxy London WC2, featuring now-legendary acts like Wire and the Buzzcocks. The songs were by turns arty or aggro, surging out of a mix that felt submerged in an ambient murk. And then this teenager’s voice cut through. Over the curdled notes of Lora Logic’s saxophone, drums clamor and the song explodes. “Bind […]
by Steve Dollar on Mar 23, 2021 -
Jeremy, The Bad News Bears, The Bermuda Depths and Isle of the Dead: Jim Hemphill’s Home Video Recommendations
One of the surprise hits of the 1973 Cannes Film Festival was the low-budget coming of age film Jeremy, an unassuming drama starring two unknowns and directed by an American documentarian whose low-key approach yielded powerful emotional effects. Sixteen-year old Robby Benson had been acting on Broadway since he was nine but was fairly new to movies; his co-star, Glynnis O’Connor, was even less experienced and fluked into her part when she tagged along with her brother Darren (who starred in another interesting 70s high school movie, To Find a Man, the year before) on his audition for the part […]
by Jim Hemphill on Mar 19, 2021 -
What to Stream at Doc Fortnight 2021 (The 20th Anniversary Edition)
Having rolled out its inaugural edition in the wake of 9/11, Doc Fortnight will now be celebrating its 20th anniversary virtually (from March 18-April 5), the result of another world-upending tragedy (politically and personally dissected in Nanfu Wang’s compelling, opening night feature In the Same Breath). And yet the full-steam-ahead spirit of MoMA’s Festival of International Nonfiction Film and Media remains. The 2021 lineup, both eclectic and ambitious, spotlights 18 features and four shorts – another 10 films screen in the “Non/Fiction 20 Years of Doc Fortnight” sidebar – alongside a revival of Moroccan director Mostafa Derkaoui’s banned/lost/found doc-fiction from […]
by Lauren Wissot on Mar 19, 2021 -
13 Features to Look Forward to at the 2021 SXSW Film Festival
SXSW boasts the unenviable distinction of being the first major festival on the ’21 calendar to have its typical live edition disrupted for the second time by the COVID-19 pandemic. Last year the teeming Austin event, which encompasses not just film but music and interactive, was cancelled by the City of Austin as the pandemic spread. “The cancellation itself, it felt like a tsunami,” SXSW Film Festival Director Janet Pierson told The Texas Standard. “Waves coming at you, the ground underneath you. I mean, it was just so intense and the repercussions were so devastating for so many people and […]
by Scott Macaulay on Mar 16, 2021 -
“Filipino Culture is Just Not in the Media”: Martin Edralin on the SXSW 2021 Premiering Islands
Fifty-year-old Joshua (Rogelio Balagtas) still lives in the ease of his parents’ home. He probably hasn’t dated anyone seriously in years — if ever. His mom still cooks for him and tends to his father, whose health is declining and needs help getting around. Joshua’s dependent lifestyle is untenable. When his mother very suddenly passes away and his father’s condition worsens, Joshua can hardly take care of himself, let alone his father. The days are lonely and even grimmer since his dad can’t seem to remember that his mom passed away. This is the initial set up of writer/director Martin […]
by A.E. Hunt on Mar 16, 2021 -
Back to One, Episode 146: Leonardo Nam
Westworld star Leonardo Nam didn’t know that I saw him perform a scene in an acting class in New York City way back when. An inventiveness and creativity were on display there that I still see in his work. In this hour, he tells an amazing story of literally coming to a crossroad in his young life, and how he boldly chose what felt right, and turned toward the pursuit of acting. He talks about the importance of finding the “play” in every role, why the costuming days are his favorite in pre-production, and how meditation helps get him “back […]
by Peter Rinaldi on Mar 16, 2021
