In 2012, Bob Byington won a Special Jury Prize at the Locarno Film Festival for Somebody Up There Likes Me; last year, he returned with Lousy Carter. Writing about the festival, I said of the film: Introducing Bob Byington’s Lousy Carter alongside the writer-director, star David Krumholtz preemptively noted that while the film was shot and is set there, “Whatever you think of Texas, its politics have nothing to do with the film.” The disclaimer is accurate—this is another of Byington’s immaculately mean comedies with an underlying sentimental streak, a blend he’s been iterating with various degrees of sharpness for […]
In the first season of Disney+’s Percy Jackson and the Olympians, the titular teenaged demigod and his compatriots travel across the country, with stops from St. Louis to Las Vegas, on a mission to prevent war among the Greek gods. However, cinematographer Pierre Gill and his crew never left the vicinity of Vancouver. Percy Jackson is the first show to use Industrial Light & Magic’s new 20,000-square-foot StageCraft Volume in the Canadian city. Gill estimates 30 percent of his episodes were shot in the virtual production environment on its 95-foot LED wall. With the show now streaming in its entirety […]
Italian filmmaker Alice Rorhwacher’s puckish and scintillatingly tactile fourth feature is her most ambitious to date. Once again dramatizing the conflicting ideals of modernity and tradition, past and present, Rohrwacher continues to pay debt to forebears of Italian cinema like Ermanno Olmi while also infusing her film with a symbolic surrealism and neo-realist class consciousness reminiscent of the respective likes of Pier Paolo Pasolini Roberto Rossellini. La Chimera follows English archaeologist Arthur (Josh O’Connor), who possesses a mystical ability to divine the location of subterranean treasures. Freshly released from prison, he reunites with a band of tombaroli (essentially grave robbers) […]
After a few days at CPH:DOX 2024, the main lesson was not to know what to expect: the range of documentary approaches felt vast, and each filmmaker’s commitment tended to be rewardingly total. The 21st edition of the springtime Copenhagen festival screened 200-plus titles across several venues, with personal favorites including the Empire Bio in Nørrebro and the sanctum-like cinematheque at the Danish Film Institute. And if one of the strongest recommendations I have for any festival is that I would have felt deprived of a complete picture of the year’s work if I hadn’t seen its selections, then indeed […]
One of the world’s leading forums for nonfiction work, this year the Thessaloniki International Documentary Festival became a lightning rod for extremist rage. As widely reported, the opening night world premiere of Greek filmmaker Elina Psykou’s Stray Bodies happened under the watch of riot police amid a temporary ban on public protests after the film’s controversial poster — an image of a topless pregnant woman nailed to a cross —set off right-wing and religious figures and generated a volley of threats. The film also premiered in the wake of a massive public protest in support of a transgender couple that […]
You know the gifted actor George MacKay from films like 1917 or True History of The Kelly Gang. Now he has given us two absolutely incredible performances in Femme (in select theaters now) and The Beast (out on April 5th). On this episode, he takes us into his process of inhabiting these two extremely different characters. He explains why context is becoming more and more important to him in his preparation, talks about the actor as storyteller, the secret to appearing truly menacing, those sex scenes in Femme, a lesson about respect that he learned from Eddie Marsan, and much […]
The following conversation is an excerpted chapter from The Cutting Room, an upcoming book by documentary film editor Mary Lampson tracing the story of a woman building a life and career as an editor in an industry hostile to both women and independent filmmaking. Traveling over the decades through massive changes in documentary storytelling and filmmaking technology, the book revisits her work with some of the great talents of the documentary form while chronicling major technological changes connected directly to her brother Butler Lampson’s groundbreaking work on the development of the personal computer. In a moment when the conversation about documentary film feels all too […]
In Free Time, writer-director-producer Ryan Martin Brown’s debut feature, directionless office drone Drew (comedian Colin Burgess) decides to quit his job. After all, the position is hardly fulfilling (nor is he particularly gifted at it), and why spend all day bleary-eyed behind a screen when all that New York City has to offer exists just outside the door? Soon enough, Drew’s naive work-life musings are proven to be drivel, and his joblessness puts a mighty strain on his few remaining social relationships. His WFH roommate Rajat (Rajat Suresh) doesn’t seem thrilled with Drew’s daytime presence in the apartment, nor does […]
The debut release from Metrograph Editions, Sean Price Williams‘s 1000 Movies is just that — a list of 1,000 movies seen and appreciated in some way by the director/cinematographer, listed chronologically across its 6″ x 4.25″ pages. There is much white space. Not included is any kind of foreword, such as a personal essay explaining the project’s genesis. (For that, you’ll have to look to interviews such as this one, or Matt Folden’s on the Metrograph site.) There are no Letterboxd-style ratings, no film stills, and not even an author bio; there’s just Lizzie Harper’s drawing up front of an […]
“Are you getting what you want, bitch?” Philly Abe, the focus of Elizabeth Nichols’s Flying Lessons, repeatedly offers similarly styled examples of “director-subject negotiations,” in which the latter grumbles before giving the former what they want, now with the added gift of self-reflexive dramatic tension. Director-subject relations are currently an especially fashionable topic (cf. the recent, clearly-titled film Subject); at this year’s True/False Film Fest, Flying Lessons provided its most interesting treatment. Abe is presented first as a representative of a vibrant and unprofessionalized ’80s downtown NYC arts scene but has an equally important relationship to the filmmaker, whose presence […]