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“We Joke That This is a Pre-COVID Movie Made from a Safe Social Distance”: Paweł Łoziński on The Balcony Movie
The following interview originally ran as coverage of the Museum of the Moving Image’s 2022 First Look festival. The Balcony Movie will screen at MoMI this weekend as part of their series In the Neighborhood: The Films of Paweł Łoziński, running from December 2-4. It is also currently playing on MUBI.—Editor As its title implies, Paweł Łoziński’s The Balcony Movie, which closes this year’s First Look Festival on March 20, is a film shot entirely from a balcony. Which may sound like the worst elevator pitch of all time until one realizes that the balcony belongs to the acclaimed Polish […]
by Lauren Wissot on Mar 18, 2022 -
DIY Photogrammetry: Sasha Litvintseva and Beny Wagner on Constant
One of the highlights of this year’s International Film Festival Rotterdam, Sasha Litvintseva and Beny Wagner’s 40-minute not-quite-documentary Constant considers how the meter was standardized. It’s a topic that sounds drawn from one of the numerous popular history bestsellers of the last few decades explaining how some obscure topic is actually the key to understanding how the modern world came to be—and, indeed, one of the three source texts Constant credits is Ken Adler’s The Measure of All Things, which tells the story of the codification of the metric system. That story, however, is wild, involving in part a seven-year, on-foot journey undertaken by […]
by Vadim Rizov on Mar 17, 2022 -
“King Crimson Being a Way of Doing Things as Opposed to a Set Organism”: Director Toby Amies on His SXSW Doc, In the Court of the Crimson King
When Toby Amies emails me the Vimeo press link to his SXSW-premiering documentary on the band King Crimson, In the Court of the Crimson King, he appends a list of influences. There’s a documentarian (Ross McElwee), a pseudo-documentarian (Christopher Guest), a narrative filmmaker who is a real King Crimson fan (Vincent Gallo) and then a couple of directors whose impact remained a bit puzzling both before and after seeing the film: Ernst Lubitsch and Sam Peckinpah. But perhaps the cinephile (and King Crimson fan) in me was looking too closely, because after watching In the Court of the Crimson King […]
by Scott Macaulay on Mar 16, 2022 -
I Love My Dad, Master of Light Win Top Feature Prizes at SXSW
At its live awards ceremony SXSW announced tonight the jury and special award winners of the 29th annual SXSW Film Festival. James Morosini’s I Love My Dad — starring the writer/director along with Patton Oswald — won the Narrative Feature Competition, and Rosa Ruth Boesten’s documentary about painter George Anthony Morton, Master of Light, won the Documentary Feature Competition. Other notable winners include Iliana Sosa, a Filmmaker 25 New Face whose What We Leave Behind won two awards: The Fandor New Voices Award and the Louis Black Lone Star Award. Films will continue to be available on the SXSW platform […]
by Filmmaker Staff on Mar 16, 2022 -
23 Days, Ten Crew Members, Two Lenses and One Joker: DP Drew Daniels on Red Rocket
“I really love to embrace limitations,” says cinematographer Drew Daniels. “I try to limit some of my choices on any film I do.” With Red Rocket, the opportunities to welcome constraints were plentiful. The latest from Tangerine and The Florida Project filmmaker Sean Baker, Red Rocket was shot in 23 days entirely on practical Texas locations with a supporting cast largely populated by local first-time actors. The crew boasted 10 members, including producers doing double duty as assistant directors or costume designers. The grip/electric department was a literal one man band, armed with Digital Sputniks, a few Astera tubes and […]
by Matt Mulcahey on Mar 15, 2022 -
Ambition in Filmmaking, Mia Goth’s Dual Role and His Sirkian A24 Prequel: Ti West on His SXSW-Premiering X
After 2016’s Western, In the Valley of Violence, and several years directing episodic TV, Ti West (The House of the Devil, The Inkeepers, The Sacrament) makes a very welcome return to the world of feature horror with X, a ’70s-set picture in which the sort of ambition that has characterized West’s impressive filmography is both evident on screen as well as the subtext driving the film’s characters. The set-up: a ragtag group of filmmakers ensconce themselves in a rented barn outside a foreboding farmhouse straight out of The Texas Chainsaw Massacre to make a porno feature, The Farmer’s Daughter. Mia […]
by Scott Macaulay on Mar 14, 2022 -
Five Questions for Drea Cooper and Zachary Canepari About Their SXSW-Premiering Documentary, Diamond Hands: The Legend of WallStreetBets
As more and more human activity — personal, social, economic, political — happens online, a challenge is posed to practitioners of that legacy art form, the feature film. To wit: how to tell an 80-minute-plus story whose symbolic meanings were created in part by interactions and juxtapositions occurring in virtual spaces, a story that’s possibly inseparable from a rich visual culture that is most accurately parsed in portrait mode and not in a theater or on a flat screen? Providing one answer are filmmakers Drea Cooper and Zackary Canepari, whose latest feature documentary, the SXSW-premiering Diamond Hands: The Legend of […]
by Scott Macaulay on Mar 13, 2022 -
Shooting Under Fire: Filmmaking in Conflict Zones with Brent and Craig Renaud
Filmmaker Brent Renaud, who, with his brother Craig, made films in conflict zones around the world, was killed while filming in Ukraine today. He was also co-founder of the Arkansas Motion Picture Institute and executive and artistic director of the Little Rock Film Festival. Here — originally published December 17, 2013 — is our profile of the two brothers and their extraordinary filmmaking practice. R.I.P. Brent Renaud. — Editor From NYC drug addicts to Mexican drug cartels, from today’s soldiers to yesterday’s civil rights pioneers, from Chicago gang members to Afghan warlords, Craig and Brent Renaud have made a career […]
by Lauren Wissot on Mar 13, 2022 -
Five Questions for Casey Neistat about His SXSW-Premiering David Dobrik Documentary, Under the Influence
When Casey Neistat, along with his brother Van, made Filmmaker‘s 25 New Faces list in 2006, he had already made over 300 shorts that had played at film festivals, museums and online. Three years later he launched an HBO series. But Google Neistat now and the information panel for the 40-year filmmaker offers a single blunt ID: “American YouTuber.” It was only in 2010 that Neistat began posting his work on YouTube and in 2015 that these postings became daily, a profusion of content (and subscribers — 12 million) that have made him a progenitor of a newer generation of […]
by Scott Macaulay on Mar 12, 2022 -
“It’s About the Emotion, the Performance, the Rhythm and the Space in Between the Words”: Rosa Ruth Boesten on Her SXSW-Debuting doc Master of Light
A stunning work of cinematic nonfiction, Rosa Ruth Boesten’s Master of Light follows the classical painter George Anthony Morton, a fan of Rembrandt who conjures exquisite portraits of his own family members in the style of the Old Masters. Never formally trained, Morton nonetheless managed to land a spot at the New York branch of The Florence Academy of Art, eventually going on to study in Europe and win awards abroad. Which would be a remarkable feat for any American, let alone a Black man from Kansas City who spent a decade behind bars for dealing drugs. But likewise remarkable […]
by Lauren Wissot on Mar 12, 2022
