17730 Results for “”
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“A Portrait So Specific and Singular in Time”: Editors Katharine McQuerrey and Anthony Valdez on El Planeta
Amalia Ulman’s El Planeta is a modern day picaresque, following a young fashion student and her mother as they grift their way into small riches amid the backdrop of post-financial crisis Spain. The film explores consumerism, gendered expectations, and class with devilish humor. Editors Katharine McQuerrey and Anthony Valdez discuss bringing the city of Gijón to life and the difficulty of making a Skype call feel urgent and real. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? McQuerrey: I […]
by Filmmaker Staff on Jan 30, 2021 -
“My Film Family Was Atomized”: Director Jamila Wignot | Ailey
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? Ailey was made in fits and starts over a period of four years. We’d raise a sum of money to cover one portion of the process, spend the money, stop down, raise more money. Rinse repeat. Stopping down and starting is always tough. You lose momentum or you risk losing key collaborators. By 2019, we’d completed the bulk of production and we were trying to figure out whether to start up our edit when, […]
by Filmmaker Staff on Jan 30, 2021 -
“I Wanted the Film to Feel Like an Online Dating Hall of Mirrors”: Pacho Velez on his Sundance-Debuting Searchers
As someone who came of age at a time when looking for a potential partner(s), be it for a lifetime or one night, was less a neat calculated exercise and more a messy spontaneous surprise, I’ve never quite understood the appeal of online dating. Seeking love and/or sex via swipe just always seemed creepily clinical and controlled, cold and robotic — about as sexy as in vitro fertilization to my mind. And yet watching Pacho Velez’s Searchers, an exploration of online connecting through the eyes (literally, as Velez’s Interrotron-style setup allows his characters to look directly at us as they […]
by Lauren Wissot on Jan 30, 2021 -
“I Usually Avoid Celebrating Birthdays, But it Felt Important to Embrace This One”: Director Pacho Velez | Searchers
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? I imagine that many directors are writing about COVID or the BLM protests, and both of those events shaped Searchers, but I also experienced a more personal milestone—my fortieth birthday. I usually avoid celebrating birthdays, but it felt important to embrace this one. Then came the pandemic, and I spent the day like every other lockdown day, reading the news, listening to podcasts, and experimenting in the kitchen. Besides the symbolic weight of forty, […]
by Filmmaker Staff on Jan 30, 2021 -
“The Uncanny Similarities of a Town Dealing with a Fast-Spreading Curse”: Director Sean Ellis | Eight for Silver
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? It didn’t affect us at all except the uncanny similarities of a town dealing with a fast-spreading curse that forces them to stay in their homes and board all the windows shut in order to avoid any unwanted exposure to it (insert funny pandemic virus emoji being chased by a hypodermic needle and a werewolf here). (Check back daily during the festival — new answers are uploaded on the day of each film’s premiere. […]
by Filmmaker Staff on Jan 30, 2021 -
“Our Goal Was to Show Precisely His Changing Emotional States”: Editor Jarosław Kamiński on Prime Time
Jakub Piątek’s feature debut Prime Time is a thriller set in the deadly world of broadcast television. In 1999, a youth named Sebastian (Bartosz Bielenia) hijacks a TV studio, taking two hostages along the way. His reasons for doing this slowly unravel, including to himself. Editor Jarosław Kamiński walks us through the chaos of Prime Time’s editing and how best to portray a shifting protagonist’s emotional states. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Kamiński: Jakub Piątek, the director of Prime […]
by Filmmaker Staff on Jan 30, 2021 -
“I Had to Put My Own Interests Aside”: Editor Hogir Hirori on Sabaya
Hogir Hirori’s Sabaya tells the untold story of young survivors of Daesh sex trafficking. The documentary follows the actions of the Yazidi Home Center as they infiltrate the Al-Hol camp where several women and children were held against their will as slaves. As the editor of his own film (as well as the cinematographer), Hirori shares how he preserved the exigence of the Sabaya girls’ story while protecting their identities along the way. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this […]
by Filmmaker Staff on Jan 30, 2021 -
“The Memory of Shooting Left a Scar”: DP Alex Camilleri on Luzzu
Alex Camilleri’s Luzzu touts itself as one of the first 100% Maltese films. Starring fisherman Camilleri met during his time in Malta, the movie features non-actors in what could be mistaken for a documentary on Malta’s fishing industry and the ecological concerns therein. Acting as the film’s editor, Camilleri walks us through his path to his first feature and the solitary experience of editing your own film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Camilleri: I’m the writer and […]
by Filmmaker Staff on Jan 30, 2021 -
“My Collaborators Are Geniuses”: Editor Christopher Makoto Yogi on I Was a Simple Man
Set in the countryside of O’Ahu, Hawai’i, Director Christopher Makoto Yogi’s second feature film I Was a Simple Man is a surreal portrait of an elderly man’s final days. Told in chapters, the film follows Masao (Steve Iwamoto) as he’s visited by ghosts of his past, including his wife Grace (Constance Wu). Acting as the editor for his film, Yogi discusses staying true to his initial emotion in writing the film, as well as the value of brutal honesty in your team. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and […]
by Filmmaker Staff on Jan 30, 2021 -
Sundance Critic’s Notebook 2021 1 (Vadim Rizov): The Most Beautiful Boy in the World, Flee
“We’re sad to miss you on the Park City mountain this year and look forward to the day we can once again gather under one roof,” read HBO Docs’s email leading up to this year’s Sundance. “Until then, we encourage spending lots of time in front of your screen watching documentaries.” This is admirably direct and succinct, if bleak, and thus a fitting welcome to Sundance 2021; those who’ve physically attended in recent years can stroll down Virtual Main Street and experience brand overexposure all over again. You can “Bring [Chase] Sapphire on Main Home” or pop into the area […]
by Vadim Rizov on Jan 29, 2021
