6580 Results for “production”
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All That Is Solid Melts Into Air: Ricky D’Ambrose Speaks with James Gray about Armageddon Time
Armageddon Time returns the American writer and director James Gray to his childhood—or at least to a version of it. While its treatment of grade-school-age protagonist Paul Graff (Michael Banks Repeta) and his dealings with the world of grown-ups in and around his home in 1980s Queens, New York, might not be, strictly speaking, autobiographical (Gray has been careful to distinguish between personal and autobiographical filmmaking), Armageddon Time draws upon the filmmaker’s childhood to fashion a story of a boy’s moral and aesthetic education that seems at once thoroughly lived-in and unsentimental. For nearly two hours, we watch as young […]
by Ricky D'Ambrose on Oct 11, 2022 -
Sam Max
In “an effort to maintain a little bit of my sanity,” Sam Max wrote six shorts during the pandemic. “I had been screenwriting, but most of my work prior to the shutdowns was in performance,” they say. “This time, I was writing by thinking of myself as a director [and] writing in service of a directorial vision.” The first five shorts will never be shot—“They were interesting exercises,” Max says—but the sixth, Chaperone, became their impressively controlled, profoundly disquieting directorial debut. The story of a teenage boy (Russell Kahn) meeting up with an older man (a black-leather-gloved Zachary Quinto) at […]
by Vadim Rizov on Oct 11, 2022 -
Ash Goh Hua
“There’s a need for a cultural component of political organizing,” says documentary filmmaker Ash Goh Hua via Zoom while visiting South Korea for a week-long fellowship. “I can come in as a cultural worker, essentially, and create things that support grassroots political movements.” This mentality was the catalyst behind I’m Free Now, You Are Free, Ash’s debut short released by POV in 2020. The film captures the reunion of Mike Africa Jr. and his mother, Debbie Sims Africa, who was arrested in 1978 because of her involvement in the Philly-based political organization MOVE. Africa and eight other members (who became […]
by Vadim Rizov on Oct 11, 2022 -
Zandashé Brown
Southern Louisiana–based filmmaker Zandashé Brown’s 2018 gothic horror short, Blood Runs Down, opens innocently. The night before a young girl’s birthday, as her mother brushes her hair for the next day’s party, she asks her mother what she’ll be allowed to do once she’s a year older. It’s a sweet moment of bonding—one Brown severs moments later when the child, remaining awake to try on her new dress, suddenly is struck by some form of possession that both enrages her parent and causes her eyes to bleed. Acknowledging the complex and at times contrasting traits of a mother-daughter relationship is […]
by Vadim Rizov on Oct 11, 2022 -
Ellie Foumbi
Ellie Foumbi attributes much of her cinematic awakening to a formative teacher at the French-American School of New York. Originally from Cameroon, Foumbi’s family moved to the United States when she was five years old, enrolling her in French-language schools to preserve her native tongue. From the ages of 10 to 15, each week she would watch in this teacher’s class, among other French classics, staples from the New Wave, World War II movies and Louis Malle’s Au revoir les enfants. “Growing up, movies just became the thing that I gravitated toward,” the writer-director says. At the same teacher’s behest, […]
by Vadim Rizov on Oct 11, 2022 -
Gabriela Ortega
Born and raised in the Dominican Republic, Gabriela Ortega remembers attending theater and improv classes during her adolescence and being blown away by the power of stage presence. “There’s this rhythm where people start breathing with you, and you feel like you’re on the edge of your seat,” she says. She moved to the United States for college, attending the University of Southern California to pursue acting. Needing a flexible work-study position that would mesh with theater rehearsals, she landed a job at USC’s Cinematic Arts Library, where there was “so much information at my disposal. It was really cool […]
by Vadim Rizov on Oct 11, 2022 -
Franklin Ritch
While researching and writing the science fiction screenplay that would become his ingenious debut feature, The Artifice Girl, Franklin Ritch studied the dialogue and body language found in police interrogation tapes. “Detectives have a rhythm to their questioning,” the Jacksonville, Florida–based filmmaker says. “It was especially intriguing to watch these tapes without knowing the context of the crime. It became clear that in order to keep the audience engaged through the heavy exposition of [The Artifice Girl‘s] first act, each page of the script needed to alternate between revealing a secret and setting up a new enticing mystery.” The dialogue […]
by Vadim Rizov on Oct 11, 2022 -
Xenia Matthews
Before she even had the words for it, Xenia Matthews was making art in her grandmother’s garden in Melbourne Beach, Fla., crushing flower petals beneath her hands and fingerpainting with the resulting paste on the driveway. “She hated that,” Matthews remembers, “but I think back on that experience and realize I was never going to be anything but an artist.” The flowers, vegetables, mango trees and cacti at the site of her first creations—“The things that grow there, grow there wildly”—inspire her use of big, bright, saturated colors in her filmmaking today. At the University of the Arts in Philadelphia, […]
by Vadim Rizov on Oct 11, 2022 -
Tina Satter
The language in Tina Satter’s Is This a Room is quotidian, banal. One sample exchange: “Do you have any pets?” “I do. I have two pets.” “Because you’ve been gone for a while, so do we need to maybe let them out and use the bathroom and stuff like that?” But as structured and placed within a conceptual frame by Satter, the dialogue—directly taken from two FBI transcripts of agents interviewing whistleblower Reality Winner at her home, as well as a phone call from Winner to her sister on a recorded jailhouse line—surgically reveals gendered power dynamics as well as […]
by Vadim Rizov on Oct 11, 2022 -
Jordan Strafer
A nearly wordless short designed for both gallery and theatrical viewing, Jordan Strafer’s PEAK HEAVEN LOVE FOREVER is set aboard a private jet flying from London to Miami. Onboard are a stewardess and three passengers: a young woman in a pink dress, a severely sunburned middle-aged man and, laying across a pull-out seat, a sickly patient in a hospital gown, intubated as he goes in and out of consciousness. What follows is a frequently beguiling, uniquely humorous experimental excursion 30,000 feet above ground that includes unsettling makeup effects, mannequins, homicides carried out in first-person POV, a fatal plane crash and […]
by Vadim Rizov on Oct 11, 2022
