Industry friendly genre films are always top draws at film festivals, and So Chiang’s Accident, produced by Johnny To and straight from Venice, has a diabolical premise that calls out for an English-language remake. A team of hit-men and women meticulously stage their killings to appear as accidents. Chiang takes an Argento-like glee in these elaborate projects, which are part Rube Goldberg and part Al Queda training manual. Balloons float into the sky to block ever-present security cameras; minor car crashes set off chain reactions leading to neck-slicing rain showers of shattered glass; the slicked-down streets found in so many […]
Ironically, a strange, brilliant one-minute trailer for the Buenos Aires Festival International de Cine Independiente (BAFICI) by Argentine director Lisandro Alonso opened the fourth Wavelengths program of avant-garde cinema at the Toronto International Film Festival. In the piece, officially titled S/T (pictured above), an unblinking owl stared in luxuriously saturated color, while pounding drums created a masterful musical score. The work was being asked to function not primarily as advertising but as cinema — and experimental art cinema at that. S/T was followed by In Comparison, a 16mm film by accomplished filmmaker and installation artist Harun Farocki. Born in the […]
In this excerpt of our interview with Lee Daniels on his award-winning film Precious, which will be in the upcoming Fall issue, Jason Guerrasio talks to the director-producer about his connection with the book the film is based on, molding first-time actor Gabby Sadibe into Precious and his conflicts with the crew while making the film. Precious screens at the Toronto International Film Festival this evening and will be in theaters in November. Filmmaker: Did reading Push bring back any memories of what you went through growing up in Philly? Lee Daniels: I had not experienced the things that Precious […]
Chaste is not a word often associated with the films of Jane Campion. From the boudoirs of The Portrait of a Lady to the rough frontier bedrooms of The Piano (1993), Campion is known for her steamy, sultry visions of intimacy. But in her latest film, Bright Star, the only female filmmaker to win the Palme d’Or puts the gloves on, telling the tale of British poet John Keats and his love, Fanny Brawne, with modesty and restraint. Keats died at the age of 25, before he could find the critical and financial success to wed his beloved. Yet Brawne, […]
Here’s the way it used to be. You made an edgy, well-received independent film, one that showed your facility to tell a story and work with actors, and the smart Hollywood scripts — quality writing that required the touch of someone outside the system — would arrive in those expensively-printed agency binders. And that’s the way it seemed to be playing out for Karyn Kusama, who made an excellent debut with her gritty, low-budget Girlfight, a female boxing movie that launched the movie career of Michelle Rodriguez. But then a couple of things happened. First, her follow-up, Aeon Flux, was […]
With their latest film, How to Fold a Flag, documentary filmmakers Michael Tucker and Petra Epperlein have come full circle. Their first feature was 2004’s Gunner Palace, which told the story of soldiers in the Army’s 2/3 Field Artillery as they patroled the streets of Baghdad in late 2003 and early 2004. Told in a gritty style that threw viewers right into the midst of conflict, the film resisted an overt political agenda, focusing instead on the daily lives of the troops. The Prisoner: Or How I Planned to Kill Tony Blair followed, a chillingly Kafkaesque story of an Iraqi […]
From today’s New York Times, a piece by Ben Ratliffe on Jim O’Rourke and his move to Japan, his turn towards improvisation and film scores, his new album The Visitor (pictured), and his attempt to control context. An excerpt: Mr. O’Rourke’s production style is precise and dry; he creates a sound picture in which tiny sonic details matter. But where his Drag City records are concerned, everything matters: the pacing, the length, the sound, the cover images. For this reason he won’t allow “The Visitor,” or any of his albums, to be sold as downloads, on iTunes or anywhere else. […]
The Further Adventures of Death Tripper, Ouroboros and What lies Beyond Jupiter Cannes, France. In a cinematic year filled with visions of extreme sex and violence, the enfant provocateur of French cinema Gaspar Noe illuminates a phosphorescent direction forward. In person Noe could be mistaken as the progeny of Aleister Crowley with sunken-in, charcoal-lined eyes and shaved head. But lurking behind this visage is a filmmaker who courts controversy with vivacity and confidence. The last time Noe was at Cannes was to premiere his film Irreversible; he ingratiated himself into the hearts and minds of audiences willing to be subjugated […]
Here’s the just-posted episode two of the Killer Films/Massify video production blog for their Loop Planes. For episode one and more on the project, click here. Massify + Killer Films Episode 2 from Massify on Vimeo.
FERNANDO TIELVE AND DÉBORAH FRANÇOIS IN WRITER-DIRECTOR ALEXIS DOS SANTOS’ UNMADE BEDS. COURTESY IFC FILMS. If there’s a restlessness to the filmmaking of Alexis Dos Santos, you only have to look at the background of the young Argentinian writer-director to understand why. Born in Buenos Aires, Dos Santos relocated with his family to a small village in Patagonia when he was eight. He returned to the capital city to study Architecture at the Universidad de Buenos Aires, then moved on to study acting, and finally settled on filmmaking as his vocation. After completing his undergraduate studies at the Universidad del […]