Bill and Turner Ross
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“We Were Together 24 Hours a Day for Six Weeks”: Bill and Turner Ross on Gasoline Rainbow
Gasoline Rainbow, the seventh feature by Bill and Turner Ross, marks a return to a world of young people familiar from the brothers’s early efforts 45365 (2009) and Tchoupitoulas (2012), which centered, respectively, on residents of Sydney, Ohio and New Orleans, Louisiana. Like those formative works, the duo’s latest is uniquely attuned to adolescent emotions and the rhythms of small town America—except with a broadened perspective and formal command afforded by 15 years of working in a variety of modes and milieus. The film follows five high schoolers from the fictional town of Wiley, Oregon who take to the open […]
by Jordan Cronk on May 8, 2024 -
The Long Goodbye
As filmmakers who love the word “serendipity” and pursue situations that allow them the freedom to respond to it, Bill and Turner Ross finally found the window to make Bloody Nose, Empty Pockets—fittingly enough—thanks to a strike of serendipitous scheduling. A delay in the production of friend Benh Zeitlin’s Wendy, for which the Ross brothers had planned a making-of documentary (the excellent, as-of-now unreleasable Second Star to the Right and Straight on ’Til Morning), finally gave them the chance to make Bloody Nose—a film full of images that had long gestated in their individual, albeit synergistic, brains. Such serendipity permeated […]
by Daniel Christian on Jul 7, 2020 -
Sundance 2020 Dispatch 1: Bloody Nose, Empty Pockets; Epicentro; Olla
There will be time and occasion, I’m sure, during this year’s Sundance Film Festival to go big picture: to attempt to take the temperature of independent film in 2020, once again fuss over what that designation could possibly mean at this point and so on. But let’s skip that for now: for this year’s first dispatch, I have the rare of pleasure of leading with enthusiasm, and I’d like to lean into that. Barflies mistranslate William Blake’s exhortation to see the world in a grain of sand as “study the human condition through endless hours sitting at the bar”—if in […]
by Vadim Rizov on Jan 24, 2020 -
Tribeca Critic’s Notebook #2: Obit and Contemporary Color
The day I sat down to write my second dispatch from Tribeca, Prince died. I took an hour to let the gut-punch settle. Most of us have that luxury, to just sit and sulk. Maybe we revisit an album or post a little thing on Facebook. We grieve that abstract grief over a person we never met. If you’re like me, you shut down and marinate in the art with a renewed appreciation. The subjects of Obit have a much harder job. They only get a minute to mourn. After that, they set about a seemingly impossible task: to encapsulate a […]
by Soheil Rezayazdi on Apr 24, 2016 -
Sundance 2015, Dispatch 3: The Wolfpack, Western and Dreamcatcher
I stopped taking notes after a while during The Wolfpack; I was feeling a bit too disturbed to keep at it and it seemed somewhat besides the point. Crystal Moselle’s first feature follows the Angulo brothers: six siblings, born to father Oscar, who for something like 15 years never left their LES apartment, save sporadic supervised summer walks. Oscar named them all Hare Krishna style — Govinda, Bhagavan, etc. — and amassed a collection of some 5,000 films, their sole meaningful connection to the outside world. They were homeschooled and lived in a state of fear — Oscar’s past/present (?) […]
by Vadim Rizov on Jan 26, 2015 -
Five Questions for Western Directors Bill and Turner Ross
“Ravishing cinema verite” is how the Sundance catalog describes the work of Bill and Turner Ross, whose elegiac American portraits crackle with a lovely lo-fi buzz. Following their New Orleans-set music travelogue Tchoupitoulas, the brothers immerse themselves here in Western within a world considerably tougher — two towns on either side of the Mexican border grappling with the sudden onslaught of cartel violence. Below, we ask them about incorporating that criminal storyline into their film and sticking with the same camera for three pictures. Western premieres today in the Documentary Competition of the Sundance Film Festival. Filmmaker: Your documentaries have […]
by Scott Macaulay on Jan 25, 2015 -
Five Questions with Tchoupitoulas Co-Director Bill Ross
Every once in a while, a film comes along that invites the audience to transcend their theater seats and join a cast of characters on a strange journey, where initially the final destination remains a mystery to all. Over the course of 80 lean minutes, Tchoupitoulas, now playing in New York City at IFC Center, asks us to follow three brothers who, after missing the last ferry home, traverse the streets of New Orleans by night with little more on hand than their wits and a dog named Buttercup. The film weaves together the various nightlife scenes, ranging from striptease […]
by Martha Early on Dec 8, 2012 -
Storm Song: Beasts of the Southern Wild and Tchoupitoulas
After the recent BAMcinemaFest screening that marked the first time Benh Zeitlin’s magical-realist Beasts of the Southern Wild screened alongside Bill and Turner Ross’s immersive New Orleans documentary Tchoupitoulas—both South Louisiana-shot pictures produced by members of the film collective Court 13—there were two celebrations on either side of BAM. At the beautiful dive-bar Frank’s, the Ross brothers and various doc and indie film bros were watching the NBA championships with loud exuberance and strong opinions. There was a rumor that there was a dance party across the street at the Fox Searchlight-hosted party for Beasts, which was flowing with delicious […]
by Miriam Bale on Jul 14, 2012 -
SXSW: Tchoupitoulas vs. Beasts, Battle for the Innocents
Bill and Turner Ross’ new documentary Tchoupitoulas premiered in Emerging Visions this year at SXSW. The film was eagerly anticipated by fans of their debut feature, 45365, the Documentary Jury Prize winner a few years ago. Three young brothers in Louisiana take a ferry into New Orleans, observe and engage in everything from transvestite clubs to street musicians Mardi Gras floats to an abandoned ship yard on the outskirts of town. Pretty soon the youngest brother, William, a sensitive kid who plays the recorder at school, starts to get tired. “I’m just a child,” he insists, to the jeers of his brothers, who want to stay up […]
by Alicia Van Couvering on Mar 16, 2012
