Guy Maddin
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A Need to Focus: Guy Maddin Interviews Kelly Reichardt About Showing Up
Talking to The Guardian’s Xan Brooks in 2014, Kelly Reichardt reflected on the students she’s taught in her teaching position as an artist in residence at Bard. “The kids I know, I love them, but they’re not mad the way we used to be,” she noted. “They seem so unafraid and so un-angry. It makes them very nice people. It doesn’t make for great art. I ask them all the time: ‘Aren’t you mad at anything?’ They look at me like I’m off my rocker.” That sense of simmering discontent percolates through Michelle Williams’s performance as Lizzy, a ceramics sculptor […]
by Filmmaker Staff on Mar 16, 2023 -
“Paying Rent in Winnipeg”: Guy Maddin’s AR Project Haunted Hotel
Just in time for Halloween, Guy Maddin is inviting London Film Festival attendees to his Haunted Hotel. The Canadian auteur behind films like The Saddest Music in the World, My Winnipeg and The Heart of the World has long explored both installation pieces and filmmaking as an expression of his worldview. With Haunted Hotel he’s managed to blend the two, creating what he calls “a melodrama in augmented reality” for LFF’s Expanded programming. The project, which allows visitors to use iPads to look into and beyond Maddin’s storyboard-like collage art, is set to audio by Magnus Fiennes, giving it a distinctly […]
by Marah Eakin on Oct 21, 2022 -
Fighting Eventfulness Deficit at the 2018 San Francisco International Film Festival
Oakland’s Grand Lake Theatre is a 1926 Art Deco show palace that first hosted vaudeville shows and silent movie screenings accompanied by the bass-note oscillations of a Wurlitzer Hope Jones Unit-Orchestra Pipe Organ. The classic venue is symbolic of its city, which made it the ideal spot for the Bay Area premiere of a the debut feature by another Oakland icon: activist, musician and now writer-director Boots Riley, who came of age as a moviegoer at the venue. “I saw Star Wars here,” he told an audience that packed the house during the recent San Francisco International Film Festival, where the […]
by Steve Dollar on May 1, 2018 -
Dispatches from San Francisco, Visions du Réel and Big Ears
San Francisco International Film Festival Celebrating its 60th edition, the San Francisco International Film Festival — now rebranded as the hashtag-friendly SFFILM Festival — impressed this first-timer not as a hoary institution, recumbent upon its laureled legacy, but as a festival keen to stake out vibrant new tangents, mindful of its city’s history (cinematic and otherwise) and full of surprises. Both those qualities were abundant in the closing night spectacle: The Green Fog, which celebrated San Francisco’s indelible place in a century of movies in an appropriately twisted manner. The festival commission brought filmmakers Guy Maddin, Evan Johnson and Galen […]
by Filmmaker Staff on Jun 16, 2017 -
Tribeca 2016: Making Guy Maddin’s Seances Interactive
Watching Guy Maddin and Evan Johnson’s latest work Seances feels both familiar and utterly strange. Born from the knowledge that over 80% of silent movies have been lost, Maddin and his collaborators at the NFB wanted to resurrect as many titles — both real and invented — as possible: first in 2012 in production sessions at the Centre Pompidou in Paris and the Phi Centre in Montreal that were open to the public, then last year in the feature film The Forbidden Room, and now in an interactive version called Seances that premiered at the Tribeca Film Festival’s Storyscapes event and is […]
by Randy Astle on Apr 25, 2016 -
Guy Maddin on The Saddest Music in The World and His Interactive Seances
It only seemed fitting that Portland-based folk musician Michael Hurley would perform a short set of sad songs before the screening of Guy Maddin’s 2003 experimental melodrama The Saddest Music in the World on Friday, March 25 at the Hollywood Theatre in Portland. Maddin himself was in attendance for the sold-out screening, which was presented as part of the Hollywood’s Mississippi Records Music & Film Series. In introducing the film, Maddin said it was a treat to “show this movie I barely remember making. I think what I recall is the movie is about a sad song contest, so Michael [Hurley], I […]
by Paula Bernstein on Mar 29, 2016 -
TIFF 2015 Critic’s Notebook #3: Guy Maddin and Alan Zweig Offer New Notions of Being Canadian
Growing up, no two things did more to define Canadianness than Tim Horton’s commercials, with their warm and fuzzy scenes of dads bringing hot chocolate to the hockey rink, and Heritage Minutes, vignettes reenacting “proud” moments ranging from Native Americans teaching early settlers how to make maple syrup to the moment Marshall McLuhan came up with the phrase “the medium is the message.” Too often Canadian film seems aimed at riling up the same hollowed-out brand of patriotism. The cause of this is at least partly due to the fact that its funding is frequently tied up in a government-sponsored […]
by Whitney Mallett on Sep 19, 2015 -
Sparks Announces Music-Film Collaborations with Guy Maddin and Leos Carax
Pioneering electro-disco band Sparks just wrapped a two-night stint in Los Angeles of an orchestral concert version of their pioneering 1974 album Kimono My House. In an interview with Chris Willman at Billboard, the band (brothers Ron and Russell Mael) teases two upcoming film projects. The first is with Guy Maddin, news of whom seems to regularly filter out into the film blogosphere. The second, however, is with Leos Carax, who usually holds his upcoming project cards closer to the vest. Here’s Russell Mael on both projects: The other thing we’ve been doing is two movie musical movie projects. One […]
by Scott Macaulay on Feb 16, 2015 -
Previewing Berlinale 2015: Malick, Herzog, Panahi and More
Given that Wong Kar-wai’s The Grandmaster and Wes Anderson’s The Grand Budapest Hotel kicked off the Berlinale the last two years, the response was less than enthusiastic when Isabel Coixet’s Nobody Wants the Night was announced as this year’s opening film (though, predictably, many a Twitter wag delighted in the film title’s pliability for expressing what it is that nobody wants). The Greenland-set period drama stars Juliette Binoche as Josephine, the wife of arctic explorer Robert Peary, and follows her attempt to rejoin her husband on his mission to reach the North Pole. When an Inuit woman comes to her aid on […]
by Giovanni Marchini Camia on Feb 4, 2015 -
Cinematographer Benjamin Kasulke on Shooting Guy Maddin’s The Forbidden Room
Ben Kasulke has literally dozens of credits on his iMDb page, but running throughout his career are collaborations with two directors: Lynn Shelton and, more recently, Guy Maddin. And what’s remarkable is how different those collaborations are. With Shelton, Kasulke affects a seemingly casual, on-the-fly naturalism, never allowing his cinematography to deflect from the actors’ moments. With Maddin, however, Kasulke is working in service to an entirely different aesthetic, one in which a film’s look is part and parcel of its meanings. In Maddin’s work, Kasulke’s lensing takes us far away from the present, back to times when film both […]
by Scott Macaulay on Jan 26, 2015
