Technical pyrotechnics are a relative concept, to say the least. Hollywood-style CG can create alien worlds or giant explosions in tentpole films as well as illusorily seamless cinematography in mid-level independent dramas such as Birdman. Still, seldom do these applications seem to come from a place of necessity as opposed to an external, directorial flourish. The 23-minute unbroken take — realized practically, without effects — that opens Carlos Marques-Marcet’s quietly transfixing debut, 10.000 KM, is the best kind of pyrotechnic: scarcely noticeable and utterly essential. Over the course of these 23 minutes in a dimly lit Barcelona apartment, Alex (Natalia […]
by Sarah Salovaara on Jan 21, 2015“If you happen to know a brave fifteen-year-old, that’s not too embarrassed to act in an emotional teenage role, that deals with things teenagers deal with — please have her contact me. Most of the kids I’ve been seeing can only handle a part that’s an idealized version of how they want to be perceived. It’s kind of incredible that parents would let their children perform in some totally exploitative slasher movie, but tense up at the opportunity to be a part of a fictional yet emotionally truthful coming-of-age film.” * * * Eliza Hittman posted the aforementioned on the […]
by Sarah Salovaara on Mar 17, 2014Cinereach, the not-for-profit film support and production company, is offering moviegoers who see at least two of the four Cinereach-supported pictures in theaters this month special, one-of-a-kind artist gifts. The films — all of which are very good, by the way — are Matt Wolf’s Teenage, Tom Gilroy’s The Cold Lands, Eliza Hittman’s It Felt Like Love and Daniel Carbone’s Hide Your Smiling Faces. (The first two are at the IFC Center in New York now; It Felt Like Love opens next week and Hide Your Smiling Faces on the 28th). Here is info from Cinereach: Why? Indie releases unite! […]
by Scott Macaulay on Mar 14, 2014At times, independent film can be a homogenous place for women. Since the Lena Dunham boom, tastemakers obsessively concern themselves with tales of 20-something perpetual adolescents, jobless and adrift in Brooklyn, looking for love in all the wrong places. Not so much a tonic as a blast of originality, Eliza Hittman’s It Felt Like Love announced the arrival of one of the most assured and exciting young filmmakers in recent memory when it premiered at the 2013 Sundance Film Festival. Though the film’s narrative may not seem entirely unfamiliar — we’re still coming of age in Brooklyn, experimenting sexually — Hittman’s atmospheric […]
by Sarah Salovaara on Feb 19, 2014With its famously catholic tastes and sprawling slate, the International Film Festival Rotterdam is a place to get lost. A week into its 10-day run, a fairly subdued 42nd edition of the International Film Festival Rotterdam has unfurled a smattering of buzz-worthy world premieres and its usual mix of budding talents from unusually farflung spots on the globe, high-art provocations, exhaustive considerations of an emerging national cinema or two and obscure auteur retrospectives. However, I’ve found that it’s always the surprises here that grab you, little films you’d otherwise never see except in this context, that make the trip worthwhile. I […]
by Brandon Harris on Jan 30, 2013Coming of age tales are a longstanding mainstay of the Sundance Film Festival, but few films tackle the well-tread genre with the unsentimental eye of It Felt Like Love. The debut feature from filmmaker Eliza Hittman, It Felt Like Love stars first-time actress Gina Piersanti as fourteen-year old Lila, a Brooklyn native who spends her summer pursuing a love affair with an older teen. The film premieres today in the Sundance Film Festival’s NEXT section. Filmmaker: Your previous short, Forever’s Gonna Start Tonight, deals with themes similar to It Felt Like Love. How did your experience making that film, and […]
by Jane Schoenbrun on Jan 19, 2013[PREMIERE SCREENING: Saturday, Jan. 19, 6:00pm — Yarrow Hotel Theatre, Park City] It Felt Like Love is about a young girl struggling to form connections — with herself, her peers, and with an intriguing older guy she sees on Rockaway beach — and her willingness to degrade herself to experience intimacy. When I started writing, in 2011, I wanted to create an unsentimental coming-of-age film and show outtakes from childhood: the lonely moments, the surges of false confidence, and small humiliating details that are often buried in our memories. I wanted to explore taboos around female adolescent sexuality and identity. […]
by Filmmaker Staff on Jan 18, 2013