It’s a rare thing for scholars to be asked to serve as advisors on studio films of any size, no matter the topic. (Hell, we’re usually not even asked to authenticate representations of academia itself.) So, it came as a pleasant surprise indeed for Brooklyn-based scholar and curator Leo Goldsmith and Georgia Tech film and media professor Gregory Zinman when they were asked by director James Gray to serve as advisors on his latest film, Ad Astra, scheduled for a September release by 20th Century Fox. Said to be a moody, existential science fiction film (Zinman and Goldsmith have read […]

I have found myself disconcerted in writing about James Gray’s The Immigrant. I was immediately moved by the film and couldn’t fail to appreciate its elegantly controlled cinematic style, but I also felt there was something elusive and hard-to-pin-down about the many levels on which it attempts to address the audience. The film is consistently surprising in how traditional it is in some ways, how unabashed it is in its tenderness toward its characters, the milieu and historical period. Yet the film never succumbs to the twin dangers of stereotypical downbeatness or sugar-coated wish-fulfillment; it has an unusually complex level […]

James Gray’s The Immigrant is Classic Hollywood melodrama, done incredibly well, a film that powerfully portrays the emotional journey of a Polish immigrant, Ewa (Marion Cotillard), and her pimp, Bruno (Joaquin Phoenix). It offers a powerful historical account of the connections between the mass immigration to the United States and the often desperate desire to achieve the American Dream, while also serving as a brutal reminder of the ways in which that dream was exploited by people who were willing to take advantage of new arrivals, many of whom were overwhelmed by their new home. Gray’s film borrows from classical […]

Another day, another bunch of clips from U.S. indies playing at Cannes. Above there is a quick snippet, featuring Marion Cotillard and Jeremy Renner, from James Gray’s period drama The Immigrant (previously called Lowlife). The Weinstein Company will be putting out the film (also starring Gray regular Joaquin Phoenix) later this year and, barring terrible reviews from Cannes critics, it should be a 2013 awards contender. Below are a teaser trailer and a clip from Jeremy Saulnier’s second feature, Blue Ruin, which looks incredibly compelling and has the potential to establish the director (who mostly plies his trade as a […]

(Post Mortem world premiered at the 2010 Venice Film Festival. It’s being distributed by Kino Lorber Incorporated and opens at the Film Forum in NYC on Wednesday, April 11, 2012. Visit the film’s page at the Kino Lorber website to learn more.) There is such a thing as pitch black comedy, and then there is the work of Chilean director Pablo Larraín, whose warped sense of humor deserves its own adjective. Tar black, maybe? With his latest two films, Larraín has returned to his country’s unpleasant recent past to try to make sense of what transpired. In Tony Manero, the Pinochet […]

Winter, 1995, was a great issue. Our cover story was Rick Linklater’s Before Sunrise. Andrew Hindes interviewed Linklater, Ethan Hawke and Julie Delpy, while Jean-Christopher Castelli detailed the film’s use of Austrian tax funds for its financing. Paula Bernstein interviewed James Gray about Little Odessa, and then there was one of the best pieces we’ve ever run: development executive (and, later, Oscar-winning short film director) Barbara Schock’s “The Write Stuff: Intelligent Screenplay Development.” Technology and methods of financing may change, but these notes on working with writers don’t date. From the piece: One of the biggest impediments I’ve encountered in […]

Green Cine notes this interesting piece by Andrew Tracy in Cinema Scope about the new director’s cut DVD of James Gray’s The Yards. He’s got a great opener, a provocative discussion of what he sees as the diminished respect given classical movie narrative today that winds up as a preamble for his discussion of Gray’s ’70s-inspired gangster pic. From the piece: As a means of telling us about our world, classical narrative cinema—that is, American narrative cinema—has been steadily losing ground. James Agee’s faith in the scenario seems somewhat quaint in the midst of our fascination with hybridity. Documentary, whether […]