Josephine Decker
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“Personal Storytelling, Experimentation, and a DIY Spirit”: A Look Inside LAFM 2026
Returning for its third annual edition, the Los Angeles Festival of Movies boasts a lineup of critical darlings from other festivals, newly-restored global cinema, and even the odd world premiere. Co-founded by Sarah Winshall, producer behind indie gems like I Saw the TV Glow and Good One, and Micah Gottlieb, artistic director of the programming non-profit Mezzanine, LAFM was created in part to respond to a dearth of indie film exhibition in the metropolis. From April 9 through 12, L.A.’s east side will serve as a watering hole for filmgoers in a city that, while integral to the filmmaking ecosystem at large, has been […]
by Natalia Keogan on Apr 9, 2026 -
Sundance 2020 Dispatch 5: Shirley, The Mountains are a Dream That Calls to Me, małni – towards the ocean, towards the shore
In one of those freak festival viewing coincidences that don’t really mean anything, Sunday started with two movies in a row opening with the sound of a reiki bowl. The higher profile one, Shirley, marks multiple firsts for Josephine Decker: first directed from someone else’s screenplay (by Sarah Gubbins, adapted from Susan Scarf Merrell’s novel), first period piece and—most crucially to my mind—first without DP Ashley Connor. The subject is Shirley Jackson; I’ve read two of her short stories (I’m not proud of that) and would be curious to hear how this plays for knowledgeable admirers. Adaptation or no, visually this is […]
by Vadim Rizov on Jan 29, 2020 -
“You Can Ride Poison to its Possibilities”: Josephine Decker | Shirley
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? Mushrooms! In our film, mushrooms—deadly or benign—become this symbol of sexual freedom and creative liberation. You can eat your death. You can ride poison to its possibilities. Or you can just share a tasty treat with your witch. The relationship in our film between main characters Shirley and Rose also rides […]
by Filmmaker Staff on Jan 25, 2020 -
“Do We Need Another Movie about Two White Kids in Brooklyn?” DP Ashley Connor on Madeline’s Madeline, Shooting Commercials and Diversity
I screened the amorphous Madeline’s Madeline twice in preparation for my interview with DP Ashley Connor; on the second go-around, I realized I’d be as nonplussed on a third or forth. I didn’t write any questions because I couldn’t. But perhaps an improvised approach was truer to the spirit of Madeline’s Madeline, which refuses to be pinned down. One of New York’s most prolific working DPs, Connor’s fervent demand for a higher standard of nuance, diversity, and inclusivity in the film industry naturally formed the backbone and throughline of our oscillating conversation which features, amongst other things, Nathaniel Dorsky’s Devotional Cinema, Grand […]
by A.E. Hunt on Feb 19, 2019 -
“Imagination and Reality Go Together”: Alice Rohrwacher Talks Happy as Lazarro with Josephine Decker and David Barker
Alice Rohrwacher’s work is an ecstatic affirmation of life and its imaginative possibilities. Her new film left me breathless. An unconventional story told in an unconventional way, Happy as Lazzaro is also deeply grounded. When we spoke with Alice, she spoke of creating a home inside of a film; that when you invite people to the theater, you’re also inviting them into your home. Wise beyond her years, Alice and her words have stuck with me, and we are excited to share her unique wisdom and this inspiring conversation with you. — Josephine Decker Although she grew up without access […]
by Josephine Decker and David Barker on Nov 30, 2018 -
Breaking Character: Josephine Decker Talks to Mike Mills about Madeline’s Madeline
Madeline (Helena Howard) has a hospital bracelet on her wrist and a rehearsal to go to. One of the questions fueling Madeline’s Madeline, Josephine Decker’s third feature as a solo director, is how two of the biggest elements of Madeline’s life — some unspecified form of mental instability and her promise as a young actress — interact, or if they even can safely. Howard’s breakout performance as the troubled thespian is part of an unusual triangle. At one point is her mother Regina (the writer, actress and performance artist Miranda July), whose protective custody of her unstable daughter is unreadable: justifiable […]
by Mike Mills on Jun 11, 2018 -
“Maybe When We’re Performing We Feel More like Ourselves than We Do in the ‘Real World'”: Josephine Decker on her Sundance Hit, Madeline’s Madeline
Three fascinating but very different actresses star in Josephine Decker’s exhilarating Sundance feature, Madeline’s Madeline. There’s Molly Parker, the exceptional film and television actress currently seen in Wormwood, who plays Evangeline, an experimental theater director who develops her work out of immersive performance workshops, challenging her company to mine their own feelings and experiences while creating new ones through the sometimes cringe-inducing exercises that can be the stuff of the improvisatory creation. Miranda July, an artist, writer, director and one of the most significant performance artists of the last 20 years, plays Regina, the frazzled single mother of a teenage […]
by Scott Macaulay on Feb 1, 2018 -
“We Lost Hours from Our Shoot Day and Gained Years of Wisdom”: Director Josephine Decker | Madeline’s Madeline
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? Red. Blue. Green. Swim. Bathroom. Crying. Lifting. Exalted dance. Small inside. Melting personality. Melting fatigue. All night cigarette dance party. Fall asleep on the floor of the set. Messy reality. Inner turmoil. Beasts but good ones. Mask. Another mask. Masking tape on the mask. Tragedy but holding tragedy. A big hand holding it all together. Fond […]
by Filmmaker Staff on Jan 26, 2018 -
Sundance 2018 Critic’s Notebook, Day 6: Madeline’s Madeline, Of Fathers and Sons, A Futile and Stupid Gesture, The Price of Everything
Context is everything — I’m writing this final Sundance dispatch at a remove of a day/continent from Park City, back in NYC, with a day’s pause between marathon-writing while reconsidering the chronological melange of what I saw and what, if any, narrative can be extrapolated about this year’s fest. My feeling, overall, is of a weak year, despite having (per usual) missed some of what appear to be the standout titles (Mandy, alas), which framed my response to Madeline’s Madeline, the last film I saw there. Is this a great movie? With a day to think about it, I’m not sure […]
by Vadim Rizov on Jan 25, 2018 -
Transforming Information into Experience: White Sun Screenwriter and Editor David Barker
David Barker is a hard one to put a finger on. He is an American writer and editor who over the past 10 years has gained an international reputation for his analytical ability and open, unconventional approach. Recent collaborations include Deepak Rauniyar’s sensitive exploration of the impact of Nepalese civil war White Sun (opening today at New York’s MOMA and running through September 12) and Josephine Decker’s upcoming feature with Molly Parker, Mirandy July and Helena Howard, Madeline Madeline. Things happen with David differently than you’d expect them to. You walk an entirely other route than you wanted and end […]
by Micah Magee on Sep 6, 2017
