Krisha
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It Comes at Night DP Drew Daniels on New Lenses, Old Dogs and Using Actors as Bounce Cards
As the end credits rolled after my screening of Trey Edward Shults’s It Comes at Night, a perturbed woman behind me angrily groused, “This is bullshit. WHAT comes at night?” In her defense, the mesmerizing trailer for the film from A24 certainly leads you to believe something is in fact coming at night — a concrete something, not a metaphoric something. But no horrific, plague-mutated creatures ever arrive at the red door that separates the apocalyptic outside world from the isolated home of Paul (Joel Edgerton) and his family (wife Carmen Ejogo and son Kelvin Harrison Jr.). What does come […]
by Matt Mulcahey on Sep 29, 2017 -
Alongside Spotlight, Mya Taylor, Krisha, The Look of Silence Nab 2016 Spirit Awards
Tom McCarthy’s Spotlight, about a team of Boston journalists investigating Catholic Church pedophilia scandals in the 1980s, swept the Film Independent Spirit Awards yesterday, scoring Best Feature, Best Director, Best Screenplay, and Best Editing awards, in addition to the Robert Altman Award for Best Ensemble. As if often the case at the Spirits, the Open Roads released film was by far the highest-grossing film in all of its winning categories, sometimes to a surprising degree. On the awards circuit this year, Spotlight has been that rare frontrunner without a galvanizing lead, or even supporting, performance. (Perhaps acknowledging that fact, the […]
by Scott Macaulay on Feb 28, 2016 -
Family Plot: David Lowery Interviews Krisha Writer/Director Trey Edward Shults
One of the most impressive debuts of this year, Trey Edward Shults’s Krisha — the story of a recovering alcoholic thoroughly derailed by the pressure-cooker of her sister’s Thanksgiving Day dinner — is a work of astonishing performances, formal control, filmmaking ambition and, finally, deep emotional wisdom. It’s a movie that has all the dramatic pyrotechnics one expects from the “home for the holidays” sub-genre, but, loosely based on a true story about one of Shults’s actual relatives, is suffused with a real understanding about issues of addiction and recovery, regret, and the difficulties of being and feeling accepted. Winner […]
by David Lowery on Jan 20, 2016 -
“The Odds Were in Our Favor to Fail”: Krisha at the BFI London Film Festival
Krisha Fairchild is a 64-year-old actress who lives in Mexico and has four dogs. She’s named after a young Polish girl who saved her father’s life during the Invasion of Normandy in 1944. With an older sister named Vikki and a younger one called Robyn, Fairchild grew up in Cincinnati, Ohio. Today, the three sisters take turns visiting their 91-year-old mother — who suffers from cognitive brain damage as a result of her late onset closet alcoholism — in an assisted living facility in Texas. Fairchild’s mother is remorseful about the addiction, and like her own alcoholic father, is charming […]
by Taylor Hess on Nov 20, 2015 -
Chronicle of a Dream Foretold: BAMcinemaFest 2015
“Withdrawing in disgust is not the same as apathy,” comments one of the tenuously overlapping characters in Richard Linklater’s 1991 game-changer Slacker. The word itself, fairly recent at the time of production, is a moniker the speaker fully embraces. The branding may sound tactless, if not downright pejorative, but it’s not at all: It implies enough empathy and humanity to seek out options to offset destructive disinterest in matters tangible, ethical, or both. In the creative sphere, the shift in course can lead to an untried M.O. and the models it might generate — if the stars are properly aligned, […]
by Howard Feinstein on Jun 16, 2015 -
Dispatches from Sundance, Berlin, SXSW, True/False & Thessaloniki
Sundance SCOTT MACAULAY Check it out: the two top prize winners at Sundance this year, Alfonso Gomez-Rejon’s Me and Earl and the Dying Girl, and Crystal Moselle’s The Wolfpack, both feature as central elements teenagers who stage and film their own versions of classic movies. There’s even overlap between the two films, although Moselle’s Manhattan shut-ins incline more towards Tarantino and Freddy Krueger, while Gomez-Rejon’s teen Pittsburgh auteurs shirk the Romero roots of their hometown for deep dives into the Criterion Collection. For film lovers of a certain age, both Me and Earl and the Dying Girl and The Wolfpack […]
by Filmmaker Staff on Apr 28, 2015
