Oliver Laxe
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“The Hardest Path is Always the Best Path”: Oliver Laxe on Fire Will Come
Oliver Laxe’s first two films, You All Are Captains (2010) and Mimosas (2016), take place in his adopted home of Morocco. In this year’s Fire Will Come, however, the writer-director returns to his childhood stomping grounds—not Paris, where he was born and raised, but the mountainous enclaves of rural Galicia, an autonomous region in the northwest corner of Spain. Born to Galician parents, Laxe spent formative summer retreats visiting relatives among the natural splendour of the Serra dos Ancares, parts of which overlap with the religious pilgrimage route of the Camino de Santiago. Drawing from childhood memories, Laxe exalts the […]
by Beatrice Loayza on Oct 28, 2020 -
NYFF 2019: Vitalina Varela, Fire Will Come
Vitalina Varela is a luxuriantly claustrophobic staging of a story Pedro Costa’s title subject, playing herself, first orally recounted in 2014’s Horse Money. The world Costa constructs around her is, initially, an endless night—daylight is, at best, the barest suggestive sliver peeking in from outside. As the narrative unfolds, more sunlight penetrates interiors, but a full radiant glare seems, at best, a hypothetical perk for people with more money, and in the very final-stretch shots in exterior day, colors have been graded down enough where the effect isn’t overwhelming but mutedly in keeping. There isn’t a pixel Costa hasn’t accounted for in his […]
by Vadim Rizov on Oct 1, 2019 -
Cannes 2019 Dispatch 5: Fire Will Come, Tommaso
We all know that Cannes appraises itself as the supreme purveyor of a given year’s most handsome industrially-produced arthouse motion pictures (that is, those that happen to have completed their post-production by late April of said year) — a launchpad for quote-unquote major achievements by the world’s most recognizable and uncompromising narrative filmmakers. Its unwillingness to accommodate the more outre or difficult projects from directors who fit that description hasn’t been too contentious thanks, mostly, to the Directors’ Fortnight’s relatively eclectic and much less constricted programming philosophy—carried over from one artistic director to the next for more than half a […]
by Blake Williams on May 24, 2019 -
Dispatches from Cannes 2016 and Olhar de Cinema
Cannes 2016 By Blake Williams Sometime around the fourth week of April — after word got out that Cannes festival director Thierry Frémaux had rejected Bertrand Bonello’s highly anticipated new film, Nocturama, in which a gang of young radicals plant bombs all over Paris (a film that was definitely finished and was definitely submitted to and seen by the selection committee); after various news outlets began circulating footage of the Cannes municipal police force’s elaborate terror drills at the Palais des Festivals, with faux wounded tourists writhing in agony on the pavement, simulated car bombs, coordinated police raids and all; […]
by Filmmaker Staff on Jul 25, 2016 -
“It’s Good For You To Experience Disasters”: Oliver Laxe on His Forthcoming Feature Las Mimosas
Currently in post-production, Oliver Laxe’s second feature, Las Mimosas, is an ambitious follow-up to his critically acclaimed debut feature, You All Are Captains. Shot in Morocco, where the French-born Spaniard has lived for the best part of a decade, the film has been four years in the making. Produced by Zeitun Films and co-financed by Rouge International (France) and LaProd (Morocco), Laxe’s sophomore feature also received support from several funding schemes at film festivals, including Torino FilmLab and CPH:Forum. With Zeitun Films aiming to unveil the film at another major festival in 2016 (Captains debuted at Cannes in 2010), footage […]
by Michael Pattison on Oct 12, 2015 -
NYFF Critics’ Notebook: The Sky Trembles and The Earth is Afraid and the Two Eyes are Not Brothers
The Sky Trembles and The Earth Is Afraid and the Two Eyes are Not Brothers (you can memorize the title after reciting it enough times — don’t fret) opens with a small fleet of ’80s Mercedes-Benz coupes, trailed by dune buggies, speeding across a desert. A chase scene entered in media res? The armed-escort arrival of dubious capitalists on the trail of some as-yet-underexploited resource? (Is there any more potent symbol of ostensibly removed colonialism’s lingering presence than the unkillable, diesel-fueled Mercedes that still stalk the globe?) As the sun sets and the caravan moves closer, the camera inches from a far-off, locked-down wide lens perspective to closer […]
by Vadim Rizov on Oct 2, 2015
