Rotterdam
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“Our Crew was Three People”: Slow Machine’s Paul Felten, Joe DeNardo and Stephanie Hayes on Their Rivette-Inspired Punk Thriller
Originally published out of Rotterdam 2020, this interview with the creators and star of Slow Machine is being republished today alongside the film’s release from Grasshopper Film. It is currently available for streaming through Metrograph. Kudos to the author of the unusually compelling copy for Slow Machine in the International Film Festival Rotterdam’s catalogue. The elephantine program, encompassing more than 500 films whose wild assortment of lengths, genres and formats defies any attempt at meaningful categorization (its four main sections this year were split into 23 subsections) is filled with gems, but offers scant assistance in discovering those not already […]
by Giovanni Marchini Camia on Jun 4, 2021 -
“Power and Organizational Pressure Win Over Logic”: Kazuo Hara on Reiwa Uprising at Rotterdam 2020
Kazuo Hara has always aligned himself with the political left, but it was nevertheless surprising to hear about his latest film, Reiwa Uprising, which depicts the ascent of Japan’s newest left-wing political party, Reiwa Shinsengumi, from grassroots agitators to seated parliamentarians during the 2019 election. It is not unusual for Hara, best known for Extreme Private Eros (1974) and The Emperor’s Naked Army Marches On (1987), to take almost a decade or even longer between films, yet Reiwa Uprising follows Sennan Asbestos Disaster by just two years. That expedited time to completion was largely out of necessity: Reiwa Shinsengumi was […]
by Forrest Cardamenis on Feb 12, 2020 -
MALCOLM MURRAY, “BAD POSTURE”
If one had to pick a film that represents regional, micro-budget American filmmaking at its finest, Malcolm Murray’s Albuquerque, New Mexico set Bad Posture would certainly have to be in the conversation. The story a recently unemployed graffiti artist with a bad cigarette habit and a dope dealing roommate, its the type of tale that at first glimpse seem superfluous. Our awkward, unassuming outsider artist, played by Florian Brozek, who also wrote the film, begins to hit on a young woman named Marisa (Tabitha Shaun) in a park but is thwarted when his roommate steals her purse and car while he’s laying […]
by Brandon Harris on Aug 11, 2011 -
When Is It Okay To Walk Out Of A Movie ?
Sundance is over. Ditto, Rotterdam. With Berlin right around the corner, it seems a good time to ask the question: When is it okay to walk out of a movie? I saw over 25 features at Sundance this year. Many of those films will receive serious releases in 2011 and wind up on “Best of” lists at the year’s end. Some of my favorites are still seeking distribution. I interviewed directors of a number of films. Of the features I haven’t already written about, personal favorites include Pariah, Terri, Catechism Cataclysm, The Mill and the Cross, Hell and Back Again, […]
by James Ponsoldt on Feb 9, 2011 -
THE ATROCITY EXHIBITION
It’s hard to find original gift ideas. While searching for a Valentine’s Day present, I remembered a conversation I had with the director Sara Driver in Rotterdam. She told me about Boym Studio’s Buildings of Disaster series. Small postmodern totems, the series consists of bonded nickel sculptures of sites like the Chernobyl nuclear reactors, the Unabomber’s Cabin (pictured, right), the L.A. freeway during the O.J. Simpson chase, the Waco Complex, and, yes, the World Trade Center. Reading about the sculptures, one would imagine them to be pieces of ghoulish kitsch. Seeing them in person, though, they come off as strange […]
by Scott Macaulay on Feb 13, 2004 -
SAINT — AND SISTER — HOOD
One of the buzz films to emerge at this year’s Rotterdam Film Festival has been Teona Strugar Mitevska’s How I Killed a Saint. The 29-year-old director attended the MFA program at NYU’s Tisch School of the Arts, and on one level, her film could easily fit within the American indie “dysfunctional family” tradition. It tells the story of Viola, a young girl who returns home after travelling abroad for three years, having left behind a family secret and returning to tense relationships with her out-of-it parents and alienated, delinquent brother. Except in this case, Viola is returning in 2001 from […]
by Scott Macaulay on Feb 1, 2004
