Spring 2019
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Lookbook Case Study: The Evening Hour
For Braden King, the lookbook process is an iterative one that doesn’t even stop with a film’s production. “In the case of my last feature film, Here, the lookbooks were very close to the final film, both tonally and imagewise,” he writes in an email. “But they were also completely comprised of my own photographs and functioned as a part of the larger, multiplatform project. We created a three-screen installation with live soundtrack accompaniment and several gallery exhibitions, [and] the lookbook for that film was also featured in a group show at the Museum of Contemporary Art in Chicago.” King’s […]
by Scott Macaulay on Mar 14, 2019 -
Women-Only Space
The teaser for Kali Kahn’s film, Fairchild, is a murky thing, dark but patchy with light, too, because this is Florida. A young girl, pale and denim-shorted, digs a hole in the dirt, uprooting the tendriled root of a tree in the Everglades. She chews the ends of her hair and her fingers, the way children do, the way teenagers do (she’s both or somewhere in-between). The clearing is saw palmetto green; her nails are blue, bluer still in the soil, on her own shoulder, on her lips. There is neither antecedent nor aftermath for the scene—it’s the film’s trailer, […]
by Monica Uszerowicz on Mar 14, 2019 -
Elementary Force: Claire Denis on High Life
No one expected Claire Denis to soften with age. At 72, the French auteur has been a daring and unpredictable force in cinema for three decades now. After delivering last year’s talky romantic comedy Let the Sunshine In, which offered the unexpected sight of Gérard Depardieu as a lovesick psychic, Denis has returned with a certified leap into the unknown. High Life is the filmmaker’s first English-language film, her first science fiction foray, and her first featuring eye-popping CGI. Boasting an international cast that includes Robert Pattinson, Juliette Binoche, Mia Goth and André Benjamin, and set to be released by […]
by Paul Dallas on Mar 14, 2019 -
Lookbook Case Study: The Mountains Are a Dream that Call to Me
Writer/director Cedric Cheung-Lau says the initial version of the script for his in-development debut feature, The Mountains Are a Dream that Call to Me, consisted solely of 44 images. Then came the words. For the lookbook, Cheung-Lau took sentences from the finished script and married them to images of his location, the Annapurna section of the Himalayas. The script tells the story of a grieving older woman and a young Nepalese man who meet in the mountains and go on a journey together, and Cheung-Lau stresses the importance of the setting to the story. “The landscape surrounding them is real,” […]
by Scott Macaulay on Mar 14, 2019 -
On Decks: The Art (and Necessity) of the Independent Film Lookbook
Lookbooks are an increasingly vital part of the filmmaking process. A good lookbook can make a pitch, just as a bad one can dissuade an investor, producer or financier from a project. Yet the creation of lookbooks is rarely discussed. The topic is missing from the many labs and tutorial programs set up to help first-time filmmakers—even though a good lookbook is perhaps the quickest way for a project to stand out. Simply put, refined visual knowledge and the skillful conveying of that knowledge is power for a director. When we interviewed Reed Morano last year about her work on […]
by Meredith Alloway on Mar 14, 2019 -
Lookbook Case Study: 306 Hollywood
“With our lookbook, we wanted to capture our visual aesthetic and emphasize the importance we place on images,” write directors Elan and Jonathan Bogarín about the presentation deck for their hybrid documentary, 306 Hollywood. A work years in the making, the doc details the sibling filmmakers’ excavation of their grandmother’s New Jersey home in the years after she died. The archeological metaphor here is intentional; the Bogaríns describe the house in their 2017 Filmmaker 25 New Faces profile as “a microcosm, a universe… The whole history of the 20th century can be found in the layers of this house.” 306 […]
by Scott Macaulay on Mar 14, 2019 -
A Dream Within A Dream: Bi Gan on Long Day’s Journey Into Night
After his road movie Kaili Blues became an international success, writer and director Bi Gan turned to the film noir genre for his follow up, Long Day’s Journey into Night. The layered, dreamlike plot follows Luo Hongwu (played by Huang Jue) as he returns to his hometown, looking into the past for clues about what happened to Wildcat (Lee Hong), a lost love he last saw more than a decade ago. Set in the bars, alleys and seedy hotels of Gan’s home province, the film is divided into two parts. Elliptical scenes and a fractured timeline give the first half […]
by Daniel Eagan on Mar 14, 2019 -
Lookbook Case Study: A Woman, A Part
“I knew from looking at lookbooks that people pull images from online, but I didn’t see the point of doing that,” says writer/director Elisabeth Subrin. “Because then you are just saying, ’I want my film to look like someone else’s film.’” For the lookbook for her first feature, A Woman, A Part, Subrin says, “I thought it would be fun to see if I could create the images from the script that I had in my head for years.” (Disclosure: I produced A Woman, A Part along with 2019 Film Independent Producers Award winner Shrihari Sathe.) Subrin, previously best known […]
by Scott Macaulay on Mar 14, 2019 -
Charleen Swansea, 1932-2018
I read about Charleen Swansea’s death nearly four months after she passed, and it was somewhat of a surprise that the news had taken so long to reach me. After she died in August 2018, I noticed few, if any, attempts at eulogizing her filmic legacy or reevaluating the complexities that made her one of the great documentary subjects. A sort of Southern Renaissance woman, Swansea became a compelling character in the films of Ross McElwee, to whom she was a mentor and former teacher. Starting with Charleen in 1977 and up through Bright Leaves in 2003, she was a […]
by Daniel Christian on Mar 14, 2019 -
Fear and Loathing in Grand Rapids: Joel Potrykus on Managing Anxiety While Making Relaxer
We were a week away from principal photography on my fourth feature film, Relaxer, and I wanted to run away. Production designer Mike Saunders and I had been building our apartment set inside his parents’ two-car garage, and things were taking too long. The entire shoot was to happen in that garage, so it had to be perfect. It didn’t look like it’d ever be ready, and I was stressing hard. My stomach burned. I couldn’t keep anything down. I’d been losing weight. I just wanted to sleep for three weeks and wake up with a finished film, but I […]
by Joel Potrykus on Mar 14, 2019
