Do critics matter? Maybe. But do critics’ top ten lists matter? There’s little doubt within the industry that an Academy Award nomination (or win) can provide an extraordinary boost to a film’s profile, especially smaller independent films who need the long tail of awards recognition more than most. Think of last year’s The Florida Project or Faces Places. But what about all those year-end numerical rankings and lists, proffered by that dwindling professional entity known as the film critic? He’s no Oscar, but when the New York Times’ A.O. Scott puts your little film at the top of his year-end […]

In Mike O’Shea’s insidiously unsettling and remarkably assured debut film The Transfiguration — the most unlikely official selection at last year’s Cannes Film Festival — Milo (Eric Ruffin), a black teenager in a far flung outer borough ghetto, is first seen hunched over a dead white man in a public bathroom stall, his mouth wrapped around the cadaver’s jugular. Although he might be the super predator of Hillary Clinton’s nightmares, this kid is no regular old vampire; he can walk around during daylight hours and eats actual food. Perhaps he’s just a killer? The movie gives you little certainty on […]

A surreal and entirely original coming-of-age tale, Closet Monster tells the story of Oscar, a gay, cinephilic high school senior who has been grappling with the implications of his parents’ divorce — and a witnessed act of gay bashing — by, among other things, conversing with his “spirit animal”: Buffy, a pet hamster voiced by Isabella Rossellini. The feature debut of Canadian writer/director Stephen Dunn, the film has drawn comparisons to the work of countrymen David Cronenberg and Xavier Dolan, but it pulses to its own unexpectedly sincere wavelength. Below, we asked Dunn about that Cronenberg connection, star Connor Jessup […]

Fusing the eroticism of an underground cruising culture with surprisingly heartfelt family drama, Spa Night is the debut feature of Korean-American CalArts graduate Andrew Ahn. Developed at the Sundance Screenwriters Lab, the Film Independent Screenwriters Lab and the Film Independent Directing Lab, the film follows up Ahn’s well-received 2012 short, Dol, which also addresses coming-out within a Korean-American community. In Spa Night, Joe Seo plays David, a gay 18-year-old who hasn’t told his parents he’s gay. Their struggles with their own family business create pressure on him just as he’s drawn to explore his sexuality after discovering a gay hookup […]

(Oslo, August 31st is being distributed by Strand Releasing. It opens Friday in NYC at the IFC Center.) Joachim Trier’s follow-up to his much-loved 2006 debut, Reprise, begins with an audio montage of voices sharing their memories of the titular city: “I remember taking the first dip in the Oslo fjord on the first of May.” “I don’t remember Oslo as such, its people I remember.” “We moved to the city. We felt extremely mature.’” On the screen, stationary shots of empty city streets are followed by home movies—children at play, friends enjoying each other’s company—then back to the streets […]

(Attenberg world premiered at the 2010 Venice Film Festival and is being distributed in America by Strand Releasing. It opens on Friday, March 9, 2012, at the IFC Center in NYC. Visit the film’s official page at the Strand website to learn more.) The world would be a much less grating place if certain cinematic sub-genres were to be banned from the table immediately. Reading a description of Athina Rachel Tsangari’s Attenberg, one might worry that she has committed the double-sin of embracing two of the more increasingly overused and deplorable ones: 1) the “stunted-to-the-point-of-retarded adult-child;” and 2) the “quirky […]

When Jamie Stuart and I shot this video at Sundance this year, our jaws dropped at Peter Mullan spun out an incredibly eloquent, sustained one-take summation of Paddy Considine’s Tyrannosaur. He’s a great actor, of course, but still we were stunned at how it all just flowed. Here is that video, with Mullan and writer/director Paddy Considine talking about making a movie based on a short, dark characters, and where it all comes from. The film opens tomorrow from Strand Releasing.

The great Chilean filmmaker Raul Ruiz passed away today in Paris. Through his feature The Golden Boat, which was James Schamus’s first as a producer, Raul gave a group of us in New York’s nascent ’80s independent scene (including myself and Robin O’Hara) a wonderful and nearly indescribable introduction to filmmaking. So, I’m grateful here to James for this piece remembering Ruiz and those thrilling and formative days. — Scott Macaulay Raul Ruiz: First Thoughts Raul Ruiz passed away today, age 70, in Paris. He’ll be remembered as one of the truly great, idiosyncratic and visionary voices of world cinema. […]

Ten years ago, François Ozon’s dark, Hitchcock-tinged melodrama See the Sea caught the attention of American film critics. The New York Times’ Janet Maslin marked him as “an impressive new filmmaker with a flair for implicit mayhem.” In the 12 features since then, Ozon has expressed his mayhem in various genres (musicals, fairy tales, magical realism, period romances, etc.), with different cinematic influences (Chabrol, Fassbinder, Renoir, Pasolini, etc.) and in a range of production scales. But central to all his films is a deep sense of the essentially conflicted nature of emotional relations, be it the comic sadomasochism of Water […]