Before she brought the charismatic serial killer Patrick Bateman to life in American Psycho (2000) Mary Harron devised a portrait of another kind of New York pathology with I Shot Andy Warhol (1996). When I went to college, there was a poster for the film hanging in the hallway of the cinema studies building: Lili Taylor, patron saint of 1990s indie cinema, staring down the camera with a gun in her hand. Even then, I knew the story carried a particular charge. Valerie Solanas was the radical feminist who shot the pop artist, nearly killing him, and her 1967 SCUM […]
by Elissa Suh on Jun 15, 2026
It gives me no pleasure to slag on Jeremy Saulnier’s Hold the Dark; his previous two films, Blue Ruin and Green Room, were good bleak fun, laconic in general, tersely amusing when dialogue emerged. But Hold the Dark has no interest in being fun; it’s much more interested in being taken Seriously, as a Serious Movie, and that’s a very bad trade. I have not read William Giraldi’s source novel, but I conferred with someone who has, who confirmed that many of this movie’s bad ideas — primarily, a heavy metaphorical and literal emphasis on the disastrous invasion of Afghanistan — are organic to […]
by Vadim Rizov on Sep 13, 2018Talk to Kirsten Sheridan, director of August Rush and her latest Dollhouse (pictured and premiering in the Panorama section of the 2012 Berlinale) about The Factory, the collective she co-founded with fellow filmmakers John Carney (Once) and Lance Daly (Kisses), and it soon becomes apparent that Ireland’s recent financial woes have done little to dampen Dublin’s DIY spirit. If anything the collapse has, ironically, helped artists, Sheridan theorizes, by making their outsized dreams affordable. Indeed, in a thriving economy just meeting the rent on a space big enough to house everything from production studios, to a fully equipped camera department […]
by Lauren Wissot on Feb 10, 2012