After a week in which there was some social media sniping over NEON’s seemingly stalled “never-ending tour” of Apichatpong Weerasethakul’s Memoria, my personal #1 movie of 2022, the distributor has announced that distribution is not stalled at all. The previously announced tour, in which the film will travel from city to city, formally begins with New York’s IFC Center on April 1 and L.A.’s NuArt on April 8. Multiple cities now open each week, and the website includes dates stretching through October. From the press release: Director, Apichatpong Weerasethakul remarked on the plan, “For Memoria, cinema experience is crucial or maybe the […]

Cinematographer Sayombhu Mukdeeprom is an impenetrable interviewee, shrugging off my most premeditated questions. I get it, how many ways can you talk about your creative process or the equipment you rented for a film? When I asked him what lights he used on Memoria, he named an Arri Skypanel and left the rest, “the usual,” to my imagination. As I learned from our talk on Suspiria, which he dialed into from his friend’s unruly wedding party via Skype, Sayombhu prefers flexibility, creating lighting environments that are open to how the director and actors react to them, each other, and the […]

Memoria Giovanni Marchini Camia and Annabel Brady-Brown, editors Fireflies Press, 2021 The book begins with the word “memoria” handwritten in gold on the blue cloth cover. The word appears again on the book’s first page, alone, black type on the white page, suggesting with its flourish of vowels a portmanteau of memory, history and cinema and calling to us from another language. “Memoria” is also the second word on the second page, just before the type slips into description: of glimmers, a window, boats, darkness, the cinema. There is a bang, a snap, and the snap of a picture, and […]

Is there any contemporary filmmaker — or any artist invested in the creation of images — who hasn’t been influenced, at least on some level, by the British writer John Berger? His Ways of Seeing, a semiotics-tinged analysis of imagery ranging from European oil painting to 20th century advertising, is a seductive and accessible introduction to critical theory, feminist film criticism and Marxist cultural commentary. Premiering at the Berlin Film Festival is the anthology film, The Seasons in Quincy: Four Portraits of John Berger. Conceived of by Swinton and producer and literary critic Colin McCabe, the film captures the 89-year-old […]

“Why am I even allowed to say her name,” wondered comic Amy Schumer when starting a tribute to the actress at last night’s Gotham Independent Film Awards.  The story she has to tell begins with a part Schumer wrote for her forthcoming film Trainwreck — that of her boss, simply described in the script as “a goddess, like Tilda Swinton waiting at a baggage claim.” Schumer then tells of the first time she saw Swinton (Vanilla Sky, of all things) and pays tribute to Swinton’s singular screen presence, noting that the only thing cooler than watching her act is hanging […]

Last fall Jamie Stuart was conducting interviews for his NYFF51. He ran into the publicist handling Jim Jarmusch’s Only Lovers Left Alive and asked if he could get a sit down with Tilda Swinton. The answer: yes, but time was tight. The result is the following short interview in which Stuart asked Swinton to just… well, you’ll see. At the end, she did indeed say it was her best interview ever. Cage by way of Glazer? Only Lovers Left Alive opens this Friday from Sony Pictures Classics. Camera: Blackmagic Design Cinema Camera, 2.5k RAW, ProRes 422 post conversion Lens: Canon […]

Set in and around a children’s summer camp off the coast of New England in 1965, Wes Anderson’s captivating Moonrise Kingdom is a movie about two 12-year-olds, young lovers who escape the adult world of counselors, parents and social workers to find a few magical moments in the film’s eponymous beachside paradise. A movie about childhood, Moonrise Kingdom is also, more importantly, a movie that feels of childhood. With its evocatively off-scale production design, tempered adult performances and moments of playful abandon, Moonrise Kingdom is stuffed with feelings and visions that, no matter what your age, transport you through time […]

Walking around the opening party you couldn’t help but hear the word “rebirth” a lot. As the most heavily pregnant person in the room, this made me jump, but I soon joined in the celebration. The 66th Edinburgh International Film Festival had just opened with William Friedkin‘s Killer Joe, and the evening was a definite success. Not everyone liked the film — there were questions about on-screen violence towards women in particular — but everyone agreed that as an opener, new festival director Chris Fujiwara had hit the right note. Smacked it right on the kisser, you might say. There […]