- feeds
- popular
- recent
- reader
- about
- story
- technologies
- what is rss
- connect
- dmca
- contact
- Feed Preview Vadim Rizov | Filmmaker Magazine
Fluid(s) Filmmaking: Lance Oppenheim and Daniel Garber on Spermworld
Like Lance Oppenheim‘s first feature, 2020’s Some Kind of Heaven, his follow-up Spermworld follows three nonfiction protagonists through a niche American context. Heaven focused on three res...
“Nine Pages a Day of Heavy Dialogue”: Bob Byington and David Krumholtz on Lousy Carter
In 2012, Bob Byington won a Special Jury Prize at the Locarno Film Festival for Somebody Up There Likes Me; last year, he returned with Lousy Carter. Writing about the festival, I said of the fil...
True/False Film Fest 2024: Creative Subjects
“Are you getting what you want, bitch?” Philly Abe, the focus of Elizabeth Nichols’s Flying Lessons, repeatedly offers similarly styled examples of “director-subject negotiations,” in w...
Doc Fortnight 2024: The Axis of Big Data, Preemptive Listening, Small Hours of the Night, Silence of Reason
MoMA’s annual Doc Fortnight begins as the Berlinale winds down, allowing the fest to grab freshly premiered titles from there, Rotterdam and Sundance (from the latter, opening night selection R...
Sundance 2024: Devo, War Game, Girls State
First you get radicalized, then you get professionalized—a familiar trajectory Chris Smith’s Devo retells in a familiar idiom. After sitting down with dour conspiracy theorist Michael Ruppert...
Sundance 2024: Soundtrack to a Coup d’Etat, Nocturnes
Belgian filmmaker Johan Grimonprez’s first feature, 1997’s Dial H-I-S-T-O-R-Y, intertwined news footage of plane hijackings with voiceover readings of passages from Don DeLillo’s White Nois...
Sundance 2024: A Different Man, Realm of Satan
There’s a story about a Soviet commissar who, upon seeing Solaris, proved that he both completely understood the movie and didn’t understand it at all by indignantly demanding to know what th...
Sundance 2024: Presence, A Real Pain
An experiment in shooting a movie entirely from a first-person POV, Steven Soderbergh’s Presence has conceptual precedents but no meaningful ones in terms of the camera’s weight and the opera...
Sundance 2024: Between the Temples, Seeking Mavis Beacon
It’s rare to see a comedy immediately get going in its first shot as Between the Temples does—no credits, throat-clearing establishing shots or slow unveiling of protagonists, instead a slow ...
Sundance 2024: Stress Positions, Veni Vidi Vici
Amidst diminishing film coverage and uncertainty about the future of arthouse theatrical distribution, Sundance offers movies arriving with distribution a near-guarantee of concentrated response ...
FILM FEST KNOX 2023: A Fest is Born
Introducing Time of the Heathen on day two of the inaugural FILM FEST KNOX, artistic director Darren Hughes teased that “75 minutes from now, you will be among the hundreds—or perhaps thousan...
At Least 18 Filmmakers Withdraw from IDFA 2023
In the opening days of this year’s edition of IDFA, the documentary festival issued two statements on the bombing of Gaza. Following protests at the opening night ceremony where protesters carr...
TIFF 2023: Wavelengths, Arthur & Diana
“You’re here for an experimental shorts program, so you know,” said filmmaker Shambhavi Kaul. “You know.” Her latest was premiering as part of the second Wavelengths shorts program of T...
TIFF 2023: Flipside, Nowhere Near
Introducing his third feature, Nowhere Near, Miko Revereza said that his first, the train travelogue No Data Plan, was shot in three days and edited in about a month, fooling him into thinking ...
TIFF 2023: The Holdovers, Hit Man
In terms of acquisitions, the most financially significant screening of last year’s TIFF was an industry-only one of The Holdovers, a Miramax-developed title whose worldwide rights promptly s...
TIFF 2023: Evil Does Not Exist, I Don’t Know Who You Are
Ryusuke Hamaguchi‘s Evil Does Not Exist begins by removing every element that might be reasonably expected from his work by now. Instead of long group dialogue sessions and theatrical/ therape...
Venice Film Festival 2023: Poor Things
Initially, Poor Things seems like it might be a Yorgos Lanthimos provocation about the value of provocation, a suspicion prompted when medical student Max McCandless (Ramy Youssef) first sees B...
Locarno 2023: Circles of Reference
Festivals have a baked-in tension between the works they’re meant to showcase—marginal relative to the marketplace, hence the (sometimes pejorative) descriptor “festival film”—and the s...
Cannes 2023: The Pot-au-Feu, Portraits of Ghosts
To celebrate Cannes is to celebrate film history itself—or at least so the fest would have it. But while there’s certainly meaningful and genuine overlap, any self-venerating mythology is goi...
Cannes 2023: Anatomy of a Fall, Fallen Leaves
Sandra Hüller enters Justine Triet’s Sybil midway, as the hilariously frazzled director of a European co-production who keeps barking in English while trying to keep the set moving. Hüller’...