“Everything we do is firmly rooted in community.“
Bandamlak Y. Jemberie (@BandamlakYimenu) on cofounding Videobet (@videobet_et), the first arthouse cinema in Ethiopia, from our fall issue and now online, with photos by Tsion Haileselassie (@ZionHaile).
https://t.co/kSOPNaFoiL
“It’s a mode I have a lot of time for: being faithful to the real, but risking getting a bit fictional with it in the process.”
Laura Staab (@laurastaab) on the inaugural Cinéstesia program at Espoo Ciné (@EspooCineIFF), curated by Erika Balsom (@_edb).
https://t.co/dn0FhoGGxV
The third edition of Mark Asch (@MarkAschParody)'s FESTIGRAPHIX compares the metrics of this year's daylong docs, find the common denominator of Sandra Hüller’s recent screen presence (outside of DIGGER), and takes up Ryūsuke Hamaguchi’s interest in a certain modality of care.
The next installment of Mark Asch’s (@MarkAschParody) FESTIGRAPHIX is here! For all those studying the relative quantities of incest, ovation, and anachronism in this season's cinematic offerings, read on...
“The earth comes to seem a pliant, transient material, acted upon by the skies.”
Maxwell Paparella (@44getting) on Johann Lurf’s FOREVER...FOREVER, a structural film that sends the world speeding through the gate of its custom-built 65mm camera.
https://t.co/11dSdLKQRv
“Norm Macdonald’s gift was to do the best imitation of himself at all times.”
Adam Nayman (@brofromanother) on Judd Apatow’s new documentary, a victory lap through the comedian’s impressions and provocations in which the man himself remains a cipher.
https://t.co/jcwNfLrdlj
“Even before the festival began, its programming was nearly eclipsed by controversy.”
Dessane Lopez Cassell on the tumultuous latest edition of FIDMarseille, including resistance, boycotts, and meaningful solidarity in the film community.
https://t.co/aKOfa0BGTr
Introducing FESTIGRAPHIX. To put this season's new films into context, we solicited the expert analysis of Mark Asch (@MarkAschParody). Here is the first dossier of his findings.
“If you don't know where you've been, you don’t know where you're going.”
Garrett Bradley speaks with David Greaves, whose ONCE UPON A TIME IN HARLEM documents a meeting of Harlem Renaissance luminaries convened by his father, William Greaves, in 1972.
https://t.co/bdJlFyOu7V
“Leigh manages to capture at once our interconnectedness and the grave distance that separates us; as one narrative unfolds, countless others scaffold its realism.”
Saffron Maeve on Mike Leigh's TENDER LOVING CARE.
https://t.co/zCTw9RxwDU
Hugo Emmerzael (@HugoEmmerzael) speaks to Isabelle Stever and Anna Melikova about balancing fragile tenderness with political urgency in I RARELY WAKE UP DREAMING, now playing at @theNYFF. https://t.co/KeLrFrkATU
“So many movies this fall season are obsessed with arguing for cinema’s right to exist.”
Chloe Lizotte (@celizotte) on I PLAY ROCKY, ELSINORE, PRIMETIME, and Big Tech's imagined crisis of cinema. https://t.co/nIlDO7kWga
“Verisimilitude is less and less interesting to me as a filmmaker.”
for @FilmmakerMag, i interviewed Matthew Rankin about his hilarious, surreal dive into Canadian conservative political arcana, Ladies and Gentlemen, Brian Mulroney https://t.co/pWDvgG9M7f
Was delighted to talk with Beatrice Gibson about her transfixing first feature AT NIGHT, screening twice this weekend @TheNYFF, for @FilmmakerMag. https://t.co/eM51XGT67w
Our art director, Charlotte Gosch of studio other types, walks us through how she designed the cover for the fall issue, featuring John Wilson and Baby.
"If you survey young writers and directors, you’ll find a lot of people who feel compelled to do one of these jobs because it’s the only way to do the other."
Max Cea on why many artists with ambitious original ideas feel like they have to do it all:
https://t.co/Fh4U03xBVP