Bette Gordon

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Bette Gordon by Evangeline Morphos
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The director of the underground classics Variety and Luminous Motion speaks with Evangeline Morphos. Those and other films by Gordon are screening this weekend at Anthology Film Archives.

Tom Kalin by Bette Gordon
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When I first got to know Christine Vachon we both sort of bonded over our mutual love of terrible paperback true crime books that usually had photographs in the middle, sort of appalling photographs.

Jehane Noujaim’s Control Room by Bette Gordon
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Documentary filmmaker Jehane Noujaim invites viewers into both Al Jazeera, Arab-language satellite television, and CentCom, the US military news center, for two very different media portrayals of the 2003 US invasion of Iraq.

Shari Springer Berman and Robert Pulcini by Bette Gordon
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Forget Batman and Spider-man. If you’ve heard of R. Crumb, you may also be aware of Harvey Pekar. Before camcorders, before webcams, before nonstop reality TV there was Pekar and his homegrown autobiographical comic-book series American Splendor

Karyn Kusama by Bette Gordon
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“The more you put yourself out there, the more hurt you can become, but the rewards grow exponentially. Why not live on the edge a bit? For all we know, this is our only time out.”

East is East by Bette Gordon

Bette Gordon discusses all of the ways that East is East succeeds as a great work of cinema: it’s funny, warm, fresh and complex, with a outstanding performances to boot.

Motherhood and Sexuality by Bette Gordon & Catherine Texier
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The recent works of Bette Gordon and Catherine Texier both draw from similar themes, primarily women as heroines and the sexuality of mothers.

Kevin Spacey: The Iceman Cometh by Bette Gordon
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Who among us doesn’t harbor pipe dreams? You don’t have to be a down-and-out drunk at Harry’s bar, aka “The No Chance Saloon,” to hang onto the kind of delusions that keep us going day-to-day. 

Zoë Wanamaker by Bette Gordon
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Zoë Wanamaker’s performance in Sophocles’s Electra brought New York audiences to their feet every night in 1999. Catharsis never had it so good. Film director Bette Gordon talks to the legend.

Vincent Gallo’s Buffalo 66 by Bette Gordon
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We all want unconditional love in our lives, but no one wants it more than Vincent Gallo, who plays Billy Brown in his emotionally fraught film Buffalo 66.

Breaking the Waves by Bette Gordon
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In Breaking the Waves, von Trier’s style is more like reportage, but equally as relentless.

Mike Figgis  by Bette Gordon
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Director Mike Figgis composed his film, Leaving Las Vegas, like a jazz score. It soars and crashes, and soars again.

Allison Anders by Bette Gordon

“I never give them archetypes. I’m totally anti-Jungian, symbols are intellectual. Emotions are universal, not symbolic. So that’s where I try and keep it, with the emotions.”

Mike Leigh by Bette Gordon
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Filmmaker and BOMB contributing editor Bette Gordon speaks to acclaimed director Mike Leigh upon the release of his award-winning 1993 film, Naked.

Tom DiCillo by Bette Gordon
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Tom DiCillo speaks with Bette Gordon on directing his first film, Johnny Suede, and being one of the first to discover Brad Pitt and Catherine Keneer.

Al Pacino by Bette Gordon & Betsy Sussler
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Cinematic legend Al Pacino discusses Heathcote Williams’s The Local Stigmatic, commercialism, and rehearsal techniques.

Barbet Schroeder by Bette Gordon
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Upon the release of Reversal of Fortune, Barbet Schroeder’s film about Claus and Sonny Von Bulow, he speaks to Bette Gordon about the many meanings and incarnations of evil, and the “dramatic possibilities” of fiction.

David Cronenberg by Bette Gordon
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Cronenberg talks to Bette Gordon about the supernatural and horrific qualities of his filmography.

Diane Kurys by Bette Gordon
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Filmmaker Diane Kurys, a French woman directing in English, discusses the unsexiness of onscreen sex, the possibility of loving two people at the same time, and other improbabilities.

Women Looking at Other Women by Karyn Kay & Bette Gordon
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In conversation, filmmakers Bette Gordon and Karyn Kay pinpoint women’s desire and experience in and out of film.

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