Independent Film

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Watching Caribbean Cinema by Monica Uszerowicz
Anansi1

Islands of stories.

Movies and Their Making: New York Film Festival’s Kent Jones by Peter Gizzi
Jones Gizzi

“We choose the films that mean the most to us and offer them and let people react to them and form their own impressions and judgments.”

Spit It Out: Eliza Hittman’s Beach Rats by Daniel Lefferts
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Sexual panic in South Brooklyn

Albert Serra’s The Death of Louis XIV by Clinton Krute
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From deep within Louis XIV’s billowing gray afro—more a cloud than a sun—the once lively eyes of Jean-Pierre Léaud gaze out vacantly. Over the course of Serra’s simultaneously tedious and fascinating film, Léaud’s Sun King drifts and snoozes through his remaining days in a state of almost catatonic nonchalance, occasionally stopping to doff his hat or eat a fig to the great applause of courtiers.

Salomé Lamas by Matt Turner
Salome Lamas Bomb 1

“Questions that once belonged to the cinematic institution have been set upon the world of spectacle we live in today. These questions belong to all of us now.”

Kevin Jerome Everson by Jordan Cronk
Kevin Jerome Everson Bomb 1

“I don’t make films for the audience, I make them for the subjects, and I try to position those subjects and the camera so that there’s a element of generosity between the two.”

Thomas White by Nicholas Elliott

“If someone hands over their repertory theater group to you, what are you going to do with them?”

Terence Davies’s A Quiet Passion by Tan Lin
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A Quiet Passion, Terence Davies’s biopic about the poet Emily Dickinson, faces a problem typical of movies seeking to recreate the life of a literary figure: how to accommodate film to language, and, in particular, to Dickinson’s dense, elliptical, and unconventionally punctuated and often abstract poetry.

Antonio Campos and Robert Greene by Nicholas Elliott
Antonio Campos Christine Bomb 01

Two films tell the tragic story of reporter Christine Chubbuck’s on-air suicide in 1974.

Looking Back on 2016: Art & Film
Looking Back 2016 Art Film Bomb 1

Selections by Lucas Blalock, Carmen Boullosa, Liz Collins, Ricky D’Ambrose, Andrew Durbin, Scott Esposito, Jen George, Brent Green, Carlos A. Gutiérrez, Karl Holmqvist, Roberto Juarez, Baseera Khan, Jaime Manrique, Isaac Pool, Marina Rosenfeld, Frederic Tuten, Wendy Vogel, and Alex Zafiris.

Foreign Exchange by Elina Alter
Fire At Sea Bomb 1

European Cinema at the 54th New York Film Festival

Lucile Hadžihalilović’s Evolution by Sabine Russ
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What would life be like if nature had selected the male body to gestate and deliver offspring? What if women had evolved to be on the more pleasurable side of procreation while men endured its discomforts (if not labor pain, then at least an average of 2,400 days of bleeding through adolescence and adulthood)?

Adam Green, Alia Shawkat, & Francesco Clemente
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“You’re looking at the human inverse of a technological idea.”

Yorgos Lanthimos by Peter Strickland
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The Dogtooth filmmaker talks about The Lobster, finding the right tone, and the state of Greek cinema.

Ricky D’Ambrose by Steve Macfarlane
D Ambrose Bomb 2

“I don’t want to continue making movies this way.”

Ross Partridge by Gary M. Kramer
Ross Partridge Bomb 1

“She’ll be like an apple tree among all the ash-colored buildings of that granite city.”

Jason Harvey & Josh Safdie
Jason Harvey Bomb 2

“I draw bad guys for a living.”

Jem Cohen by J.P. Sniadecki
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“In Counting, I was counting almost everything I encountered: street life, light, weather, animals, and some intangibles, political or social or economic currents, and certain seismic changes in my own life.”

Miguel Gomes by Tânia Cypriano
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“What I believe is that you just keep filming.”

Mathieu Amalric by Nicholas Elliott
Amalric Bomb 01

“As soon as you film someone it accelerates the deterioration of love.”

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