“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.”
Sexual panic in South Brooklyn
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.
“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.”
“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.”
“If someone hands over their repertory theater group to you, what are you going to do with them?”
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.
Two films tell the tragic story of reporter Christine Chubbuck’s on-air suicide in 1974.
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.
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)?
“You’re looking at the human inverse of a technological idea.”
The Dogtooth filmmaker talks about The Lobster, finding the right tone, and the state of Greek cinema.
“I don’t want to continue making movies this way.”
“She’ll be like an apple tree among all the ash-colored buildings of that granite city.”
“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.”