“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.”
“I don’t want to continue making movies this way.”
Austerity, allegory, and the interpretability of film.
“Who was chasing me through the brush? He’s staring at neon graffiti and doesn’t look away. He looks like a rich kid on acid. He turns into a duffle bag. The man I have sex with is me. I don’t dream about you. I find your feelings’ cloud.” In episode 10 of Phoned-In, BOMB Magazine’s poetry reading by phone podcast, Ben Mirov reads from his book Ghost Machine.
Montana Wojczuk reports on some of the energetic, stylish shorts of Sundance 2009.
Months ago, as my wife and I left a Sufjan Stevens concert, I told her how I wish my short animated films could have the emotion and staying power that great music has.
Writer Rachel Kushner examines the lineage of common themes and recurrent imagery in July’s extraordinary body of work.
On a recent trip to Cuba I visited the studio of photographer and filmmaker Juan Carlos Alom in the small beach village of Cojimar, outside Havana.
There are about ten words spoken in Sylvain Chomet’s first feature-length animated film, including the drawn-out, lilting sounds that the characters occasionally make, as if communicating were an act of hopefully humming almost-words while gesturing with hands and head and pointedly rolling one’s eyes.
Playwrights Philip Kan Gotanda and David Henry Hwang (M. Butterfly) compare notes on the East/West conflict, the Third World Movement, and Gotanda’s play, Ballad of Yachiyo.
In Yvonne Welbon’s short films and videos, memory laps at the crumbling shoreline of history.
Actress, producer, director speaks to Lynn Geller about the what it takes to be a successful woman in the industry: three day fasts and cannibalism…