On Career Longevity and Receiving a Retrospective – Julie Carmen comments
Who gets a retrospective? I argue that it’s not the loudest voice in the room but those aligned with movies that may still matter. Films that touched a universal truth or a tender bruise, films that broke the norm, films that made the art form veer are films that stick in the collective unconscious and get retrospectives. They lift us out of the mundane like an existential sermon. Dialogue, glances, unique situations resonate throughout the years with the repetition compulsion of an unresolved dream. Those are the films that stay alive on grainy youtube for forty years and are popping up as 4K restorations theatrically and on Bluray. Because true cinephiles preserved arthouse cinemas, the theatrical experience is back in vogue, becoming all the rave again.
Read MoreTHE TALENTED MR. RIPLEY – Review by Walker Conger
When Tom Ripley (Matt Damon) first plays the piano while wearing a borrowed Princeton jacket, there’s no way to expect what a thrilling ride director Anthony Minghella will take you on in The Talented Mr. Ripley. Adapted from Patricia Highsmith’s novel of the same name, this underrated entry of Damon’s filmography captures the beautiful Italian scenery of small, tight-knit towns and the expansiveness of Rome and Venice. With the use of jazz throughout the score, the film paints a picture of a carefree, “la dolce vita” post-war lifestyle that is enticing to a struggling New York restroom attendant like Tom Ripley.
Read MoreIndie Film Advice: Crafting Authentic Music – Elaine Del Valle comments
Independent filmmakers rarely have the resources to buy the music their stories deserve. Yet music often carries the emotional weight of our films — especially when the work is autobiographical, culturally specific, or rooted in family memory. As the writer and director of Brownsville Bred — an auteur, coming-of-age, music-driven story based on my own childhood in Brownsville, Brooklyn — I learned early that music wouldn’t be an accessory. It would be the heartbeat.
Read MoreYael Melamede talks ADA: MY MOTHER THE ARCHITECT and profiling Ada Karmi-Melamede – Yael Friedman interviews (Exclusive)
There seems to be an endless appetite for depictions of the lone genius architect, both as a mythological creature walking amongst us, and as a metaphor for just about everything. And yet one of the best movies about one may never get its due. Ada: My Mother The Architect, by Yael Melamede, about her mother, Ada Karmi-Melamede, one of Israel’s most celebrated architects, is an extraordinary film that addresses all the big questions while also portraying a human being who is very much mortal. Yael Mellamede chats with Yael Friedman about making the deeply personal documentary.
Read MoreE.1027 – EILEEN GRAY AND THE HOUSE BY THE SEA – Review by Yael Friedman (Guest Post)
The erasure of women from the annals of history is usually figurative – they are overlooked, conveniently forgotten, somehow missing from the picture. But Eileen Gray (1878-1976), the pioneering modernist Irish designer and architect, was almost literally removed from the architectural record by one of its most looming figures – Le Corbusier himself. A lovely new docudrama, “E.1027 – Eileen Gray and the House by the Sea,” by Beatrice Minger, revisits a chapter that sounds like a parable of how the great men of history can ensure they alone receive credit for shaping it.
Read MoreADA: MY MOTHER THE ARCHITECT – Review by Yael Friedman
There seems to be an endless appetite for depictions of the lone genius architect, both as a mythological creature walking amongst us, and as a metaphor for just about everything. And yet one of the best movies about one may never get its due. Ada: My Mother The Architect, by Yael Melamede, about her mother, Ada Karmi-Melamede, one of Israel’s most celebrated architects, is an extraordinary film that addresses all the big questions while also portraying a human being who is very much mortal. Melamede, a veteran filmmaker and one of the creative forces behind the Oscar-nominated My Architect (2003), set out to portray a parent whose monumental creations shroud a very complex personal life and relationship with her family.
Read MoreHORROR’S WARNING ABOUT IGNORING WOMEN – Essay by Stephanie Malone
From Rosemary’s Baby to The Invisible Man, genre films have long warned us about the terrifying consequences of ignoring women’s voices. This Women’s History Month, we explore the films that turn disbelief into devastating horror. In horror films, the true terror often lies not just in the monster under the bed but in the human reactions to the threat. A chillingly common thread in many iconic horror movies is the refusal to believe women when they voice their fears, suspicions, or trauma. This narrative mirrors a grim reality rooted in history: women have long struggled to have their experiences, especially regarding mental health and abuse, taken seriously. Here, we explore the films that turn disbelief into devastating horror. From historical witch hunts to modern-day courtrooms, the stakes are real. And in horror, as in life, ignoring the truth often comes at a deadly cost. Let’s take these stories as more than just entertainment—let’s take them as a warning.
Read MoreA REAL PAIN, Holocaust Tourism & Gaza – Essay by Yael Friedman
Somehow the backdrop of a Jewish roots/Holocaust tour of Poland didn’t even feel contrived or “ugh not again” (“Never Again” pun not intended). I’m not bemoaning the “Holocaust movie” – there will always be innumerable ways to portray the Holocaust’s seemingly infinite facets and insights into history and human nature. I’m also not criticizing Holocaust tours – there is really no substitute for having a concrete connection with history, whether one’s own or that of others. Years ago, I finally visited Ireland, after a near lifetime of being engrossed in its history. I knew about the Famine, I’d read so much about the North and the Troubles, and yet it wasn’t until I actually walked through empty countrysides with overgrown Famine Cottages, and hiked the small hills of West Belfast amid the murals and “peace line” barriers, that I could internalize any of it. And when I finally visited Auschwitz — reluctantly, because I felt like really what was there left for me to uncover, in history or within myself — it affected me so viscerally; I realized there is no substitute for that, no text or even survivor testimony that can so quickly plunge you into what that place was.
Read MoreDAHOMEY – Essay by Yael Friedman
Dahomey, the new beautiful documentary from director Mati Diop, addresses these forces that wrested history from its original owners, and interrogates what it means to try and recompense for the past. The film plays witness to an unprecedented moment – the return by France of 26 objects (26 out of many thousands) to Benin – the once Kingdom of Dahomey (1600-1904). It is the first such return of the cultural heritage colonial powers plucked from their African vassal states. The Europeans carved up a continent and removed its sacred objects (among other sins), sending them across the Atlantic to sit in sterile vitrines in grand galleries, tourists strolling by once-mighty gods. These are not ghosts but corporeal beings demanding their rightful claims, defiant and unwilling to fade into the pages of history.
Read MorePayal Kapadia, first Indian to win the Grand Prix at Cannes – Interview by Mythily Ramachandran (Exclusive)
At the recently concluded Cannes Film Festival, Indian director Payal Kapadia etched her name for eternity in the annals of cinema history by winning the ‘Grand Prix.’ Kapadia’s debut feature All We Imagine As Light, was singled out among 22 entries. Her contenders included the likes of Andrea Arnold, Francis Ford Coppola, Jia Zhange-Ke, Paolo Sorrentino, Sean Baker, and Ali Abbasi. Kapadia is the first Indian woman filmmaker to win the coveted prize. No other Indian director had ever competed for the honour nor bagged it. Thirty years ago, Malayalam director Shaji N Karun’s Swaham‘ qualified at Cannes for the competition category in 1994. Mythily Ramachandran spoke to Kapadia about the making of her film and making history at Cannes.
Read MorePUPPY LOVE – Review by Justina Walford
Puppy Love is a loving documentary about a healthy litter of Labrador puppies that suddenly become paralyzed. Their breeder, Cindy, is advised to put them down, but she resolves to make them better, taking back every dog that falls ill from their adopters to dedicate her time and resources to their health. In fact, her goal is not only to help them walk, it is to help them thrive as intelligent and active dogs. So she and a group of tenacious women use every possible solution to bring these dogs back to health despite vets and people in the dog community having different opinions. First and foremost, if you love dogs and you love the people who go out of their way to take care of them, this is a solid film.
Read MoreBIRTH/REBIRTH – Review by Justina Walford
My favorite horror films are symbolic shadow work, a protagonist who is quintessentially “the good one” and another living our darkest intrusive thoughts, with the darkness mentoring the light in a grim spiritual and moral journey. Birth/Rebirth is that film. Marin Ireland is delicious as the snarky, cruel morgue technician Dr. Caspar who, instead of taking on lovers, masturbates men in bathrooms for their sperm. Judy Reyes is devastating as Celie, a nurse who suddenly loses her daughter, Lila, and is plagued by guilt for how little she was present for her daughter in her last moments.
Read MoreKLONDIKE – Review by Justina Walford
When we see expectant parents, we think of nurseries and colorful mobiles with the laughter of nervous parents emotionally in sync and awaiting their important day. But in the dark of Klondike’s opening scene, it doesn’t take long to realize that this typical expectant parents’ conversation is not what we expect. The couple has a hole in their house. The environment is bleak and brown. And their conversation is interrupted by a loud explosion. So now we expect a drama with action and blood. But no. Again, we are turned around by the dry, absurdist wit of writer and director Maryna Er Gorbach, and we see this couple struggle with the mundane as much as with the mind games of politics and war.
Read MoreBLUE JEAN – Review by Justina Walford
Dramas set in the 80s walk a tightrope, often forcing us into a sense of nostalgia, romanticizing the decade even though it was far from inclusive. LGBTQ coming-out films also walk a tightrope, usually stuck in a world of early LGBTQ challenges without showing a character existing beyond the struggle of identity. Blue Jean is both of these genres. Yet, the combination defies the challenges and comes off beautifully as a sincere dialogue and, in some ways, a sincere amends and admiration among generations. Writer-director Georgia Oakley has crafted a narrative that is historically relevant and tragically resonant today. The story is interwoven with television and radio updates highlighting the conservative government’s efforts, led by Margaret Thatcher, to enact discriminatory legislation against the LGBT community.
Read MoreCLOSE TO VERMEER – Review by Justina Walford
Suzanne Raes’ documentary,”Closer to Vermeer, delves into the enigmatic world of Johannes Vermeer, the celebrated painter behind masterpieces like “Girl with a Pearl Earring.” Little is truly known about the artist himself, and that mystery has been studied and debated by scholars as long as his art has been known. This documentary’s essential story is not about Vermeer as much as Vermeer is the framework to tell an even more riveting tale. As the camera pans so intimately close to Vermeer’s paint and canvas, we see the gloves and scopes of study, gently poring over every dab of paint.
Read MoreTallgrass Film Festival Filmmaker Interview: Sarah Moshman on UNBOUND
Sarah Moshman, daughter of documentary filmmaker Harvey Moshman, grew up on set, so to speak, and has since early childhood wanted filmmaking to be her fulltime profession. She’s worked primarily in television, producing and directing segments for prominent news shows and popular series. In 2013, she won an Emmy. In 2015, she won a Gracie. […]
Read MoreChinese TV: LOVE BETWEEN FAIRY AND DEVIL – Essay by Dana Ziyasheva
The Chinese show Love Between Fairy and Devil is such a carefully choreographed ballet of emotions and thoughts on the nature of love, power, and society — hammering home its points with an impossibly attractive cast and a highly addictive soundtrack — that I, a bone-weary middle-aged woman with grown-up kids, found myself pledging all my time (and the entirety of my soul) to it.
Read More10 International Animated Films That Showcase World Cultures – Dana Ziyasheva reports
The United States has always been a culturally diverse country, and it will become even more so in the future. In 2019, more than half of Americans under age 16 identified as a racial or ethnic minority for the first time – so not really a minority after all! Young audiences want to relate to what they’re watching, explore their heritage, and learn about their friends’ cultural background. And Hollywood has started to take notice: Moana, Mulan, Coco, and Encanto added ethnic diversity to Disney/Pixar’s time-tested formula, with action-packed, broad-stroke narratives centered on their title characters’ identity search.
Read MoreMegan Mylan on SIMPLE AS WATER – Interview by Mythily Ramachandran
Academy award winner Megan Mylan’s latest documentary, Simple As Water, was shortlisted for an Oscar but did not make it to the final list of nominees. Mylan received an Oscar for her documentary, Smile Pinki, and the Independent Spirit Award for Lost Boys of Sudan, which was also named as a New York Times Critics’ Pick.
Read MoreRape-Revenge Films: A Critical Study, by Alexandra Heller-Nicholas – Book Review by Marietta Steinhart
There is fortunately no taboo here, no film too deranged and no character untouchable. Even the cartoon skunk Pepé Le Pew gets his comeuppance. “On most occasions Penelope Pussycat clearly does not enjoy his sexual advances.” Thinking about it, Pepé Le Pew was more than just a little rapey.
Read MoreSWEAT – Review by Marietta Steinhart
Few films have pictured the Social Media phenomenon as empathically as Sweat. Thanks to a powerhouse performance by Magdalena Koleśnik, Sweatallows for a very nuanced and kind look at a profession that has been demonized and mocked. Watching movies about people staring at their phones is usually about as stimulating as watching grass grow. This is not the case here. Koleśnik’s energy is contagious.
Read MoreDIRECTOR ROHENA GERA Chats SIR – Mythily Ramachandran interviews
Director Rohena Gera’s debut feature film, Sir broke all stereotypes of Indian cinema with a story that explored the changing dynamics of a relationship between Ashwin-a affluent young man and Ratna-his live-in domestic help. In India where caste and position in society determines relationships, Sir was much appreciated for its sincerity and honest narration. Sir premiered in the Critics Week at Cannes (2017) winning acclaim. Gera became the first woman filmmaker to receive the Gan Foundation award as well as a prize at the Cannes Critics Week.
Read MoreIndian directors Rintu Thomas and Sushmit Ghosh won two Sundance awards for WRITING WITH FIRE – Mythily Ramachandran interviews
Debutant directors Rintu Thomas and Sushmit Ghosh received two awards-Audience award and Special Jury award at Sundance Film Festival 2021 for their documentary Writing With Fire, chronicling the rise of ‘Khabar Lahariya’ (Waves of news), India’s only newspaper run by Dalit (considered untouchables) women and which recently went digital. WWF is produced by Black Ticket Films, a production company cofounded by Thomas and Ghosh and recognized for its award winning shorts including Timbaktu that received the Indian national award in 2012 as Best Environmental film. Mythily Ramachandran talks to the duo on the making of this documentary.
Read MoreIS LOVE ENOUGH SIR? – Review by Mythily Ramachandran
Is Love Enough Sir? is a tale of forbidden love. Rohena Gera marks her debut with a heart- warming and poignant story that holds a mirror to the class divide in India. This is Rohena Gera’s debut feature film in Hindi. The film won a Cannes Critic Week award in 2018 and is now streaming on Netflix.
Read MoreWhistler Film Festival Filmmaker Interview: Ashley Eakin on SINGLE
Single confronts the complexities of being disabled and dating. Kim, who was born with one arm, gets set-up to go on a blind date. When she finally meets Jake, to her horror – he only has one hand. Unable to get over the apparent ignorance of the matchmaker, as well as her own insecurities about being different, Kim tries to bail on the date.
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