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A new contribution to the Texas midterm battle between Ted Cruz and aspirant challenger Beto O’Rourke, this campaign ad is directed by Richard Linklater. It stars Sonny Carl Davis, something of a legend in Texas film, going back to his roles in Eagle Pennell’s The Whole Shootin’ Match (1978) and Last Night at the Alamo (1983). The ad does not explicitly endorse O’Rourke; it’s 30 seconds of Davis fiercely trash-talking Cruz in a diner, a chopped-down monologue that plays like an outtake from Linklater’s Bernie. There’s a reason for that: it’s Davis who delivers that film’s monologue breaking down the “five different states” of Texas, and […]
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Alonso Ruizpalacios’ two features to date are both about Mexico City’s recent past. The writer-director first gained international visibility with 2014’s Güeros, a black-and-white road trip movie set in the 1990s using the protests at the National Autonomous University of Mexico as backdrop for an intimate coming-of-age plot. For his sophomore venture, Museo, Ruizpalacios enlisted major star Gael García Bernal and one of Güeros’ cast members, Leonardo Ortizgris, to address a larger than life, yet based on real life, crime story. 1985 was a chaotic year for Mexico City, aside from the devastation left in the wake of a massive earthquake […]
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A row of symmetrically stacked airport luggage carts; the tumbling red-and-blue cylinders of a 7-Eleven Slurpee dispenser; the still life of neatly arranged condiments and coffee creamers on a diner countertop. While the romantically and professionally struggling twentysomethings that populate HBO’s Insecure make their share of pilgrimages to taco trucks, clubs, and even Coachella, it’s those tableaus of Los Angeles at its most quotidian that make the sprawling city feel as if it’s being viewed through a different lens. With the show’s third season recently wrapped up, cinematographer Ava Berkofsky spoke to Filmmaker about how she “makes L.A. feel like L.A.” […]
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22 July is a difficult film. Any film about the 2011 terror attack and massacre on Utøya island in Norway would have to be. Less expected is the film’s strong political edge. In that sense, 22 July is something of a return to roots for Paul Greengrass. Before taking on the Bourne franchise, the director made a mark with his 2002 docudrama Bloody Sunday, about the Bogside massacre of Northern Irish protesters by British soldiers in 1972. In that film, as in his new one, Greengrass combined his trademark visceral, shaky-cam documentary aesthetic with a strong sense of political urgency. […]
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Kathryn Hahn has joked about her plethora of “best friend or randy crazy lady” roles in comedies like How To Lose A Guy In Ten Days, Anchorman and Step Brothers. But recent projects by Jill Soloway (Afternoon Delight and I Love Dick) and Tamara Jenkins (the new Netflix film Private Life) have cast Hahn in the lead role, and suddenly we have an exciting leading lady who’s much more than a scene-stealer extraordinaire. She lets us in on a fascinating process she has for getting into the “I” of the character, talks about the road that lead to Private Life […]
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The trailer for this year’s Third Horizon Film Festival—the third Third Horizon, as time would have it—was beautiful, because the films comprising it are beautiful: wide-eyed children, skin aglow with flames, the massive, lime-green expanse of sugarcane fields, a sea coursing like blood. The preview’s song begins with a dissonant, bell-like din, stretched like sinew over the rest of the track, which moves a lot like, actually, waves: steel drums clanging like a ticking clock; keys that progress upward, then down, till the whole song heads somewhere melancholic, toward a wisp of its former self. Third Horizon Film Festival is […]
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Having now completed the long journey from upstart/wunderkind to venerated elder statesman, Peter Bogdanovich has amassed a lengthy CV that includes a celebrated career directing pictures, an early post programming films at the Museum of Modern Art, teaching, writing and, not unlike his mentor, Orson Welles, taking up the odd acting job. His contribution to the cinema in 2018 was twofold. First, he made the documentary The Great Buster, an interview-heavy appreciation of the pantheon silent filmmaker, Buster Keaton. His other project this year was, by design, one that required vigilant self-effacement—that’s the long-awaited post-production and release of Orson Welles’s The […]
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Hong Sang-soo has long been an NYFF staple; last year they showed two of his three works for 2017. I didn’t write about the one that didn’t make it in, Claire’s Camera, which is a) by far the most uncomplicatedly funny/breezy thing he’s made in a while b) nearly made me jump out of my seat with an insert cut. I can’t remember now what the cut was to; the point is, in the extremely limited visual language Hong’s codified over time, the one-time use of previously off-limits but otherwise totally normal devices really gets viewer attention. This is, of course, on some […]
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