For the past three years, the American Cinematheque has presented “Bleak Week,” an annual festival devoted to the greatest films ever made about the darkest side of humanity. This year, the festival will not only be unspooling in Los Angeles June 1 – 7 — with special guests including Al Pacino, Lynne Ramsay, Charlie Kaufman, and Karyn Kusama — but will travel to New York for the first time with a week of screenings at the historic Paris Theater starting June 9.
“We are honored to co-present ‘Bleak Week: New York’ in partnership with one of the most beautiful movie palaces in the world,” Cinematheque artistic director Grant Moninger told IndieWire. “This year, over 10,000 people will attend ‘Bleak Week: Year 3’ in Los Angeles, proving that audiences are hungry for such powerful and confrontational cinema. Many people thought they were alone in their desire to explore films with uncomfortable truths, but the truth is that they are part of a large community,...
“We are honored to co-present ‘Bleak Week: New York’ in partnership with one of the most beautiful movie palaces in the world,” Cinematheque artistic director Grant Moninger told IndieWire. “This year, over 10,000 people will attend ‘Bleak Week: Year 3’ in Los Angeles, proving that audiences are hungry for such powerful and confrontational cinema. Many people thought they were alone in their desire to explore films with uncomfortable truths, but the truth is that they are part of a large community,...
- 5/23/2024
- by Jim Hemphill
- Indiewire
For their latest retrospective, Metrograph have turned their sights towards Kelly Reichardt. Ahead of “American Landscapes: The Cinema of Kelly Reichardt” running from Saturday, May 11 to May 27, with Reichardt present for screenings the first weekend, we’re pleased to exclusively debut the series’ trailer.
Here’s the official rundown: “Since her second feature, 2006’s Old Joy, Miami-born Reichardt has staked a claim to the Pacific Northwest—Oregon in six films, with the Montana of Certain Women an outlier—that has made her name as synonymous with the region as, say, Faulkner’s is with Mississippi. The attention she pays to the specific cadences and rituals of life in the Northwest, from the Portland of Showing Up to the thinly populated southern Oregon in Night Moves, is matched by her exhaustive engagement in every aspect of her films, from screenwriting—frequently in collaboration with Jonathan Raymond—to editing, which she will...
Here’s the official rundown: “Since her second feature, 2006’s Old Joy, Miami-born Reichardt has staked a claim to the Pacific Northwest—Oregon in six films, with the Montana of Certain Women an outlier—that has made her name as synonymous with the region as, say, Faulkner’s is with Mississippi. The attention she pays to the specific cadences and rituals of life in the Northwest, from the Portland of Showing Up to the thinly populated southern Oregon in Night Moves, is matched by her exhaustive engagement in every aspect of her films, from screenwriting—frequently in collaboration with Jonathan Raymond—to editing, which she will...
- 5/9/2024
- by Nick Newman
- The Film Stage
One of the greatest discoveries at this year’s Sundance Film Festival, India Donaldson’s directorial debut Good One is also the only film this year to go on to play New Directors/New Films and the Cannes Film Festival. Picked up by Metrograph Pictures as their first major release, ahead of an August 9 debut, the first trailer has now arrived.
Here’s the synopsis: “In India Donaldson’s insightful, piercing debut, 17-year-old Sam (Collias) embarks on a three-day backpacking trip in the Catskills with her dad, Chris (Le Gros) and his oldest friend, Matt (McCarthy). As the two men quickly settle into a gently quarrelsome brotherly dynamic, airing long-held grievances, Sam, wise beyond her years, attempts to mediate. But when lines are crossed and Sam’s trust is betrayed, tensions reach a fever pitch, as Sam struggles with her dad’s emotional limitations and experiences the universal moment when the parental bond is tested.
Here’s the synopsis: “In India Donaldson’s insightful, piercing debut, 17-year-old Sam (Collias) embarks on a three-day backpacking trip in the Catskills with her dad, Chris (Le Gros) and his oldest friend, Matt (McCarthy). As the two men quickly settle into a gently quarrelsome brotherly dynamic, airing long-held grievances, Sam, wise beyond her years, attempts to mediate. But when lines are crossed and Sam’s trust is betrayed, tensions reach a fever pitch, as Sam struggles with her dad’s emotional limitations and experiences the universal moment when the parental bond is tested.
- 5/8/2024
- by Jordan Raup
- The Film Stage
It’s been nearly two decades since Kelly Reichardt’s Old Joy showed how the wilderness can be an open canvas to explore the breaking points of male friendship and reckoning with a midlife crisis. While those emotional quandaries are evergreen, it’s appropriate timing to bring an entirely new element to this conceit. India Donaldson’s carefully observed, refreshingly patient, beautifully rendered debut feature Good One shifts the perspective, concerning a 17-year-old girl who embarks on a camping trip in the Catskills with her father and his best friend. Through an accumulation of minute details and uneasy glances, the drama becomes a portrait of increasingly crossed boundaries leading to an ultimate breaking point.
What was originally envisioned as a four-person backpacking trip into the woods with Sam (Lily Collias), her father Chris (James Le Gros), his best friend Matt (Danny McCarthy), and Matt’s son Dylan quickly turns to...
What was originally envisioned as a four-person backpacking trip into the woods with Sam (Lily Collias), her father Chris (James Le Gros), his best friend Matt (Danny McCarthy), and Matt’s son Dylan quickly turns to...
- 1/21/2024
- by Jordan Raup
- The Film Stage
As teenagers go — and let us allow for some hormonal leeway here — 17-year-old Sam is what most would call a good one: smart, thoughtful, grounded, self-sufficient but not averse to advice, the kind of kid that parents can’t help bragging about, as their friends wish their own nightmare offspring were a little more like her. But such a reputation has its downside, as elders take the teen’s compliance and good humor for granted, and expect undue allowances for their own irresponsibilities. Writer-director India Donaldson probes that awkward reversal of roles with delicacy and care in her debut feature “Good One,” monitoring the white lies and red flags that emerge over the course of a father-daughter camping weekend in upstate New York.
Premiering in the U.S. Dramatic competition at this year’s Sundance festival, “Good One” is modest but assuredly perceptive independent filmmaking that makes no grand claims...
Premiering in the U.S. Dramatic competition at this year’s Sundance festival, “Good One” is modest but assuredly perceptive independent filmmaking that makes no grand claims...
- 1/21/2024
- by Guy Lodge
- Variety Film + TV
Portland local Todd Haynes turned out at the Oregon city’s art museum in late June not to tout his own movies — and he certainly has a major one on the horizon thanks to Netflix’s Cannes pick-up “May December” — but to celebrate his peers: namely screenwriter and author Jon Raymond, longtime collaborator of Haynes’ friend Kelly Reichardt. Raymond also co-wrote with Haynes the script for his acclaimed 2011 HBO miniseries “Mildred Pierce” and developed the story for Haynes’ upcoming gay romance starring Joaquin Phoenix.
Haynes, who moved to Portland in 2000, was among speakers at the Portland Art Museum Center for an Untold Tomorrow’s (Pam Cut) Cinema Unbound Awards, which honored the likes of Raymond, Guillermo del Toro, Tessa Thompson, Jacqueline Stewart, and Portlander Fred Armisen. The lively gala was held in honor of not only raising funds for the museum — one of the largest in the country and now...
Haynes, who moved to Portland in 2000, was among speakers at the Portland Art Museum Center for an Untold Tomorrow’s (Pam Cut) Cinema Unbound Awards, which honored the likes of Raymond, Guillermo del Toro, Tessa Thompson, Jacqueline Stewart, and Portlander Fred Armisen. The lively gala was held in honor of not only raising funds for the museum — one of the largest in the country and now...
- 7/10/2023
- by Ryan Lattanzio
- Indiewire
In his third feature outing with ascendant genre filmmaker Ari Aster on Beau Is Afraid, Lars Knudsen produced the duo’s most ambitious, thought-provoking and outlandish work yet — a nightmare comedy of staggeringly detailed vision that is sure to engender conversation.
A nearly-three-hour epic reuniting the pair with A24, this deeply unsettling and quite funny feature burrows into the psyche of Beau (Joaquin Phoenix), a man-child riddled with anxiety who exists in a world in which each of his worst fears is bound to come true. The film bears the framework of a Grimm’s fairy tale à la Hansel and Gretel, watching as Beau finds himself in increasingly surreal scenarios while on a journey on foot to his mother’s house.
For Aster and Knudsen, Beau Is Afraid comes on the heels of Midsommar, an astonishingly dark folk horror starring Florence Pugh, which the former insists is “a joke.
A nearly-three-hour epic reuniting the pair with A24, this deeply unsettling and quite funny feature burrows into the psyche of Beau (Joaquin Phoenix), a man-child riddled with anxiety who exists in a world in which each of his worst fears is bound to come true. The film bears the framework of a Grimm’s fairy tale à la Hansel and Gretel, watching as Beau finds himself in increasingly surreal scenarios while on a journey on foot to his mother’s house.
For Aster and Knudsen, Beau Is Afraid comes on the heels of Midsommar, an astonishingly dark folk horror starring Florence Pugh, which the former insists is “a joke.
- 4/14/2023
- by Matt Grobar
- Deadline Film + TV
Chicago – The acclaimed director Kelly Reichardt has been an influencer in cinema since her debut film “River of Grass” in 1994. Her multi-award winning films include “Wendy and Lucy” (2008), “Meek’s Cutoff” (2010) and “First Cow” (2019). Her most recent film, set to release April 7th, is “Showing Up.”
Long time Reichardt collaborator Michelle Williams portrays Lizzy, an academic sculptor artist in Oregon (where Reichardt sets her films) who is getting some recognition feelers from New York City. But for the moment she lives a spartan life in an artist’s community, aided by her colleague and landlord Jo (Hong Chau), and her continued connection to her divorced parents Bill (Judd Hirsch) and Jean (Maryann Plunkett). When her brother Sean (John Magaro) has an episode related to his ongoing bi-polar disorder, one of the Lizzy’s most important gallery shows is heading towards disruption.
Michelle Williams in ‘Showing Up,’ Co-Written/Directed by Kelly Reichardt...
Long time Reichardt collaborator Michelle Williams portrays Lizzy, an academic sculptor artist in Oregon (where Reichardt sets her films) who is getting some recognition feelers from New York City. But for the moment she lives a spartan life in an artist’s community, aided by her colleague and landlord Jo (Hong Chau), and her continued connection to her divorced parents Bill (Judd Hirsch) and Jean (Maryann Plunkett). When her brother Sean (John Magaro) has an episode related to his ongoing bi-polar disorder, one of the Lizzy’s most important gallery shows is heading towards disruption.
Michelle Williams in ‘Showing Up,’ Co-Written/Directed by Kelly Reichardt...
- 4/6/2023
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
“These three films, they’re all masterful. They’re extraordinary films, and they’re actually quite different.” It’s mid-July in Switzerland and Todd Haynes is talking melodrama: “The three masterworks for me, and to see them at a festival like Locarno, which is very rare, are Written on The Wind, Imitation of Life, and All That Heaven Allows.” Perhaps more than even the cinema of Rainer Werner Fassbinder, Todd Haynes’ films have so often intertwined with those of the late Douglas Sirk, a director whose peerless studio work from the 1940s and 1950s have been a rich source of aesthetic and emotional inspiration, most clearly seen in Haynes’ 2002 masterpiece Far From Heaven.
“Imitation of Life is a film of such remarkable resonance,” Haynes explains on a warm summer morning in the Hotel Belvedere. “I think its themes of race and pretending, of passing, and misperceptions of what you are and who you are,...
“Imitation of Life is a film of such remarkable resonance,” Haynes explains on a warm summer morning in the Hotel Belvedere. “I think its themes of race and pretending, of passing, and misperceptions of what you are and who you are,...
- 8/31/2022
- by Rory O'Connor
- The Film Stage
A cemetery is not an auspicious choice of rendezvous point for an estranged father and son arranging what might be one last meeting in “A Perfect Day for Caribou,” but the dry joke of Jeff Rutherford’s tender, affectingly reserved first feature is that things get more melancholic still when they leave its glum confines. Set over the course of a single day on the fringes of some dead American anytown, this at once quiet and talkative two-hander covers no especially new ground, but strides known territory with a keen eye for lonesome landscapes, and an ear for the eternal communicative impasse felt by men who know each other all too well and not at all. Sturdy, thoughtful performances from Jeb Berrier and, in particular, rising star Charlie Plummer should hook distributor interest in this low-key indie following its premiere in Locarno’s newcomer-oriented Cineasti de Presente strand.
The gruffly...
The gruffly...
- 8/12/2022
- by Guy Lodge
- Variety Film + TV
Sometimes we really do need some direction in life. Wandering around without any real plans or hopes or dreams can only take you so far - wisdom for all of us to consider. One of the last films to premiere at the 2022 Cannes Film Festival is the latest from acclaimed American indie filmmaker Kelly Reichardt, her highly anticipated follow-up to the award-winning First Cow. As a huge fan of First Cow, and an admirer of her early minimal films like Old Joy and Wendy & Lucy, I was looking forward to seeing what she has been working on. Alas, Showing Up one of her worst films so far, an aimless and drab creation that is nothing more than a meandering showcase of entirely uninteresting artists who have never made anything of value but still keep going. It seems after First Cow all she could possibly think of was to film in her own backyard,...
- 5/27/2022
- by Alex Billington
- firstshowing.net
Job security in the film industry is never a sure thing. In this moment, it might look particularly fragile if you work in a vulnerable department of Netflix or a redundant division of Warner Bros. To that list, you could also add film festival programmers — and they should have some of the most secure jobs in the industry.
Consider how Netflix stock hits a new low each day in part to an overreliance on algorithms and too much content that not enough people watch. The overwhelming amount of global content production has forced even the biggest streamers to realize that curatorial decisions matter more than pure data, which means the skillsets of a programmer — and it is a skill — should be at their highest demand. This is particularly true for film festivals, which are defined by curation.
And yet recent events speak to the fragility of the profession. Last month,...
Consider how Netflix stock hits a new low each day in part to an overreliance on algorithms and too much content that not enough people watch. The overwhelming amount of global content production has forced even the biggest streamers to realize that curatorial decisions matter more than pure data, which means the skillsets of a programmer — and it is a skill — should be at their highest demand. This is particularly true for film festivals, which are defined by curation.
And yet recent events speak to the fragility of the profession. Last month,...
- 5/7/2022
- by Eric Kohn
- Indiewire
American auteur Kelly Reichardt, an icon of the international film community thanks to her signature “slow cinema” style, will be honored by the Locarno Film Festival with its Pardo d’onore Manor lifetime achievement award.
Since making her acclaimed 1994 debut “River of Grass,” Reichardt has followed her own singular orbit as a true outlier of indie cinema over the course of nearly quarter of a century and a dozen works including “Old Joy,” “Wendy and Lucy,” “Meek’s Cutoff,” “Night Moves,” and “First Cow” — which opened Locarno in 2020 — that have cemented her reputation as one of the most distinctive voices in cinema today.
Reichardt’s new pic “Showing Up” is tipped to premiere in Cannes in May.
The Swiss fest dedicated to indie and cutting-edge cinema in a statement described Reichardt’s films, which she also edits, as being “characterized by intense research on realism and hallmarked by proudly independent creative and production processes.
Since making her acclaimed 1994 debut “River of Grass,” Reichardt has followed her own singular orbit as a true outlier of indie cinema over the course of nearly quarter of a century and a dozen works including “Old Joy,” “Wendy and Lucy,” “Meek’s Cutoff,” “Night Moves,” and “First Cow” — which opened Locarno in 2020 — that have cemented her reputation as one of the most distinctive voices in cinema today.
Reichardt’s new pic “Showing Up” is tipped to premiere in Cannes in May.
The Swiss fest dedicated to indie and cutting-edge cinema in a statement described Reichardt’s films, which she also edits, as being “characterized by intense research on realism and hallmarked by proudly independent creative and production processes.
- 4/13/2022
- by Nick Vivarelli
- Variety Film + TV
Larry Fessenden in Habit. Image courtesy Glass Eye Pix.In Kelly Reichardt’s Wendy and Lucy (2008), Michelle Williams’ road-tripping heroine has a harrowing nighttime encounter with a derelict played by Larry Fessenden—a witty bit of casting calling back to the latter’s starring role in Reichardt’s 1994 debut, River of Grass. There, a leaner, lankily handsome Fessenden essayed an Everglades variation on Martin Sheen, except that instead of a charismatic crackshot, his character Lee is a hopeless fuckup who can’t handle his borrowed gun; in a genre full of wrong men on the run for murders they never committed, he may be the only one who failed to hit the target in the first place. It’s possible to imagine that Fessenden’s unnamed, unmoored character in Wendy and Lucy is Lee fifteen years later, still on the outside looking in and relocated to the Pacific Northwest. Even if not,...
- 3/31/2022
- MUBI
It’s rare that our favorite film of the year actually receives love from the Academy, but there’s an exception as Ryusuke Hamaguchi’s Drive My Car racked up four nominations: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature Film. The three-hour Murakami adaptation also features one of the best scores of the year, courtesy Eiko Ishibashi.
While the score has Drive My Car Score & Watch Ryusuke Hamaguchi’s Music Video”>been available to listen for some time, it’s now getting an official release via Newhere Music/Space Shower Music featuring two bonus tracks. Working with longtime collaborator Jim O’Rourke (who also mixed and mastered the soundtrack), Ishibashiʼs wistful score synthesizes jazzy instrumentals with romantic strings and lush electronics. This release of the soundtrack features new songs “Drive My Car (Hiroshima)” and “ʻWeʼll live through the long, long days, and through the long nightsʼ...
While the score has Drive My Car Score & Watch Ryusuke Hamaguchi’s Music Video”>been available to listen for some time, it’s now getting an official release via Newhere Music/Space Shower Music featuring two bonus tracks. Working with longtime collaborator Jim O’Rourke (who also mixed and mastered the soundtrack), Ishibashiʼs wistful score synthesizes jazzy instrumentals with romantic strings and lush electronics. This release of the soundtrack features new songs “Drive My Car (Hiroshima)” and “ʻWeʼll live through the long, long days, and through the long nightsʼ...
- 2/9/2022
- by Jordan Raup
- The Film Stage
Multi-faceted filmmaker Mark Duplass discusses the movies he wishes more people knew about with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Duck Butter (2018)
The Puffy Chair (2005)
Prince Of Broadway (2008)
Tangerine (2015)
The Florida Project (2017) – Dennis Cozzalio’s review
Red Rocket (2021)
Starlet (2012)
Take Out (2004)
Mack & Rita (Tbd)
Old Joy (2006)
First Cow (2020)
Wendy And Lucy (2008) – Dennis Cozzalio’s favorite movie of 2020
Henry Fool (1997)
Trust (1990)
Amateur (1994)
Medicine For Melancholy (2008)
Shang-Chi (2021)
Your Sister’s Sister (2011)
My Effortless Brilliance (2008)
What the Funny (2008)
Humpday (2009)
True Adolescents (2009)
Man Push Cart (2005)
The White Tiger (2021)
Baghead (2008)
The Do-Deca-Pentathlon (2012)
Language Lessons (2021)
Stevie (2002)
Hoop Dreams (1994)
American Movie (1999)
What Happened Was… (1994) – Ti West’s trailer commentary
Manhunter (1986) – Josh Olson’s trailer commentary
My Dinner With Andre (1981)
Creep (2014)
Grown-Ups (1980)
Abigail’s Party (1977)
Nuts In May (1976)
Secrets And Lies (1996) – Glenn Erickson’s Criterion Blu-ray review
Naked (1993)
Parallel Mothers (2021)
The Freebie (2010)
East Of Eden (1955) – Larry Cohen’s trailer commentary
Strange...
Show Notes: Movies Referenced In This Episode
Duck Butter (2018)
The Puffy Chair (2005)
Prince Of Broadway (2008)
Tangerine (2015)
The Florida Project (2017) – Dennis Cozzalio’s review
Red Rocket (2021)
Starlet (2012)
Take Out (2004)
Mack & Rita (Tbd)
Old Joy (2006)
First Cow (2020)
Wendy And Lucy (2008) – Dennis Cozzalio’s favorite movie of 2020
Henry Fool (1997)
Trust (1990)
Amateur (1994)
Medicine For Melancholy (2008)
Shang-Chi (2021)
Your Sister’s Sister (2011)
My Effortless Brilliance (2008)
What the Funny (2008)
Humpday (2009)
True Adolescents (2009)
Man Push Cart (2005)
The White Tiger (2021)
Baghead (2008)
The Do-Deca-Pentathlon (2012)
Language Lessons (2021)
Stevie (2002)
Hoop Dreams (1994)
American Movie (1999)
What Happened Was… (1994) – Ti West’s trailer commentary
Manhunter (1986) – Josh Olson’s trailer commentary
My Dinner With Andre (1981)
Creep (2014)
Grown-Ups (1980)
Abigail’s Party (1977)
Nuts In May (1976)
Secrets And Lies (1996) – Glenn Erickson’s Criterion Blu-ray review
Naked (1993)
Parallel Mothers (2021)
The Freebie (2010)
East Of Eden (1955) – Larry Cohen’s trailer commentary
Strange...
- 12/21/2021
- by Kris Millsap
- Trailers from Hell
A subject many artists are irrevocably drawn towards, we’ve seen numerous films capture different forms of masculinity over the decades. Recently, Wildlife found men who feel lost in an increasingly industrialized or suburban world, desperate to return to a time where masculinity was life or death, where they didn’t have to be emasculated by modern society or contemporary womanhood. Force Majeure captured the changes in masculinity’s role in an amusing and mocking way, almost laughing at its male characters for expressing emotions and not living up to the masculine stereotypes of protection and strength. In Old Joy, men escape to the wilderness to attempt to get a deeper understanding of themselves and those that accompany them, only to realize that there’s something intangible in their lives and that their hollow relationships aren’t enough to make up for what they’re lacking.
Joining the pantheon of cinema’s exploration of manhood,...
Joining the pantheon of cinema’s exploration of manhood,...
- 6/14/2021
- by Logan Kenny
- The Film Stage
The award celebrates a filmmaker who has created a ”authentic, credible and emotionally striking visual language”.
Todd Haynes and Jim Jarmusch were among the friends and collaborators who joined the Rotterdam International Film Festival’s online tribute to Kelly Reichhardt as she received its fledgling Robby Müller award last week.
In its second edition, the prize was launched last year in memory of late Dutch cinematographer Müller, whose credits included Paris, Texas, Breaking The Waves and numerous collaborations with Jarmusch, including Mystery Train, Dead Man and Coffee And Cigarettes.
It celebrates a director of photography, filmmaker or visual artist who...
Todd Haynes and Jim Jarmusch were among the friends and collaborators who joined the Rotterdam International Film Festival’s online tribute to Kelly Reichhardt as she received its fledgling Robby Müller award last week.
In its second edition, the prize was launched last year in memory of late Dutch cinematographer Müller, whose credits included Paris, Texas, Breaking The Waves and numerous collaborations with Jarmusch, including Mystery Train, Dead Man and Coffee And Cigarettes.
It celebrates a director of photography, filmmaker or visual artist who...
- 2/8/2021
- by Melanie Goodfellow
- ScreenDaily
Accepting the Robby Muller award online this week, ahead of a talk at the International Film Festival Rotterdam to celebrate her work, Kelly Reichardt appeared delighted with its form.
In its second year, the award has taken the guise of an enlarged Polaroid print featuring a solitary tree, which was taken by Muller on a winter’s day in Munich during the eighties.
Both Muller and the award’s recipient have a talent for capturing landscapes and Reichardt said that she studied the late cinematographer’s work closely early in her career to “try and figure out the connection between what you dream of and what you can actually capture.”
She recalls making her first film, “River of Grass” in the early nineties, which focused on her native Miami landscapes, as she honed her own distinct voice and vision.
“I knew I needed to school myself in lenses after that...
In its second year, the award has taken the guise of an enlarged Polaroid print featuring a solitary tree, which was taken by Muller on a winter’s day in Munich during the eighties.
Both Muller and the award’s recipient have a talent for capturing landscapes and Reichardt said that she studied the late cinematographer’s work closely early in her career to “try and figure out the connection between what you dream of and what you can actually capture.”
She recalls making her first film, “River of Grass” in the early nineties, which focused on her native Miami landscapes, as she honed her own distinct voice and vision.
“I knew I needed to school myself in lenses after that...
- 2/6/2021
- by Ann-Marie Corvin
- Variety Film + TV
The 50th anniversary event will take place in February and June.
Danish director Anders Thomas Jensen’s comedy Riders Of Justice starring Mads Mikkelsen will open the 50th International Film Festival Rotterdam (IFFR). The festival is taking place as multi-part event from February to June 2021, with the first part running as hybrid festival from February 1-7. Organisers hope it will culminate in a physical event from June 2-6, 2021.
Some 60 titles spanning the Tiger Competition, Big Screen Competition and its Ammodo Tiger Shorts and Limelight sections are screening in February.
The festival’s flagship Tiger Competition will showcase 16 titles, which will...
Danish director Anders Thomas Jensen’s comedy Riders Of Justice starring Mads Mikkelsen will open the 50th International Film Festival Rotterdam (IFFR). The festival is taking place as multi-part event from February to June 2021, with the first part running as hybrid festival from February 1-7. Organisers hope it will culminate in a physical event from June 2-6, 2021.
Some 60 titles spanning the Tiger Competition, Big Screen Competition and its Ammodo Tiger Shorts and Limelight sections are screening in February.
The festival’s flagship Tiger Competition will showcase 16 titles, which will...
- 12/22/2020
- by Melanie Goodfellow
- ScreenDaily
Anders Thomas Jensen’s action comedy “Riders of Justice,” starring Mads Mikkelsen, will open the 50th International Film Festival Rotterdam. The festival will be staged in two parts this year: the first, in a hybrid format, running Feb. 1-7, and the second, hopefully a physical event, June 2-6. The awards ceremony will take place on Feb. 7.
In “Riders of Justice,” Mikkelsen plays Markus, a military man who returns home to look after his daughter Mathilde following his wife’s death in a train accident. At first it looks like she was the victim of a tragic piece of bad luck, but then mathematics geek Otto (Nikolaj Lie Kaas), a fellow passenger on the train, shows up with his two eccentric colleagues, Lennart (Lars Brygmann) and Emmenthaler (Nicolas Bro), and floats the theory of a possible murder conspiracy. The film plays in the Limelight section.
Jensen is Denmark’s top screenwriter,...
In “Riders of Justice,” Mikkelsen plays Markus, a military man who returns home to look after his daughter Mathilde following his wife’s death in a train accident. At first it looks like she was the victim of a tragic piece of bad luck, but then mathematics geek Otto (Nikolaj Lie Kaas), a fellow passenger on the train, shows up with his two eccentric colleagues, Lennart (Lars Brygmann) and Emmenthaler (Nicolas Bro), and floats the theory of a possible murder conspiracy. The film plays in the Limelight section.
Jensen is Denmark’s top screenwriter,...
- 12/22/2020
- by Leo Barraclough
- Variety Film + TV
For her eighth feature film, Kelly Reichart returned to the American frontier to tell the story of a baker from the Northeast (John Magaro) and a Chinese immigrant (Orion Lee) who together build a profitable baking business in the Oregon Territory using the stolen milk from the area’s first milk cow. Based on a script she co-adapted with Jonathan Raymond from his novel “The Half Life,” Reichardt works within her wheelhouse of the American West as a setting to provide one of the year’s strongest indie films. Could it be her first Oscar contender?
Reichardt is one in a growing number of American independent filmmakers who could finally break through into the mainstream and catch the eye of the academy. Directors that have already made that jump after a series of successful indie films include Wes Anderson, Richard Linklater, Barry Jenkins, and David O. Russell.
SEEOscar Predictions for Best Actor & Actress: Variety vs.
Reichardt is one in a growing number of American independent filmmakers who could finally break through into the mainstream and catch the eye of the academy. Directors that have already made that jump after a series of successful indie films include Wes Anderson, Richard Linklater, Barry Jenkins, and David O. Russell.
SEEOscar Predictions for Best Actor & Actress: Variety vs.
- 11/30/2020
- by John Benutty
- Gold Derby
Welcome back to Intermission, a spin-off podcast from The Film Stage Show. In a time when arthouse theaters are hurting more than ever and there are a plethora of streaming options at your fingertips, we wanted to introduce new conversations that put a specific focus on the films that are foundational or perhaps overlooked in cinephile culture. Led by yours truly, Michael Snydel, Intermission is a 1-on-1 supplementary discussion podcast that focuses on one arthouse, foreign, or experimental film per episode as picked by the guest.
For our ninth episode, I talked to Executive Editor of Seventh Row, Orla Smith, about Kelly Reichardt’s 2016 film Certain Women, which is currently available to stream on The Criterion Channel. Throughout her career, Reichardt has been one of the great observers of the “ordinary.” Her past otherworldly visions of the Pacific Northwest complement and antagonize characters beset by institutional and individual alienation. Transplanted to Montana,...
For our ninth episode, I talked to Executive Editor of Seventh Row, Orla Smith, about Kelly Reichardt’s 2016 film Certain Women, which is currently available to stream on The Criterion Channel. Throughout her career, Reichardt has been one of the great observers of the “ordinary.” Her past otherworldly visions of the Pacific Northwest complement and antagonize characters beset by institutional and individual alienation. Transplanted to Montana,...
- 8/3/2020
- by Michael Snydel
- The Film Stage
Kelly Reichardt is known for her films with lived-in details, complex female lead characters and poignant social commentary. Despite making gem after gem, Reichardt is not immune to the problems of being an indie filmmaker, with her sophomore feature coming in 12 years after her debut.
Read More: Kelly Reichardt: The Essential Films [Be Reel Podcast]
In a new interview, Reichardt opens up about spending a season shooting “America’s Next Top Model” in order to finance her film “Old Joy.”
During an in-depth interview with GQ to promote her latest film “First Cow,” Reichardt talked about the struggles of independent filmmaking.
Continue reading ‘First Cow’ Director Kelly Reichardt Shot A Season Of ‘America’s Next Top Model’ to Finance Her Film ‘Old Joy’ at The Playlist.
Read More: Kelly Reichardt: The Essential Films [Be Reel Podcast]
In a new interview, Reichardt opens up about spending a season shooting “America’s Next Top Model” in order to finance her film “Old Joy.”
During an in-depth interview with GQ to promote her latest film “First Cow,” Reichardt talked about the struggles of independent filmmaking.
Continue reading ‘First Cow’ Director Kelly Reichardt Shot A Season Of ‘America’s Next Top Model’ to Finance Her Film ‘Old Joy’ at The Playlist.
- 7/26/2020
- by Rafael Motamayor
- The Playlist
It is good news of sorts that the first official Academy Awards screener that was mailed to members this week, “First Cow,” is directed by a woman, Kelly Reichhardt, and features Asian actor Orion Lee. Diversity counts more than ever these days. The filmmaker’s minimalist style usually caters more to the Independent Spirit crowd as well as such international festivals including Cannes and Venice when it comes to cinematic honors. Her previous movies include “Old Joy,” “Wendy and Lucy,” “Meek’s Cutoff” and “Certain Women,” the last three starring Michelle Williams.
The 2021 Oscar nominations won’t be announced until mid-March and the 93rd ceremony won’t take place until April 24 due to delayed productions and constantly moving opening dates because of the coronavirus pandemic. But the well-reviewed “First Cow” had its premiere at Telluride Film Festival last year and opened theatrically on March 6 to a strong first weekend. But the...
The 2021 Oscar nominations won’t be announced until mid-March and the 93rd ceremony won’t take place until April 24 due to delayed productions and constantly moving opening dates because of the coronavirus pandemic. But the well-reviewed “First Cow” had its premiere at Telluride Film Festival last year and opened theatrically on March 6 to a strong first weekend. But the...
- 7/23/2020
- by Susan Wloszczyna
- Gold Derby
‘First Cow’: Gentle Moments Shouldn’t Overshadow Kelly Reichardt’s Enraged Tragedy Of American Greed
Some spoilers follow for “First Cow.”
Kelly Reichardt’s films are chameleons. At first, they seem like romanticized versions of American tropes: the bond between a girl and her dog, in “Wendy and Lucy;” a pair of friends on a camping trip, in “Old Joy;” the pioneering spirit of early settlers, in “Meek’s Cutoff.” But look again, and the deeper emotional truths of these films are revealed: the crippling grip of poverty; the foreign terror of the frontier; the loneliness of adulthood.
Continue reading ‘First Cow’: Gentle Moments Shouldn’t Overshadow Kelly Reichardt’s Enraged Tragedy Of American Greed at The Playlist.
Kelly Reichardt’s films are chameleons. At first, they seem like romanticized versions of American tropes: the bond between a girl and her dog, in “Wendy and Lucy;” a pair of friends on a camping trip, in “Old Joy;” the pioneering spirit of early settlers, in “Meek’s Cutoff.” But look again, and the deeper emotional truths of these films are revealed: the crippling grip of poverty; the foreign terror of the frontier; the loneliness of adulthood.
Continue reading ‘First Cow’: Gentle Moments Shouldn’t Overshadow Kelly Reichardt’s Enraged Tragedy Of American Greed at The Playlist.
- 7/15/2020
- by Roxana Hadadi
- The Playlist
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Directed by Kelly Reichardt
As Kelly Reichardt’s glorious new drama First Cow enters U.S. theaters starting today, if you are waiting for it to expand, The Criterion Channel has the showcase just for you. Featuring four of her best films–River of Grass, Old Joy, Wendy and Lucy, and Meek’s Cutoff–one can bask in the textured humanity and intimate worlds she creates. As part of the mini-retrospective, there’s also a masterclass featuring a conversation with April Wolfe.
Where to Stream: The Criterion Channel
Haywire (Steven Soderbergh)
From the opening moments of Haywire — Steven Soderbergh’s slice of espionage action pulp — a...
Directed by Kelly Reichardt
As Kelly Reichardt’s glorious new drama First Cow enters U.S. theaters starting today, if you are waiting for it to expand, The Criterion Channel has the showcase just for you. Featuring four of her best films–River of Grass, Old Joy, Wendy and Lucy, and Meek’s Cutoff–one can bask in the textured humanity and intimate worlds she creates. As part of the mini-retrospective, there’s also a masterclass featuring a conversation with April Wolfe.
Where to Stream: The Criterion Channel
Haywire (Steven Soderbergh)
From the opening moments of Haywire — Steven Soderbergh’s slice of espionage action pulp — a...
- 3/6/2020
- by Jordan Raup
- The Film Stage
In the early days of the Oregon Territory, life was hard. The elements were harsh, and the lush landscape could be unforgiving. Experienced foragers and small-game hunters might go days without finding much potential for vittles. The brave souls who ventured out in search of gold or precious pelts had to watch out for wild animals and the far-wilder men also competing for those prizes, especially if hunger and whiskey entered the picture. It was, to put it mildly, no country for sensitive men. You couldn’t even find a...
- 3/5/2020
- by David Fear
- Rollingstone.com
Over the years, filmmaker Kelly Reichardt has proven to be a rather steady and unique voice in the world of independent cinema. Largely starting with Old Joy (her breakthrough early feature), Reichardt has crafted a host of quality indies, including Wendy and Lucy, Meek’s Cutoff, Night Moves, and Certain Women. Now, she’s back this week with First Cow, which has a feel of mixing some of her greatest hits together, thematically. In that way, she manages to craft perhaps her most accessible work to date. To that end, A24 may well be able to make this one a bit of a small scale crossover success. The film is largely a two hander, looking at an unlikely friendship. After a modern day prologue, we meet Cookie Figowitz (John Magaro). Working as a cook as he heads west, he’s very much a loner, never connecting with anyone. Having joined a...
- 3/5/2020
- by Joey Magidson
- Hollywoodnews.com
‘First Cow’ Film Review: Kelly Reichardt Crafts Another Quiet Masterwork About the Pacific Northwest
Kelly Reichardt’s newest film, “First Cow,” calls to mind the work of 19th century landscape artists like Albert Bierstadt or Frederic Edwin Church, whose tactile depiction of each leaf and shard of sunlight is so engrossing that it’s a jolt when you finally notice a couple of tiny figures somewhere in the background, dwarfed by the sheer spectacle of nature.
Most of us have to visit major museums for this experience. But Reichardt paints her own breathtaking landscape and then zooms in on the miniscule humans just trying to survive amidst the greater workings of the world.
She is among the select few modern filmmakers who’ve earned the term “auteur,” and fans will find her personal signatures throughout the film. It’s the fifth of her seven features set in the Pacific Northwest, opens with a scene that brings to mind “Wendy and Lucy,” evokes “Old Joy...
Most of us have to visit major museums for this experience. But Reichardt paints her own breathtaking landscape and then zooms in on the miniscule humans just trying to survive amidst the greater workings of the world.
She is among the select few modern filmmakers who’ve earned the term “auteur,” and fans will find her personal signatures throughout the film. It’s the fifth of her seven features set in the Pacific Northwest, opens with a scene that brings to mind “Wendy and Lucy,” evokes “Old Joy...
- 3/4/2020
- by Elizabeth Weitzman
- The Wrap
I would really, really like an oily biscuit with honey and a touch of cinnamon after finishing this film. Please. First Cow is the latest feature made by American filmmaker Kelly Reichardt. After initially premiering at the Telluride & New York Film Festivals last fall, it has made an appearance at the Berlin Film Festival this year showing as a European premiere in the main competition section. Set at the beginning of the 19th century in the rural Northwest (mainly in Oregon), the film is about a friendship and successful local business started by two lonely misfits. It's not just a film about a cow, it's not just a film about friends, and it's not just a film about the Northwest frontier. It has so much depth and heart and humility, an entirely wonderful film. I think I loved it, to be fully honest, which even surprises me. As the title indicates,...
- 2/23/2020
- by Alex Billington
- firstshowing.net
Kelly Reichardt is one of America's greatest contemporary filmmakers; her understated yet powerful films have examined the lives of the working class, the poor, the misfits, and the drifters in Us society of both the past and the present. My favourite film of hers is Meek's Cutoff, an intimate and atypical western that looks at the true dangers of and for settlers and first nations in the late 19th century. Her latest, First Cow, sees Reichardt returning to that old west, this time with a single drifter trying to find a home and survive with a decent living. Mixing this drifter with trappers, settlers, non-white immigrants, first nations persons, and the land-owning elite, the story...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/8/2020
- Screen Anarchy
"We have to take what we can when the taking is good." A24 has debuted the first official trailer for First Cow, the latest from acclaimed filmmaker Kelly Reichardt. This premiered at the Telluride & New York Film Festivals last fall, and is arriving in Us theaters in March this year. Not too long of a wait for those excited for Reichardt's new work. The film is indeed about a big ole cow, what a surprise. A loner and cook named Cookie, played by John Magaro, has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds connection with a Chinese immigrant - played by Orion Lee. The men collaborate on a business, although its longevity is reliant upon the participation of a wealthy landowner's prized milking cow. The small cast includes Alia Shawkat, Scott Shepherd, Toby Jones, and Ewen Bremner. A very unique ...
- 1/8/2020
- by Alex Billington
- firstshowing.net
A quiet but influential presence in the North-American indie scene, producer Jay Van Hoy has built an impressive filmography since he started Parts & Labor, the company he co-founded in 2004 with Lars Knudsen. Van Hoy is enjoying the success of his latest production, Robert Eggers’ The Lighthouse, which skyrocketed following its Cannes premiere and shows no sign of slowing down thanks to a pair of killer performances from Willem Dafoe and Robert Pattinson. The list of films – and awards – runs deep though, featuring names such as Andrea Arnold (American Honey), David Lowery (Ain’t Them Bodies Saint), Ira Sachs, Mike Mills (Beginners), Kelly Reichardt (Old Joy) and Eggers’ own debut The Witch.…...
- 12/11/2019
- by Tommaso Tocci
- IONCINEMA.com
The year’s best-curated selection of cinema begins this Friday at Film at Lincoln Center: the New York Film Festival. Now in its 57th edition, the event will kick off with one of its most high-profile world premieres in years, Martin Scorsese’s 3.5-hour crime epic The Irishman. What will follow is 17 days of the finest world cinema has to offer.
Since you are surely aware of their more high-profile selections–including Bong Joon-ho’s Palme d’Or winner Parasite, Noah Baumbach’s Marriage Story, and a certain jokester–in our preview we’ve sought out to highlight some films that are either flying a bit under the radar or go beyond their Main Slate selections. Check out 12 films to see, along with all reviews thus far, and return for our coverage. See the full schedule and more here.
Atlantics (Mati Diop)
Somewhere along the stretch of Senegalese coastline where...
Since you are surely aware of their more high-profile selections–including Bong Joon-ho’s Palme d’Or winner Parasite, Noah Baumbach’s Marriage Story, and a certain jokester–in our preview we’ve sought out to highlight some films that are either flying a bit under the radar or go beyond their Main Slate selections. Check out 12 films to see, along with all reviews thus far, and return for our coverage. See the full schedule and more here.
Atlantics (Mati Diop)
Somewhere along the stretch of Senegalese coastline where...
- 9/24/2019
- by The Film Stage
- The Film Stage
A tender, quiet, and minimalist ode to friendship, community, and nature, filmmaker Kelly Reichardt returns to the Pacific Northwest for her latest minute and nuanced drama, “First Cow”. A North Western set in the 1800s, and a two-hander, “First Cow” is perhaps a mélange of two of her works, the struggle found in the pioneering Chuck Wagon days of “Meek’s Cutoff” (also set in the 1800s Oregon), and “Old Joy,” an unassuming and artful tale of comradery taking place in the lush forests of Washington state.
Continue reading ‘First Cow’: Kelly Reichardt Makes A Tranquil North Western Story About The Nature Of Friendship [Telluride Review] at The Playlist.
Continue reading ‘First Cow’: Kelly Reichardt Makes A Tranquil North Western Story About The Nature Of Friendship [Telluride Review] at The Playlist.
- 9/3/2019
- by Rodrigo Perez
- The Playlist
Few filmmakers wrestle with what it means to be American the way Kelly Reichardt has injected that question into all of her movies. In a meticulous fashion typical of her spellbinding approach, “First Cow” consolidates the potent themes of everything leading up to it: It returns her to the nascent America of the 19th century frontier at the center of “Meek’s Cutoff,” touches on the environmental frustrations of “Night Moves,” revels in the glorious isolation of the countryside in “Certain Women,” and the somber travails of vagrancy at the center of “Wendy and Lucy.”
Mostly, though, “First Cow” unfolds like “Old Joy” in the Oregon Territory. Once again, The appeal of this hypnotic, unpredictable movie comes from how they find that place through mutual failure, and the nature of that outcome in the context of an early, untamed America has rich implications that gradually seep into the frame. Reichardt...
Mostly, though, “First Cow” unfolds like “Old Joy” in the Oregon Territory. Once again, The appeal of this hypnotic, unpredictable movie comes from how they find that place through mutual failure, and the nature of that outcome in the context of an early, untamed America has rich implications that gradually seep into the frame. Reichardt...
- 8/31/2019
- by Eric Kohn
- Indiewire
After reports she was looking to make a movie abroad, Kelly Reichardt returns to the familiar wilds of Oregon with “First Cow,” a loose yet engaging adaptation of Pacific Northwest chronicler (and frequent Reichardt collaborator) Jon Raymond’s novel “The Half-Life” — which, according to the director, was the book that made her want to work with him in the first place. Set a decent stretch before “Meek’s Cutoff,” an austere frontier disaster movie that explored the tragic fate of ill-prepared pioneers along the Oregon Trail, “First Cow” restores this familiar territory (which she and Raymond have been exploring since “Old Joy”) to an earlier time, just as the Royal West Pacific Trading Post receives its first dairy cow.
Today, Americans take convenience for granted: Milk is sold by the gallon, biscuits can be gotten ready-made and a sophisticated economy exists for the buying and selling of goods. But Reichardt...
Today, Americans take convenience for granted: Milk is sold by the gallon, biscuits can be gotten ready-made and a sophisticated economy exists for the buying and selling of goods. But Reichardt...
- 8/31/2019
- by Peter Debruge
- Variety Film + TV
Lineup and Pre-Festival Announcements and News
Telluride 2019 Lineup: ‘Ford v Ferrari,’ ‘Uncut Gems,’ Tributes to Adam Driver and Renee Zellweger
Telluride Film Festival 2019 Ramps Up with Guest Director Pico Iyer
Pre-Festival Analysis
Fall Film Festival Hype: Final Predictions Before the Season Officially Begins
Telluride 2019: Why the Buzz at This Little Mountain Festival Can Make a Big Difference
Film Reviews
‘Motherless Brooklyn’ Review: Edward Norton’s Sturdy Adaptation of Jonathan Lethem Noir
‘Judy’ Review: Renée Zellweger Is a Solid Judy Garland in a Bland Biopic About Her Later Years
‘Uncut Gems’ Review: Adam Sandler Runs Wild in the Safdie Brothers’ Delirious Thriller
‘First Cow’ Review: Kelly Reichardt’s Sweet Buddy Movie Is ‘Old Joy’ in the Oregon Territory
‘Waves’ Review: Trey Shults’ Dizzying Tearjerker Depicts How a 21st-Century Family Can Fall Apart
‘Ford v Ferrari’ Review: Matt Damon and Christian Bale Power Old-School Race Car Drama
‘Motherless Brooklyn’ Review: Edward...
Telluride 2019 Lineup: ‘Ford v Ferrari,’ ‘Uncut Gems,’ Tributes to Adam Driver and Renee Zellweger
Telluride Film Festival 2019 Ramps Up with Guest Director Pico Iyer
Pre-Festival Analysis
Fall Film Festival Hype: Final Predictions Before the Season Officially Begins
Telluride 2019: Why the Buzz at This Little Mountain Festival Can Make a Big Difference
Film Reviews
‘Motherless Brooklyn’ Review: Edward Norton’s Sturdy Adaptation of Jonathan Lethem Noir
‘Judy’ Review: Renée Zellweger Is a Solid Judy Garland in a Bland Biopic About Her Later Years
‘Uncut Gems’ Review: Adam Sandler Runs Wild in the Safdie Brothers’ Delirious Thriller
‘First Cow’ Review: Kelly Reichardt’s Sweet Buddy Movie Is ‘Old Joy’ in the Oregon Territory
‘Waves’ Review: Trey Shults’ Dizzying Tearjerker Depicts How a 21st-Century Family Can Fall Apart
‘Ford v Ferrari’ Review: Matt Damon and Christian Bale Power Old-School Race Car Drama
‘Motherless Brooklyn’ Review: Edward...
- 8/30/2019
- by Indiewire Staff
- Indiewire
The fall movie season is a busy time, in large part due to the onslaught of film festivals unleashing so many anticipated new releases into the world. While Venice and Tiff may be the biggest showcases in that regard, the Telluride Film Festival holds a unique position in the festival landscape: On the one hand, it maintains the cozy vibe of a regional festival; at the same time, it’s a major platform for significant fall movies to find their footing with an elite crowd of influencers from across the industry.
This year, everything from Noah Baumbach’s “Marriage Story” to Adam Sandler’s dramatic turn in “Uncut Gems” is poised to generate buzz at the festival, alongside potential international Oscar contenders like “Parasite” and “Portrait of a Lady on Fire.” But what is it about Telluride that makes such an impact within the context of this busy festival scene?...
This year, everything from Noah Baumbach’s “Marriage Story” to Adam Sandler’s dramatic turn in “Uncut Gems” is poised to generate buzz at the festival, alongside potential international Oscar contenders like “Parasite” and “Portrait of a Lady on Fire.” But what is it about Telluride that makes such an impact within the context of this busy festival scene?...
- 8/30/2019
- by Eric Kohn and Anne Thompson
- Indiewire
In “Adam,” a teenager pretends to be trans, and his journey provides a bittersweet gateway to the young man’s sexual awakening. Naturally that arc leads to a whole lot of questions, some of which the movie controls better than others. Some have argued that the very premise of “Adam” yields troubling transphobic implications, going so far as to launch a boycott of the movie well in advance of its release, and those allegations deserve serious attention. But the abject dismissal of the movie on the basis of its premise alone negates the actual mechanics of a narrative that hovers inside a cis male gaze, and charts a path toward its redemption.
“Adam” certainly stimulates a complex dialogue about the biases of its anti-hero and his twisted act of deception. But the thorny representational issue surrounding “Adam” belie its sweet, amiable tone, and there’s much to be appreciated about...
“Adam” certainly stimulates a complex dialogue about the biases of its anti-hero and his twisted act of deception. But the thorny representational issue surrounding “Adam” belie its sweet, amiable tone, and there’s much to be appreciated about...
- 8/14/2019
- by Eric Kohn
- Indiewire
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’re highlighting the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
American Honey (Andrea Arnold)
Most love affairs don’t start when girl finds boy dancing on top of a K-Mart checkout counter to Rihanna’s “We Found Love,” but it’s a fitting start for Andrea Arnold’s American Honey, a sprawling, over-sized epic road trip following a magazine crew’s tour of the midwest. Anchored by a flawless performance from first-time actress Sasha Lane (who holds her own in scenes with movie stars like Shia Labeouf and Riley Keough), it’s a funny, heartbreaking, and tense drama with boundless energy and enthusiasm as Arnold examines culture conditions from wealthy Kansas City suburbs, a rust belt town...
American Honey (Andrea Arnold)
Most love affairs don’t start when girl finds boy dancing on top of a K-Mart checkout counter to Rihanna’s “We Found Love,” but it’s a fitting start for Andrea Arnold’s American Honey, a sprawling, over-sized epic road trip following a magazine crew’s tour of the midwest. Anchored by a flawless performance from first-time actress Sasha Lane (who holds her own in scenes with movie stars like Shia Labeouf and Riley Keough), it’s a funny, heartbreaking, and tense drama with boundless energy and enthusiasm as Arnold examines culture conditions from wealthy Kansas City suburbs, a rust belt town...
- 5/3/2019
- by Jordan Raup
- The Film Stage
Following up what is perhaps the best film in a stellar career, we thought Kelly Reichardt would move from Certain Women to an adaptation of Patrick DeWitt’s black comedy Undermajordomo Minor, announced a few years back. The director has, instead, gone another route, and the first details on the project have come to light just as production is set to kick off.
Our friends at Ion Cinema dug up a casting call for First Cow, an adaptation of The Half-Life: A Novel from Jonathan Raymond, who has collaborated with Reichardt on the screenplays for Old Joy, Wendy and Lucy, Meek’s Cutoff, and Night Moves. The synopsis reads: “Cookie Figowitz is the hired cook for a group of rough men on a fur trapping expedition in the 1820s Oregon Territory. One night in the woods he meets King-Lu, a mysterious man fleeing from some vengeful Russians. This is the...
Our friends at Ion Cinema dug up a casting call for First Cow, an adaptation of The Half-Life: A Novel from Jonathan Raymond, who has collaborated with Reichardt on the screenplays for Old Joy, Wendy and Lucy, Meek’s Cutoff, and Night Moves. The synopsis reads: “Cookie Figowitz is the hired cook for a group of rough men on a fur trapping expedition in the 1820s Oregon Territory. One night in the woods he meets King-Lu, a mysterious man fleeing from some vengeful Russians. This is the...
- 11/1/2018
- by Jordan Raup
- The Film Stage
When Todd Haynes introduced Kelly Reichardt to the work of Jonathan Raymond, it was the page turning exercise of The Half Life that set the filmmaker on the path of Old Joy. Flash-forward more than a decade later, and we find Reichardt is once again collaborating with Raymond to bring at least one half of The Half-Life: A Novel to the big screen. We’re unsure if the filmmaker will concentrate solely on one of the two stories, but First Cow will indeed be her next feature with production beginning next month.…...
- 10/31/2018
- by Eric Lavallée
- IONCINEMA.com
20 years after his debut Motel Cactus, Park Ki-yong returns with his 8th feature Old Joy, a contemplative work that proves to be director's strongest since his early days as one of the pioneers of the nascent Korea indie filmmaking scene. A Korean woman returns from Canada after a long absence and as she smokes a cigarette outside the airport terminal she meets an old college friend, whose child has just left on another journey. After a brief catch-up, the pair decide to meet again and gently retrace the memories they shared in the past and meet their old theater friends, though none in the group have survived as actors. The reunited protagonists of Park's film, played by Yoo Jung-ah and Kim Tae-hoon, meet at...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 10/14/2017
- Screen Anarchy
Kelly Reichardt’s triptych film Certain Women is adapted from three short stories by Maile Meloy, and retains the feeling the form is so effective at evoking. Spare on plot, they isolate moments from people’s lives. Some of are overtly dramatic (an early standoff with a rifle perhaps suggests more exterior conflict than the rest of the film will yield), but most of are fairly mundane. But they leave one feeling as though some untapped perspective or desire has been revealed, and we’re not yet fully prepared how to take stock of it.
As there are three stories to account for, I don’t want this review to turn into a complete synopsis; and as the first and third sections have generated the most discussion over the past year and a half, the second story, led by Michelle Williams. When I first saw the film at Sundance 2016, the...
As there are three stories to account for, I don’t want this review to turn into a complete synopsis; and as the first and third sections have generated the most discussion over the past year and a half, the second story, led by Michelle Williams. When I first saw the film at Sundance 2016, the...
- 9/22/2017
- by Scott Nye
- CriterionCast
Kelly Reichardt’s ability to capture the plight of everyday people is evident in works like Wendy and Lucy, Old Joy, and Certain Women, all of which perfectly capture the heightened feeling of isolation propelled by the modern world. Her brilliant observations on the ways in which we try to reach out to one another, and our desire to connect are at the center of a mid-career retrospective taking place at the Museum of Modern Art, where they are screening the six films she’s made since 1994. Reichardt is an American auteur in the tradition of mavericks like John Ford and John Cassavetes, who worked outside the system to make sure their visions were never compromised by studio interference.
In the two decades she’s been making films, Reichardt has also become an excellent chronicler of our times. Like the journals kept by the characters in Meek’s Cutoff, in...
In the two decades she’s been making films, Reichardt has also become an excellent chronicler of our times. Like the journals kept by the characters in Meek’s Cutoff, in...
- 9/19/2017
- by Jose Solís
- The Film Stage
Author: Andy Furlong
This week HeyUGuys sat down with acclaimed film director Kelly Reichardt at the BFI Southbank to discuss her latest film Certain Woman. Regarded by many critics as one of the seminal figures of the minimalist movement, Reichardt discusses the other films she has adapted such as Wendy and Lucy and OldJoy. She also talks about if she would ever consider transitioning to the medium of TV and how films can be interpreted and crafted in unpredictable ways.
Your films, I think, are often beautiful observations of characters and their stories. You have a unique way of making the audience wonder what a person is thinking or feeling deep underneath the surface, even when it is a character we glimpse briefly. That being said, Certain Women is adapted from Maile Meloy’s Both Ways is the Only Way I Want It, which is a collection of 11 stories in total.
This week HeyUGuys sat down with acclaimed film director Kelly Reichardt at the BFI Southbank to discuss her latest film Certain Woman. Regarded by many critics as one of the seminal figures of the minimalist movement, Reichardt discusses the other films she has adapted such as Wendy and Lucy and OldJoy. She also talks about if she would ever consider transitioning to the medium of TV and how films can be interpreted and crafted in unpredictable ways.
Your films, I think, are often beautiful observations of characters and their stories. You have a unique way of making the audience wonder what a person is thinking or feeling deep underneath the surface, even when it is a character we glimpse briefly. That being said, Certain Women is adapted from Maile Meloy’s Both Ways is the Only Way I Want It, which is a collection of 11 stories in total.
- 3/2/2017
- by Andy Furlong
- HeyUGuys.co.uk
The Certain Women director on why she cast Michelle Williams and Kristen Stewart in her latest dose of ‘slow cinema’, adapted from Maile Meloy’s stories
Seven films in, Kelly Reichardt has proved herself the modern master of “slow cinema”. Old Joy, Wendy and Lucy and Meek’s Cutoff are unhurried, melancholic dramas. Her often female-fronted films don’t boldly announce themselves, but gently ease you in, enveloping you in their characters’ microcosmic journeys.
Her last film, Night Moves, a thriller about a pair of corn-fed eco-activists (Jesse Eisenberg and Dakota Fanning) who plot to blow up a hydroelectric dam, signalled a shift in tone. But she’s back in what you might call her comfort zone with Certain Women, an adaptation of Maile Meloy’s short-story collection, Both Ways Is the Only Way I Want It.
Continue reading...
Seven films in, Kelly Reichardt has proved herself the modern master of “slow cinema”. Old Joy, Wendy and Lucy and Meek’s Cutoff are unhurried, melancholic dramas. Her often female-fronted films don’t boldly announce themselves, but gently ease you in, enveloping you in their characters’ microcosmic journeys.
Her last film, Night Moves, a thriller about a pair of corn-fed eco-activists (Jesse Eisenberg and Dakota Fanning) who plot to blow up a hydroelectric dam, signalled a shift in tone. But she’s back in what you might call her comfort zone with Certain Women, an adaptation of Maile Meloy’s short-story collection, Both Ways Is the Only Way I Want It.
Continue reading...
- 3/1/2017
- by Nigel M Smith
- The Guardian - Film News
As the ice flows thaw in the 24-hour daylight of a northern Norwegian summer, so too does the relationship of a father and son in Thomas Arslan’s Bright Nights, a consciously meditative but rather straightforward three-act road movie that takes just the bare minimum of plot points along for the ride. Combining an ambient use of imagery and music with a simple and sparse approach to dialogue, Arslan’s seventh feature as director might remind the viewer of the work of a small group of American independent filmmakers who broke out in the mid-to-late 2000s who were, at the time, collectively referred to as the neo-neo-realists by New York Times critic A.O. Scott. Indeed, you can see much of the work of Ramin Bahrani and Kelly Reichardt on display here, though, crucially, not their most profound gift as filmmakers: being able to divulge a great deal about a character...
- 2/13/2017
- by Rory O'Connor
- The Film Stage
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