Amy Seimetz discusses the second season of The Girlfriend Experience (2016), which she co-directs with Lodge Kerrigan. The series, produced by Steven Soderbergh, changes its characters for the second season and sees Amy and Lodge directing separate stories, bifurcating the narrative with each one having its own unique aesthetic.
Kris Avedisian discusses his debut feature film, Donald Cried (2016), which explores the relationship between the chaotic Donald and the straight-laced Peter, two old friends that are unexpectedly forced to spend time together when Peter is stuck back in his hometown and tensions over their past are uncovered. We talk about Avedisian’s dual roles as actor and director, the aesthetic of the film, the difficulties of making comedies, and his writing process.
Austrian documentary filmmaker Nikolaus Geyrhalter discusses his latest film, Homo Sapiens (2016), a fictional documentary that depicts the empty spaces of our world after humans are gone. These real spaces are linked in static shots that are grouped thematically, as sound and subtle movement texture these decaying and calmly depeopled totems to civilization.
Sean Baker discusses his latest film, The Florida Project, a sensory-driven, DayGlo look into the world of families living in motels in the economic shadow of Disney World. We discuss the film’s production, motifs in his films, and realism v. convention in Hollywood filmmaking.
The American independent filmmaker discusses Thirst Street, a lush melodrama that winks at the post-modern mode of European, erotic psychodramas as it explores its flight attendant protagonist’s obsession with a man she meets in Paris.
The American independent filmmaker discusses The Love Witch, which investigates gender and psychology through the prisms of love and witchcraft, featuring a bricolage of different formalist reference points found across the writing, performance, sets, music and more. We discuss these components of the film, its reception, critical misunderstandings of cinema history, and the realities of making films as a woman.
The Canadian filmmaker discusses his first feature. Hello Destroyer, which explores notions of Canadian identity and institutions, and gender and violence through the lens of hockey. Kevan recently made waves with his frank thoughts on the Canadian film industry in response to an article in the Globe and Mail by TIFF Artistic Director Cameron Bailey. We talked at length about his film, its financing hurdles and his thoughts on Canadian distributors, the response to his recent criticisms, and the industry at large.
The Argentine filmmaker discusses his latest film, Hermia & Helena (2014), based somewhat on William Shakespeare’s play, A Midsummer Night’s Dream. It follows an artist travelling from Buenos Aires to New York City for a fellowship for her work translating the Shakespeare play into Spanish. We discuss the formal drive behind the film, experimentation, and his upcoming collaboration with Lois Patiño.
The Spanish filmmaker’s latest film is a look at the last fifteen days of Louis XIV’s life, starring Jean-Pierre Léaud, and had originated as a possible installation before being adapted into a film. We met with Albert to discuss the origin and production of the film, its philosophy, and Léaud’s acting style.
The Argentine filmmaker discusses his critically acclaimed debut feature, The Human Surge, which follows young people working, exploring, and connecting (often via the internet) across Argentina, Mozambique and the Philippines.
The Romanian filmmaker whose films explore moral dilemmas with strong formal structures, discusses his latest film, The Fixer, which looks at the impact that journalists have on the subjects of a sex scandal story, as well as his own moral dilemma as a filmmaker.