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Christopher HeronPosts Written By

Ben Russell is an experimental filmmaker whose latest film, Good Luck (2017), explores the spaces and labour of a copper mine in Bor, Serbia and a smaller gold mine in Suriname. We discuss the structure, aesthetic and philosophy of the film.

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.

Donald Cried

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.

The Florida Project

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.

German filmmaker Valeska Grisebach discusses her latest feature, Western (2017), an exploration of the motifs of the western genre and masculinity through the contemporary trans-cultural situation of German construction workers employed in Bulgaria.

Thirst Street

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 Love Witch

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.

Hermia & Helena

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.