This was the first year that the film curators of MoMI visited the Cannes Film Festival together. Eric Hynes and Edo Choi compare notes on the scene, the culture of the festival, the slate, and what it might mean for MoMI.
From the vantage of our quarantined silos, we’ve had occasion to reflect upon how and where we gather, particularly in independent film circles, and whether they might stand for improvement.
"There is something going on right now, all over the world. We all feel we are all together in this. We do not really know anymore how societies function. We do not really trust that those in power are really governing in our interests."
Watching the film just six years after its late 2013 release already feels like putting on a favorite record that time has sharpened and warped, as time and folk records are designed to do. It was never new and it never gets old.
In a film like The Work, with its multiple layers of privileged access and precariously obtained permissions from an array of potentially volatile participants, you are not just being allowed to see. Your sight is essential. Seeing and being seen is the point.
In this new Reverse Shot Talkie, the greatest living British filmmaker wanders the halls of Museum of the Moving Image in New York with host Eric Hynes and talks about the popular songs that helped shape his childhood, and which in turn helped shape his cinema.
There were times when the existential dread was so rough that I would have traded some good old sexual anxiety for it. It is a pretty horrific thing to discover that we might be finite mortals. There were moments in college when I would have given anything to be a struggling queer Christian.
Kaufman and Johnson tour the galleries of the Museum of the Moving Image with host Eric Hynes. They contemplate early cinematic techniques of motion capture and ponder whether the puppets in their stop-motion animation drama Anomalisa might have been "faking it" on set.