Jeff Reichert
The two low-key films Rebella and Stoll made together exist in largely anonymous urban spaces; even though the pair has been touted as leaders of new Uruguayan cinema (a notion which Stoll rejects), their films feel almost as if they could have been made anywhere—but this isn’t a criticism.
Federico Veiroj’s pint-sized second feature, A Useful Life, runs only slightly over an hour, but the gauntlet it tosses at the feet of the cinephiles who are its most likely audience suggests a young filmmaker eager to grapple with the state of film culture.
When first announced, Olivier Assayas’s epic nearly six-hour, three-part miniseries/cinema event seemed like it might be almost more than fans of the man’s work could stand.
As expected, the two best segments are from the filmmakers whose careers are most worth following: Fernando Eimbcke and Carlos Reygadas.
Eric Hynes and legendary documentary filmmakers D.A. Pennebaker and Chris Hegedus tour Jacques Torres Chocolate, uncover the subject that links all their films, and discuss the perils of being married while editing.
Inspired by Ermanno Olmi's neorealist classic The Tree of Wooden Clogs, acclaimed chef Marco Canora (Hearth, Terroir) reminisces about his own culinary upbringing and preps a delicious cucina povera salad.
Host Eric Hynes talks to French star Romain Duris (Heartbreaker, The Beat That My Heart Skipped) about painting, performance, and the rigors of being a leading man.
Actress Chiara Mastroianni and host Eric Hynes take a stroll through Central Park to talk about her breakthrough performances in A Christmas Tale and Making Plans for Lena, before touching on motherhood, divorce, and the difficulties of being a modern woman.
Inspired by Peter Kerekes's fascinating documentary Cooking History, acclaimed culinary writer and chef Betty Fussell shops the greenmarket and discusses the meaning of food while cooking up a massive ribeye.
Manoel de Oliveira’s Eccentricities of a Blonde Hair Girl, huggable at 64 minutes, occupies the filmmaker’s by-now familiar nether-Lisbon, in which lives are lived simultaneously in 1609, 1909, and 2009.
If one shot can contain an entire film in essence, then can a sound?
Nicolas Winding Refn (The Pusher Trilogy, Bronson, Valhalla Rising) talks to Reverse Shot's Damon Smith about growing up isolated in America, the act of creation, and the Michael Bay movie he really wants to make.
Filmmaker Pedro González-Rubio walks along the water with host Eric Hynes to discuss fishing, family, and poetry, and to explain how his lovely new film, Alamar, was a journey of discovery.
Four years after their collaboration on Fast Food Nation, filmmaker Richard Linklater and author Eric Schlosser visit Manhattan's DeBragga & Spitler to inspect meat and discuss changes in the American diet.
Viewers of Slovak filmmaker Péter Kerekes’s rather banally titled documentary may be pleasantly surprised to find not an orderly history of cooking, moving methodically, dish by dish, from past to present, but rather an attempt to actually cook history via cinematic slicing, dicing, stirring, and simmering.
We’re lulled and invited in—a movie is about to start, the tone is set on fun, until the song, as it approaches the completion of its melodic phrase, is abruptly interrupted by the crisp crash of a wave Foley, perfectly timed to match the picture.
Like this year’s other great paean to the cinema, Inglorious Basterds, Wild Grass is all about movie living and loving, but like Tarantino’s film, the idiosyncrasies of the filmmaking never outpace the idiosyncrasies of its characters.
Sebastian Junger and Tim Hetherington (Restrepo) talk to Reverse Shot's Damon Smith about war, brotherhood, and the psychodynamics of combat reporting.
Actor Mathieu Amalric (A Christmas Tale, Quantum of Solace) talks to host Eric Hynes about his new film - Alain Resnais's Wild Grass - the performance of doing press, and why actors are animals.
Host Eric Hynes joins a ghoulish parade through Manhattan and talks to George Romero (Night of the Living Dead) about fandom, allegorical horror and zombies, zombies, zombies.