BOMB 123/Spring 2013
Midnight—the perfect time to segue from good and evil to The Addiction and back. Abel Ferrara talks about his film while juggling the chaos of pre-production for his following release, The Funeral.
Award-winning director Gillian Armstrong talks to Liza Bear about the dramatic familial themes that draw some of her films together—and what it was like to first hear Australian accents in the movies.
Director Miloš Forman began making films in Communist Czechoslovakia. He and writer Liza Bear talk about his film, The People vs. Larry Flynt, and censorship in the United States.
From Dea Ex Machinus, a woman walks to a meeting, “Entrapment” by Liza Bear. This article is only available in print.
A powerful yet restrained drama revolving around a family in the aftermath of a crisis, The Mother casts Anne Reid as a 65-year-old widow having an affair with her daughter’s 30-something married boyfriend (Daniel Craig).
In his feature fiction debut, director and co-writer Ra’anan Alexandrowicz follows James, a young African, on a wide-eyed pilgrimage to Israel, where he finds that the Holy Land he had imagined does not exist. Liza Bear caught up with him in Cannes.
With humanitarian rather than political aims, Mohsen Makhmalbaf’s Kandahar (2001) was intended to focus on the plight of women in Afghanistan under an oppressive regime. Then came September 11th, and Afghanistan was thrown into the spotlight.
Two geographically separated lovers reunite, “Atlantis” by Liza Bear. This article is only available in print.
Michael Winterbottom’s Welcome to Sarajevo, a partially fictionalized account of one English journalist’s struggle to save a Bosnian child, captures the moral dilemmas of war reporting.
The consummate actress, Judy Davis talks about her starring role in the epic satire, Children of the Revolution.
Award-winning filmmaker Wong Kar-wai, best known for Chungking Express, has a new film, In the Mood for Love, which won two awards at Cannes: Best Actor for Tony Leung and the Grand Prix de la Technique for its art direction.
Winner of the Cannes 1995 Camera d’Or, The White Balloon by Iranian filmmaker Jafar Panahi brings drama and humor to a seven-year-old’s quest for a New Year’s fish.
A short story, titled “Sidewinder,” by Liza Bear. This article is only available in print.
Atom Egoyan and Arsinee Khanjian on the languages of film and theater, our culture’s obsession with image, and their film Speaking Parts.
A World Apart explores apartheid through the eyes of the young daughter of political activists in Johannesburg in 1963. This interview is the first in a three-part dialogue with screenwriter Shawn Slovo, director Chris Menges, and actor Linda Mvusi.
A World Apart explores apartheid through the eyes of the young daughter of political activists in Johannesburg in 1963. This interview is the third in a three-part dialogue with screenwriter Shawn Slovo, director Chris Menges, and actor Linda Mvusi.
A World Apart explores apartheid through the eyes of the young daughter of political activists in Johannesburg in 1963. This interview is the second in a three-part dialogue with screenwriter Shawn Slovo, director Chris Menges, and actor Linda Mvusi.
Liza Bear presents the Non-Aligned Movement’s proposition to establish the New World Information Order along with the first chapter of its manifesto. This article is only available in print.
In the documentary Two Escobars, directors Jeff and Michael Zimbalist unravel the events leading to the murders of soccer captain Andres Escobar and drug kingpin Pablo Escobar.
Matteo Garrone, interviewed about his film Gomorrah at the New York Film Festival.
Liza Béar interviewed Burmese monks in exile about Burma VJ, a film comprised largely of footage shot by undercover reporters in Burma.
“The Motion of Verbs,” a text exploring communications and documentary, written by Liza Bear after a dialogue between her and Betsy Sussler. This article is only available in print.
A short story concerning the combination of fiction and dentistry, “Dilemma,” by Liza Bear. This article is only available in print.
Director Gleb Panfilov talks with Liza Bear about his struggles with GOSKINO, the Soviet film committee, and his previously censored film Tema.
