BOMB 110/Winter 2010
ON NEWSSTANDS NOW
ON NEWSSTANDS NOW
Dean Wareham, of the revered Galaxie 500, Luna, and now Dean & Britta, on curating and scoring 13 Most Beautiful People, a new DVD of Warhol Screen Tests.
So Yong Kim’s second feature film Treeless Mountain vaulted her to the fore of a group of young filmmakers being called Neo-Neo Realists. She recently met with fellow Neo-Neo Realist Ryan Fleck, co-director of the recent film Sugar.
En Español El artista venezolano radicado en Nueva York colabora con pacientes mentales “para curar a los cuerdos de su lucidez”.
Téllez casts and collaborates with the mentally disabled to “cure the sane of their lucidity.” Reyes and Téllez muse over the philosophical underpinnings of theater and film—from Aristotle to Godard.
Dabis wrote her film Amreeka, in theaters now, in response to her family’s Arab-American experience. An immigrant’s tale, the search for a better future in the Promised Land is full of seismic changes.
Guy Maddin, consummate Winnipegian experimentalist, and Isabella Rossellini, his Scanditalian muse, on what else but their dream-life, mothers and fathers, classical drama, and, yes, melodrama!
Buckingham’s film-based projects focus more on our contemporary reading of historical events than on imagining an ultimately irretrievable past. Their aim: to engage viewers in actively creating the present.
En Español! La pionera del nuevo cine argentino ha dirigido tres películas igualmente perturbadoras e intensas. En La Mujer Sin Cabeza se desborda la paranoia de una mujer que no sabe si cometió o no un crimen.
A pioneer of New Argentine Cinema, Martel is responsible for three startlingly intense feature films. Her newest, The Headless Woman, brims with the paranoia of a woman who can’t remember her crime.
Filmmakers Kelly Reichardt and Gus Van Sant on Reichardt’s new film, Wendy and Lucy, Oregon, decay, and making a feature film with $20,000.
Harmony Korine’s newest film, Trashhumpers, just premiered at the Toronto Film Festival. He spoke with Richard Bishop about Mister Lonely in this 2008 interview.
Karim Aïnouz’s Madame Satã broke taboos on all sorts of sexuality. The filmmakers discuss the internal geography of a peripatetic outsider, and the contradictions of their country and the condition of human nature.
Filmed in Sicily, Small Boats completes the trilogy Cast No Shadow (commissioned by PERFORMA 07). The two directors speak about migration, transition, and fallen angels.
With recent DVD releases of his films and a Cannes premiere this spring, the legendary Hungarian filmmaker has morphed from rebel outsider into cult auteur. The Man from London premieres this fall at the 44th New York Film Festival.
Mary Jordan’s documentary on the legendary Jack Smith (Flaming Creatures) fueled the same debates Smith faced in his lifetime—on authenticity, ownership, and purity of vision. With artist Nayland Blake.
Director Steven Shainberg and producer Andrew Fierberg share a successful partnership forged in projects like Secretary and their latest, Fur: An Imaginary Portrait of Diane Arbus. The two sit down to compare notes.
Los Angeles-based actress Esther K. Chae traveled to South Korea to speak with renowned film director Park Chanwook about the final installment in his revenge trilogy, Lady Vengeance, just out in the States.
Israeli filmmaker Judd Ne’eman has unflinchingly analyzed the collective distress of Jews and Arabs since the ‘70s. Scholar Janet Burstein caught up with Ne’eman to discuss his dedication to his land and its peoples.
Culiacán-based filmmaker Beto Gómez works against the grain of a Mexico City–dominated film industry to produce some of the most exciting new films in Mexico, including his most recent, Pink Punch.
These two New York natives discuss growing up in Brooklyn, the allure of the of the Museum of Natural History, and the perils of the autobiographical question in this instant classic from 2005.
Well known in the art world for her distinctive videos and performance pieces, Miranda July is quickly expanding her audience. Writer Rachel Kushner examines the lineage of common themes and recurrent imagery in July’s body of work.
Japanese director Kiyoshi Kurosawa has made nearly 30 films, all of which have been seen by musician and producer Jim O’Rourke. Lesser known in the US than in Japan, his films are mesmerizing, visually stunning narratives with international relevance.
In his latest film, Ama: The Memory of Time, Salvadoran poet and filmmaker Daniel Flores y Ascencio records the oral history of shaman Don Juan Ama, who witnessed the murder of his uncle, the leader of a 1932 indigenous revolt in El Salvador.
32-year-old Brooklyn filmmaker Jonathan Caouette has been documenting his own life since he was eleven. His staggering debut Tarnation, part documentary and part narrative, is a densely layered testament of Caouette’s life and that of his family.
Since his earliest documentaries, Danish filmmaker Jørgen Leth has always worked with a set of strict principles that he lays out for himself at the beginning of each project—a technique that inspired Denmark’s Dogme movement.
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.
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).
Gina Gershon joins John Stamos in a production of Bye Bye Birdie ad the Henry Miller’s Theater starting 9/10. She talks about channeling her inner rock goddess for the film Prey for Rock and Roll in this 2003 interview.
Before camcorders, webcams and reality TV, there was Harvey Pekar and his home-grown autobiographical comic book series, American Splendor. Culled from Harvey’s encounters in daily life, the series and their grumpy antihero attained cult status.