Chris Hondros/Getty Images; Courtesy of HONDROS Film
Just as the sound of bullets hitting a tin ceiling is heard, a mobile phone rings. "Call me back in about half an hour," says the man answering the phone.
And thus begins 'Hondros' one of the most beautifully terrifying cinematic looks into what it means to be a tried and true photojournalist. The man answer the phone is Chris Hondros. The late, great Hondros, who for years was the man behind the lens of some of the most iconic photographs of our times.
Read More
Agnès Varda and JR on the road
“Did you like our little film?”
Agnès Varda grabs my hand and holds it between hers as I try to exit the room where I’ve just spent the last ten minutes interviewing her and artist JR about their cinematic collaboration ‘Visages, Villages’ (’Faces, Places’) which premiered “Out of Competition” in Cannes. We may have learned in the film that the filmmaker has cute little feet, but I now know she also has lovely, kind hands.
“Of course I did! Why would I have wanted to interview you otherwise?!” I hear myself say, but almost as soon as the words come out, I realize I’m telling a half truth. Yes, I loved this film, its simple premise and grand cinematography and I relished the mutual respect the legendary 88 year-old filmmaker and the anonymous 33 year-old photographer show for each other throughout their road movie around the French countryside. To me, they are the new Beatles, the rockstars of cinema’s here and now. But I also craved to be in the presence of Varda and JR and would have come to interview them even if I hadn’t enjoyed the film as much as I did. It’s Madame Varda, after all, and JR, the artist — wrap your head around this — with a million Instagram followers!
Read More
‘Tehran Taboo’ is a spellbinding animated journey into the underbelly of Iranian society where nothing is what it seems from the outside. It would pay US media to watch films like Soozandeh’s once in a while. In fact, it would pay us all to do so, since we could walk away enriched by its wisdom. But the filmmaker’s genius here lies not in preaching, rather in thoroughly entertaining us, from the delicious rotoscope animation to the powerful use of characters that jump off the screen and into our conscience.
Read More
A still from ‘Human’ by Yann Arthus-Bertrand
We’ve all experienced the positive power of cinema. It is that moment, at the end of a movie, right before the lights come back on and as the credits roll by, when we feel we can change the world. We feel invigorated, wish to do better, want to be better and walk out of the theater with a new spring in our step. Sometimes, if we’re lucky, that energy, the magic of the movies, stays with us in our daily lives and continues to inspire a change that can become momentous.
Read More
I think the reason I love cinema so much is that, as a medium, it possesses the most potential for uniting the world. While we watch a DVD of a French film at home, sit in a theater being washed over by the images of an Italian B & W classic, or surreptitiously check out the recent download of a Bollywood movie on our iPad, we are undeniably transported to other lands, other eras and, most importantly, other ways of looking at things. But while the promise is there every time we choose a title, few films achieve the grand objective of forever changing our mind and enriching our world permanently.
Swedish filmmaker Göran Hugo Olsson’s documentary 'The Black Power Mixtape 1967-1975' is one of those once-in-a-lifetime films which seamlessly reaches the full cinematic goal of changing its viewers’ world for good.
Read More
PHOTO BY GIORA BEJACH
Lior Ashkenazi and Sarah Adler in still from Samuel Maoz’s ‘Foxtrot’
In a great film, there is always a moment when things change — that instance when the viewer is caught off guard, and left with an indelible feeling to take home. I consider it the cinematic equivalent of that famous Maya Angelou quote “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” Personally speaking, a truly successful movie is one where that moment remains with me, hours later, casting a spell over my heart and soul.
Samuel Maoz’s ‘Foxtrot’ is that film. More than twelve hours after watching it at the Venice Film Festival where it is featured in the main Competition section, I’m still only barely able to process it emotionally. Even though the filmmaker created an artful, visually stunning, sonically powerful, perfectly acted, intellectually stimulating and utterly entertaining film — I can just remember how it made me feel. I doubt I will ever forget actually.
Read More
'Anna's War' photo courtesy of the filmmaker
Just what is it like to survive as a little girl in a big World War?
That is the basic, deep and haunting question that Russian filmmaker Aleksei Fedorchenko asks in his latest 'Anna's War'. I've been a big fan of the director's work since his 2011 oeuvre 'Silent Souls' because somehow, in a very grand cinematic way Fedorchenko manages to portray the most intimate of emotions, the basic core fears and passions we all carry inside.
Read More
Image courtesy of Magnolia Pictures
In I Am Not Your Negro, Raoul Peck manages to weave archival photos, video and even the odd space footage into a beautifully watchable, mesmerizing, can’t-tear-your-eyes-away-from-the-screen masterpiece of understanding, drawn out straight from Baldwin’s writing. Samuel L. Jackson narrates by reading from the 30 pages of notes for Remember This House, a book Baldwin never completed where he wanted to tell the story of his three murdered friends — MLK, Malcolm X and Evers. At times I had to remind myself that it wasn’t Baldwin talking me through his fascinating life, but Jackson instead. If ever someone channeled the spirit, courage and great humanity of the author, it’s the beloved Hollywood actor.
Read More
Shoemaking legend Manolo Blahnik
To any woman who hasn’t lived under a rock in the last twenty years, the sheer mention of the name “Manolo” sends shivers down our spine. Possessing a great last name, Blahnik of course, but known perfectly by his famous, inimitable first one, Manolo makes the kind of shoes a girl’s dreams are made of.
At this year’s Dubai International Film Festival, fashion is in the air, along with film. I mean, movies are always enough for me, but when documentary filmmaking is mixed with the wonderful world of style, I find my pieces simply write themselves. This one certainly seemed to float out easily, because Michael Roberts’s ‘Manolo: The Boy Who Made Shoes for Lizards’ is a wondrous work of fashionable cinematic art. There I’ve said it.
Read More