WEBVTT 1 00:00:05.120 --> 00:00:07.919 Oh jeez, folks, it's showtime. 2 00:00:08.640 --> 00:00:10.599 People say good money to see this movie. 3 00:00:10.919 --> 00:00:14.759 When they go out to a theater, they want clothed sodas, pop, popcorn, 4 00:00:15.000 --> 00:00:18.079 and no monsters in the projection booths. Everyone for tend 5 00:00:18.079 --> 00:00:19.199 podcasting isn't boring? 6 00:00:20.239 --> 00:00:38.119 Got it off? 7 00:00:40.759 --> 00:00:43.520 Hey, folks, welcome to a special episode of the Projection Booth. 8 00:00:43.640 --> 00:00:46.119 This is your host, Mike White. I am joined once 9 00:00:46.200 --> 00:00:49.799 again by Edo Choi and Eric Hines, two of the 10 00:00:49.920 --> 00:00:55.200 programmers at the MOMI First Look Festival. The festival is 11 00:00:55.240 --> 00:00:59.759 happening this year March twelfth through March sixteenth over at 12 00:00:59.759 --> 00:01:02.880 the Museum of the Moving Image. Had a great time 13 00:01:02.920 --> 00:01:06.959 talking with Ato and Eric yet another great batch of 14 00:01:07.040 --> 00:01:09.879 films that they have curated for us to see this year. 15 00:01:10.719 --> 00:01:14.359 Check out everything over at movingimage dot org and just 16 00:01:14.400 --> 00:01:17.200 search for First Look twenty twenty five. You'll find the 17 00:01:17.200 --> 00:01:21.239 whole program, as well as where you can get passes 18 00:01:21.760 --> 00:01:25.120 and how much those are. Thank you so much for listening, 19 00:01:25.159 --> 00:01:28.280 and I hope you enjoyed this interview. Eric and Edo, 20 00:01:28.400 --> 00:01:30.480 thank you so much for joining me again today. I'm 21 00:01:30.480 --> 00:01:34.120 super excited to talk about this latest First Look festival. Gosh, 22 00:01:34.319 --> 00:01:36.640 remind me how many years have you been doing this now? 23 00:01:37.400 --> 00:01:40.200 This is the fourteenth year of Wower of Worse Look, 24 00:01:40.359 --> 00:01:43.719 and it's the tenth year that I've been a part of, 25 00:01:43.799 --> 00:01:46.599 so it had to be strong four years before I 26 00:01:46.640 --> 00:01:49.280 even got there, and now we're looking at fourteen, So 27 00:01:49.400 --> 00:01:51.280 very on the cusp of the fifteenth en verse. 28 00:01:52.079 --> 00:01:54.159 I kind of use you guys as my canary and 29 00:01:54.200 --> 00:01:59.280 Nicole mine. As far as the state of new films festivals, 30 00:01:59.480 --> 00:02:03.280 the work all year going out looking at new things, 31 00:02:03.319 --> 00:02:06.079 bringing in the best of the best to have this festival. 32 00:02:06.480 --> 00:02:09.479 What was your experience like this year? Feels like everything's 33 00:02:09.680 --> 00:02:12.360 back now. Are we open across the board? Are you 34 00:02:12.400 --> 00:02:13.520 still virtual festing? 35 00:02:14.240 --> 00:02:17.919 Very much back, very much traveling, And honestly, all but 36 00:02:18.439 --> 00:02:23.080 Sundance has abandoned online in any significant way. There are 37 00:02:23.120 --> 00:02:26.199 a few festivals that still will do once the festival 38 00:02:26.240 --> 00:02:28.280 proper is done in first and they'll do a little 39 00:02:28.280 --> 00:02:32.159 online version, but really Sundance is the only one that's 40 00:02:32.360 --> 00:02:37.719 continuing to do online availability during the course of the festival. 41 00:02:38.000 --> 00:02:40.759 So no fully in person Ato and I made our 42 00:02:40.800 --> 00:02:43.879 way around quite a bit, I can say for myself. 43 00:02:44.000 --> 00:02:48.599 I went to can and Docufest in Kosovo, Millennium, Doxkan's 44 00:02:48.639 --> 00:02:54.479 Gravity in Warsaw, if An Amsterdam, doc Leipzig in Germany, 45 00:02:55.080 --> 00:02:57.960 and on at over the spots that I'm missing that 46 00:02:58.000 --> 00:02:58.400 you went to. 47 00:02:59.319 --> 00:03:01.919 I only went to one festival I think this year 48 00:03:02.000 --> 00:03:04.879 I went to, but it was a big It was Venice. 49 00:03:04.960 --> 00:03:09.439 I quite enjoyed myself and saw one movie that we 50 00:03:09.520 --> 00:03:13.120 brought to the festival, which is Israel Palestine on Swedish TV, 51 00:03:13.199 --> 00:03:15.719 which hopefully we'll get to talk about more today. 52 00:03:16.479 --> 00:03:18.000 Yeah. The way that Ed and I do it is 53 00:03:18.000 --> 00:03:20.960 that we certainly do a fair amount of watching links 54 00:03:21.199 --> 00:03:24.639 and getting sent things, but we also really like to 55 00:03:24.840 --> 00:03:27.919 not rely on that and find things on our own 56 00:03:28.000 --> 00:03:29.599 that we're interested in that we think would be a 57 00:03:29.599 --> 00:03:31.960 good fit first look. I think the good thing is 58 00:03:32.000 --> 00:03:34.560 that as first look goes along, we get sent things 59 00:03:34.560 --> 00:03:37.879 people walk to play with us. But also not good 60 00:03:37.919 --> 00:03:40.439 at rest and think that everybody's coming our way. There 61 00:03:40.439 --> 00:03:43.680 are still films and filmmakers and festivals that were not 62 00:03:43.719 --> 00:03:46.439 as familiar with us, so we can make our presence known. 63 00:03:47.240 --> 00:03:49.639 I'd also ask about the themes that you might have 64 00:03:49.680 --> 00:03:53.039 seen throughout the year, some of these new films. Obviously, 65 00:03:53.080 --> 00:03:55.039 when we talked a few years ago, we were talking 66 00:03:55.039 --> 00:03:58.400 a lot about Ukraine and just the situation there. We've 67 00:03:58.439 --> 00:04:04.039 been undergoing the Israeli Palestine conflict for over a year now. 68 00:04:04.319 --> 00:04:06.919 But I'm curious, apart from just more torn stuff, but 69 00:04:07.000 --> 00:04:08.800 what kind of trends are you guys seeing as far 70 00:04:08.800 --> 00:04:10.759 as the films that are out there, if any. 71 00:04:11.360 --> 00:04:14.560 One thing, I'll say before we get to some discernible trends, 72 00:04:15.000 --> 00:04:19.040 one thing that we're also conscious of is to not 73 00:04:19.199 --> 00:04:24.160 follow those trends to slavishly or because you know, put 74 00:04:24.160 --> 00:04:26.720 it this way, a couple of years ago, the Ukraine 75 00:04:27.199 --> 00:04:31.879 films were multiple and important. We're also made a point 76 00:04:31.920 --> 00:04:34.439 to pick up a film this year that's an extraordinary 77 00:04:34.639 --> 00:04:37.759 film about the war in Ukraine that I think that 78 00:04:37.800 --> 00:04:41.720 has been overlooked because other festivals are a little done 79 00:04:41.720 --> 00:04:43.800 with it. But I feel like that trend was a 80 00:04:43.800 --> 00:04:46.439 couple of years ago. But war doesn't really work that way. 81 00:04:46.680 --> 00:04:49.240 I think programming should work that way either. So we're 82 00:04:49.279 --> 00:04:51.759 showing this film that ETO saw in Venice called Sums 83 00:04:51.759 --> 00:04:56.519 of Slow Burning Earth, which is extraordinary and so glad 84 00:04:56.560 --> 00:04:58.759 that we have an opportunity to show it. It is 85 00:04:58.800 --> 00:05:02.519 both a harrowing picture of war but also at the 86 00:05:02.560 --> 00:05:07.759 same time almost just be basically exquisitely made and has 87 00:05:07.800 --> 00:05:09.839 a sequence in there that's probably the most powerful as 88 00:05:09.879 --> 00:05:13.199 scene of any film coming out of that conflict. So 89 00:05:13.600 --> 00:05:15.959 just noting that there are new trends, but there's also 90 00:05:16.040 --> 00:05:18.480 things that maybe others think are no longer in trend, 91 00:05:18.519 --> 00:05:20.720 but we make sure that if the films are strong, 92 00:05:20.800 --> 00:05:21.920 that we make space for them. 93 00:05:22.600 --> 00:05:24.959 I think that there are trends in programming as much 94 00:05:24.959 --> 00:05:28.519 as there are trends in movies, and we definitely try, 95 00:05:28.879 --> 00:05:33.360 in our kind of modest facitating to push the envelope 96 00:05:33.360 --> 00:05:36.680 a little bit in terms of trying to, you know, 97 00:05:36.800 --> 00:05:38.920 veer away from some of the trends that we see 98 00:05:39.079 --> 00:05:42.199 in these larger festivals that we visit around the world. 99 00:05:42.920 --> 00:05:46.040 And I would say, when it comes to Slow Burning Earth, 100 00:05:46.079 --> 00:05:49.560 the Ukrainian film that we're so proud to be representing 101 00:05:49.600 --> 00:05:53.319 that Eric just described so beautifully, it's a film that 102 00:05:53.360 --> 00:05:57.000 I think was taken for granted, even in the sense 103 00:05:57.040 --> 00:05:58.920 that people just saw it in a lineup and then 104 00:05:58.959 --> 00:06:01.800 didn't actually go to see it. That I attended the 105 00:06:01.959 --> 00:06:05.560 world premiere screening of that film at Venice, and frankly 106 00:06:06.800 --> 00:06:09.959 it was a little under attended relative capacity in that room, 107 00:06:10.240 --> 00:06:13.040 and actually the other film I mentioned from Venice, Israel 108 00:06:13.079 --> 00:06:16.439 Palestine on Swedish TV, also a little undertended for a 109 00:06:16.480 --> 00:06:20.079 world premiere. These are big rooms, so it's all relative. 110 00:06:20.720 --> 00:06:22.639 But I do think it kind of points to a 111 00:06:22.680 --> 00:06:25.279 certain fatigue that people have with some of the storylines 112 00:06:25.279 --> 00:06:27.600 that they see in the news. But these are really 113 00:06:27.639 --> 00:06:32.199 important stories, obviously, and the films more even more importantly, 114 00:06:32.279 --> 00:06:37.000 are very good treatments of these subjects and they're very illuminating. 115 00:06:37.040 --> 00:06:41.160 Ones mentioned the Israel Palestine on Swedish TV. Can you 116 00:06:41.160 --> 00:06:44.240 talk a little bit more about that, because I mentioned 117 00:06:44.319 --> 00:06:47.680 the conflict that's going on, But this comes at things 118 00:06:47.720 --> 00:06:48.680 a little bit differently. 119 00:06:49.560 --> 00:06:54.319 The filmmaker Goren Hugo Olsen has been making arkibal films 120 00:06:54.439 --> 00:06:58.160 for several years now and has developed quite a reputation 121 00:06:58.319 --> 00:07:02.639 as a master of arkibol, a foot in filmmaking and research, 122 00:07:03.480 --> 00:07:05.879 and he's best known for a film that he made 123 00:07:06.160 --> 00:07:08.240 I think over a decade ago now called The Black 124 00:07:08.319 --> 00:07:13.240 Power Mixtape. And I was, you know, quite honestly surprised 125 00:07:13.279 --> 00:07:16.480 that this latest film from him, especially considering that it's 126 00:07:16.519 --> 00:07:20.759 on such an important subject, hasn't been out of Venice. 127 00:07:21.079 --> 00:07:22.399 It hasn't traveled as much. 128 00:07:22.560 --> 00:07:25.720 We're going to be giving it its us premier and 129 00:07:25.839 --> 00:07:28.199 so I'm very proud of that for us. 130 00:07:28.319 --> 00:07:30.240 And it's just power. 131 00:07:30.680 --> 00:07:35.160 What Lauren does is that he allows this very rich 132 00:07:35.319 --> 00:07:38.000 trove of archival material to speak for itself and to 133 00:07:38.040 --> 00:07:42.920 tell a story that can't be reduced to one narrative 134 00:07:43.000 --> 00:07:47.199 or another interests narrative or another. And I think, you know, 135 00:07:47.199 --> 00:07:52.399 it's kind of immense achievement what he's done. 136 00:07:52.199 --> 00:07:54.439 With That would add to that too, is that what's 137 00:07:54.439 --> 00:07:57.160 interesting about it is he's good at this in terms 138 00:07:57.199 --> 00:07:59.720 of his other prior films that he takes what it 139 00:07:59.720 --> 00:08:02.959 could is a limitation of an archive or the parameters 140 00:08:03.000 --> 00:08:06.319 of an archive, and lets that define what it is. 141 00:08:06.639 --> 00:08:09.199 In this sense, it is exactly what's in the title right. 142 00:08:09.279 --> 00:08:11.920 This is basically how Swedish team it covered this conflict 143 00:08:12.240 --> 00:08:14.439 over the course of forty years, and so what you 144 00:08:14.519 --> 00:08:18.839 get is how that coverage evolves over times. You get 145 00:08:18.959 --> 00:08:21.160 the history of the concept b you also get this 146 00:08:21.319 --> 00:08:24.360 kind of third element, which is the sort of Swedish 147 00:08:24.399 --> 00:08:27.000 coverage of it. And so it allows you, as a viewer, 148 00:08:27.040 --> 00:08:29.879 I think, to approach this topic in a way they 149 00:08:29.959 --> 00:08:33.279 couldn't otherwise, which is sort of look over people's shoulders 150 00:08:33.360 --> 00:08:36.080 as they make their way through time. Like that really 151 00:08:36.159 --> 00:08:38.159 unique experience to watch this them. 152 00:08:38.720 --> 00:08:42.120 Another film that plays with limitations that is going to 153 00:08:42.120 --> 00:08:45.000 be playing at the festival is Zodiac Keller Project. Can 154 00:08:45.039 --> 00:08:47.200 you talk a little bit about that, because trying to 155 00:08:47.240 --> 00:08:49.200 describe this film it's a little bit of a challenge, 156 00:08:49.200 --> 00:08:52.720 but it's so interesting and so much fun to watch. 157 00:08:53.480 --> 00:08:56.480 So this is Charlie Shackleton, who I think in my 158 00:08:56.639 --> 00:08:59.320 ten years at the festival, maybe this is the sixth 159 00:08:59.399 --> 00:09:02.799 time had him. I think that's the record. I can't 160 00:09:02.799 --> 00:09:05.039 imagine there being a different record. Maybe I don't knows 161 00:09:05.279 --> 00:09:08.200 of somebody else who maybe in the experimental circles who 162 00:09:08.240 --> 00:09:12.480 even beats that. But Charlie's, again, the as far as 163 00:09:12.480 --> 00:09:15.840 I'm concerned, like the ideal first look filmmaker in this 164 00:09:16.000 --> 00:09:19.440 sense that he's changing every single year. It seems project 165 00:09:19.440 --> 00:09:21.360 to project what he does and how he does it. 166 00:09:21.639 --> 00:09:25.080 He thinks about the form, he thinks about the implications 167 00:09:25.120 --> 00:09:29.000 of form, and he is also in conversation with what 168 00:09:29.080 --> 00:09:33.080 popular culture is doing. He made a film with Fear Itself, 169 00:09:33.200 --> 00:09:36.840 which is about it kind of dissecting horror films and 170 00:09:37.120 --> 00:09:40.039 making an archival film that is an essay in horror films, 171 00:09:40.039 --> 00:09:43.240 and the so called beyond Clueless, examining the legacy of clueless. 172 00:09:43.919 --> 00:09:48.120 He's played in VR, he's done live live performance work, 173 00:09:48.320 --> 00:09:50.600 and last year he did a three D film that 174 00:09:50.679 --> 00:09:54.120 kind of takes on the sort of mechanics of three D. 175 00:09:54.720 --> 00:09:57.840 This is in some ways, I totally say what you're saying, Mike, 176 00:09:57.879 --> 00:10:00.000 but it's someways it's hard to describe. In other ways, 177 00:10:00.000 --> 00:10:03.639 it's almost like too simple, in the sense that he 178 00:10:03.679 --> 00:10:06.600 was trying to make a true crime film with his 179 00:10:06.639 --> 00:10:09.320 own take on it, and was looking to license the 180 00:10:09.399 --> 00:10:13.279 rights of a book written by a police officer who 181 00:10:13.320 --> 00:10:15.240 was or a detective who was involved in the Zodiac 182 00:10:15.360 --> 00:10:20.080 killer chase at some point, and got funding, got it 183 00:10:20.120 --> 00:10:23.039 all set up as even found locations, and then the 184 00:10:23.120 --> 00:10:26.559 rights just didn't come through, And so, rather than abandoning 185 00:10:26.559 --> 00:10:30.360 the project as most people would in that situation, being Charlie, 186 00:10:30.480 --> 00:10:33.879 he decides to dance a tightrope around telling you the 187 00:10:33.960 --> 00:10:37.240 film that she would have made and sometimes showing you 188 00:10:37.279 --> 00:10:40.559 the things he would have done, while constantly telling you 189 00:10:41.200 --> 00:10:42.919 where he may be going too far. In terms of 190 00:10:43.000 --> 00:10:47.720 violating the right right. So it's about there is information 191 00:10:47.759 --> 00:10:50.159 there about the Zodiac Killer who the book at its core, 192 00:10:50.200 --> 00:10:53.320 but it's also about the challenges of adaptation, and also 193 00:10:53.440 --> 00:10:57.039 about true crime as a culture right now and what 194 00:10:57.120 --> 00:11:00.480 it does to documentary film and how dominant it is 195 00:11:00.559 --> 00:11:04.000 in questioning that along the way. So it does what 196 00:11:04.080 --> 00:11:06.039 you're saying, all these things at the same time, and 197 00:11:06.080 --> 00:11:08.600 yet on its core it's basically I'm going to tell 198 00:11:08.600 --> 00:11:09.919 you a story about a film I can't make. 199 00:11:10.759 --> 00:11:13.399 I love that experimental nature of things and just having 200 00:11:13.480 --> 00:11:16.879 the movie opening with that parking lot and saying what 201 00:11:16.919 --> 00:11:20.279 would have happened? And I just love that. So many 202 00:11:20.320 --> 00:11:22.799 of these films are just pushing that envelope and really 203 00:11:22.799 --> 00:11:25.399 giving you something that you wouldn't see obviously at like 204 00:11:25.440 --> 00:11:29.399 an your mainstream multipleax. Another one that I really enjoyed 205 00:11:29.559 --> 00:11:32.879 was A Frown Gone Mad. The approach to that topic 206 00:11:33.039 --> 00:11:34.559 was very interesting as well. 207 00:11:35.600 --> 00:11:37.480 I'm so glad you mentioned that Edo and I are 208 00:11:37.480 --> 00:11:40.879 both really excited about that one. I'd seen it at 209 00:11:40.879 --> 00:11:45.200 IFA in Amsterdam and I was pretty much convinced that 210 00:11:45.279 --> 00:11:47.440 we have to do this. This is so good, this 211 00:11:47.480 --> 00:11:49.720 is so perfect for us. But also being aware that 212 00:11:49.759 --> 00:11:53.600 it's the sort of film maybe not as surprising as say, 213 00:11:53.639 --> 00:11:57.039 Israel Pal Scienceweos TV. Not that's surprising that it hasn't 214 00:11:57.080 --> 00:12:01.600 had more play at festivals, but this maybe less surprising, 215 00:12:01.720 --> 00:12:04.399 just simply because of the content. It's not easy to watch, 216 00:12:04.799 --> 00:12:06.639 but I'm so glad when Eto saw it as well 217 00:12:06.679 --> 00:12:09.879 and was immediately responded to it. It's another one that's 218 00:12:09.960 --> 00:12:13.639 very simple and minimalists in its approach. It's a single frame, 219 00:12:13.720 --> 00:12:19.039 basically looking at the chair in a beauty shop in Beirut, 220 00:12:19.240 --> 00:12:22.879 and what you're watching is people getting fillers and botox 221 00:12:23.039 --> 00:12:28.320 injections while having conversations with the beautician and chit chat 222 00:12:28.399 --> 00:12:31.799 that you would have in any kind of stylist shop 223 00:12:32.080 --> 00:12:34.600 about what's going on in the world outside. And it 224 00:12:34.679 --> 00:12:39.799 really becomes apparent that contrast between the micro control that 225 00:12:39.960 --> 00:12:43.279 is going on in terms of people's appearances versus what's 226 00:12:43.320 --> 00:12:46.240 out of control in Beroot and outside the walls is 227 00:12:46.279 --> 00:12:47.039 what it's playing with. 228 00:12:47.799 --> 00:12:52.039 Olmar, the filmmaker, deals with allowing the space of the 229 00:12:52.039 --> 00:12:54.559 film to open out onto other things. It's a very 230 00:12:54.600 --> 00:12:58.200 restricted space that he presents to you. It's just the 231 00:12:58.240 --> 00:13:03.960 space of this particular corner of this botox parlor beautician parlor, 232 00:13:04.879 --> 00:13:12.600 but through the dialogues between the customers and woman who's 233 00:13:12.639 --> 00:13:15.480 giving them their botox injections, the space of the film 234 00:13:15.559 --> 00:13:20.559 opens out onto a much larger and geopolitically spraught reality 235 00:13:20.639 --> 00:13:23.600 that everyone's day to day lives are embroiled in. And 236 00:13:23.639 --> 00:13:25.960 that's a really exciting aspect of the film is that 237 00:13:26.080 --> 00:13:30.039 through something so small, it can address very large issues. 238 00:13:30.840 --> 00:13:32.919 To be a little slip about this, if there's a 239 00:13:32.960 --> 00:13:35.519 body horror documentary out there, there's a good chance that 240 00:13:35.559 --> 00:13:37.159 I do, and I have the stomach to program it. 241 00:13:37.320 --> 00:13:39.840 So it challenged to filmmakers out there. 242 00:13:40.519 --> 00:13:42.799 It reminded me at times of that movie. I think 243 00:13:42.840 --> 00:13:44.519 you guys showed it a few years of the apartment 244 00:13:44.559 --> 00:13:47.159 move where it was all taking place from the guy's balcony. 245 00:13:47.200 --> 00:13:48.639 I think it actually was called Balcony. 246 00:13:48.720 --> 00:13:49.840 Oh, the Balcony movie. 247 00:13:49.919 --> 00:13:53.159 Yeah, just that whole idea of slice of. 248 00:13:52.960 --> 00:13:57.399 The world, slice of the world through a particularly restricted angle, 249 00:13:57.559 --> 00:14:00.360 and yet so much has shown over the course of time. Yeah, 250 00:14:00.600 --> 00:14:02.480 I love factly, what are. 251 00:14:02.399 --> 00:14:04.000 Some of the other films that you guys are excited 252 00:14:04.039 --> 00:14:06.759 to show? I know, obviously these are all your babies, 253 00:14:06.919 --> 00:14:09.519 so you can't just say, oh, all of them, but 254 00:14:10.080 --> 00:14:12.200 tell me some of the other ones that you're just like, Wow. 255 00:14:12.320 --> 00:14:15.039 I can't wait for more people to check this out. 256 00:14:15.440 --> 00:14:22.039 I'm particularly excited about Yoko Yamanaka's Desert of Namibia. Yamanaka 257 00:14:22.120 --> 00:14:25.639 is a fairly young I would go so far as 258 00:14:25.679 --> 00:14:29.240 say a prodigiously young filmmaker. She's under thirty and this 259 00:14:29.360 --> 00:14:32.600 is already her second feature. She made her first feature 260 00:14:32.639 --> 00:14:36.039 when she was twenty. She dropped out of film school 261 00:14:36.120 --> 00:14:39.200 to make it, and this follow up, this sophomore after it, 262 00:14:39.200 --> 00:14:41.840 I think has taken her a while to make because 263 00:14:42.000 --> 00:14:45.519 she's now twenty eight years old. But it features a young, 264 00:14:46.320 --> 00:14:52.120 very popular star in Japan, and the film deals with 265 00:14:53.279 --> 00:14:56.600 you could say it deals with mental illness or someone 266 00:14:56.639 --> 00:15:02.600 who probably has either borderline personality or by disorder. However, 267 00:15:03.679 --> 00:15:09.120 that would be to limit the emotional, psychological, and expressive 268 00:15:09.159 --> 00:15:12.600 suppleness of the movie and what it's doing. The character, 269 00:15:13.279 --> 00:15:17.039 the young woman twenty one years old who's navigating the 270 00:15:17.120 --> 00:15:22.759 stresses of intimate relationships and personal and professional life in 271 00:15:22.799 --> 00:15:28.399 Tokyo in the present day, doesn't actually seek any kind 272 00:15:28.399 --> 00:15:30.519 of professional help until near the end, and when that 273 00:15:30.559 --> 00:15:33.559 diagnosis arrives, it doesn't derive as sort of something to 274 00:15:33.559 --> 00:15:35.759 put a label on what she's going through. It arrives 275 00:15:35.799 --> 00:15:39.360 as at further question about who she is, And so 276 00:15:39.480 --> 00:15:42.960 the film isn't so much about suffering from some sort 277 00:15:43.000 --> 00:15:47.559 of deviant condition. It's about actually the respect the way 278 00:15:47.600 --> 00:15:50.639 in which all of us are dealing with trying to 279 00:15:51.720 --> 00:15:56.480 discover who we are amid a very constantly kind of 280 00:15:57.200 --> 00:16:01.320 rupturing modern existence. It very much deals with in a 281 00:16:01.360 --> 00:16:06.240 way that I've never seen a film yet, because Generation 282 00:16:06.440 --> 00:16:09.960 Z filmmakers are all still very young. It deals with 283 00:16:10.000 --> 00:16:15.240 the experience of the rhythm I hyped up but also 284 00:16:15.679 --> 00:16:19.840 slightly disassociated rhythm of young people's wives today, and it 285 00:16:19.879 --> 00:16:22.960 finds formal correlatives for that. It's a kind of shape 286 00:16:22.960 --> 00:16:25.399 shifting movie. A lot of it is shot hand held, 287 00:16:25.440 --> 00:16:30.360 but then gradually she starts introducing locked off, more distance 288 00:16:30.480 --> 00:16:33.639 shots on a tripod, and then sometimes there are these 289 00:16:34.440 --> 00:16:37.080 there's bounds that feel like they're almost out of nowhere 290 00:16:37.080 --> 00:16:40.080 that kind of interrupt the composition that you're watching. And 291 00:16:40.120 --> 00:16:44.120 then slowly there are superb positions between scenes that are 292 00:16:44.159 --> 00:16:46.840 hard to explain, and then eventually it even goes into 293 00:16:47.000 --> 00:16:50.159 kind of a surreal territory in the last kind of 294 00:16:50.200 --> 00:16:53.399 act of the film, and it's just really thrilling filmmaking, 295 00:16:53.440 --> 00:16:56.399 and it's really amazing to see this from someone that 296 00:16:56.559 --> 00:17:02.240 young and something so confident and so brash and also 297 00:17:02.480 --> 00:17:08.119 seemingly thematically daring. There's no limit to where she'll go. 298 00:17:08.960 --> 00:17:12.400 You could even say it's like a gen Z Cassavetti's 299 00:17:12.400 --> 00:17:14.880 approach to a portrait of a woman in the sense 300 00:17:14.920 --> 00:17:17.880 that you can't really tell at any moment if it's 301 00:17:17.960 --> 00:17:22.000 a comedy or if it's something more serious, and not 302 00:17:22.119 --> 00:17:25.400 knowing how to approach her as a character is similar 303 00:17:25.440 --> 00:17:29.400 to challenging you as a viewer to not visionhole or either, 304 00:17:29.519 --> 00:17:32.279 which I think is also part of what Cassavetti's project 305 00:17:32.400 --> 00:17:35.960 was really fantastic film. We saw that out of Doctor's 306 00:17:36.000 --> 00:17:38.640 Fortnite and Ken. Another film that I would put out 307 00:17:38.640 --> 00:17:40.839 there another portrait of a woman which is a want 308 00:17:40.880 --> 00:17:43.200 in her as a documentary that we saw out of 309 00:17:43.200 --> 00:17:48.319 Ifa by the Irish filmmaker Myrat Carton, who works more 310 00:17:48.480 --> 00:17:52.920 in some more experimental terrain, but this is something more 311 00:17:52.920 --> 00:17:55.480 of a straightforward documentary, and it's a portrait of her 312 00:17:55.599 --> 00:17:59.680 mother who is suffering from alcoholism and mental illness, and 313 00:18:00.000 --> 00:18:04.960 at various points goes missing. And so Mari's the daughter 314 00:18:05.000 --> 00:18:07.480 who's had to parent her own mother for a lot 315 00:18:07.519 --> 00:18:10.720 of her life, taking a break from her own life 316 00:18:10.720 --> 00:18:13.039 and her own concerns to care for her mother and 317 00:18:13.079 --> 00:18:16.400 all the complicated things that come up from that. For 318 00:18:16.440 --> 00:18:19.880 anybody who's experienced anything like that with a parent, a relative, 319 00:18:20.400 --> 00:18:23.799 there's something here that's never I've never really seen in 320 00:18:23.920 --> 00:18:28.559 terms of finding a language or trying to find a 321 00:18:28.640 --> 00:18:32.920 language to articulate all these complexities in terms of love 322 00:18:33.279 --> 00:18:38.960 and affection, adoration and also just disgust and impatience. And 323 00:18:39.039 --> 00:18:41.880 even though it's closer to a observation where we've been 324 00:18:41.880 --> 00:18:46.400 talking head documentary at times, part of that searching for 325 00:18:46.480 --> 00:18:50.319 a language winds up being she does these experiments inside 326 00:18:50.319 --> 00:18:55.599 the apartment where she's just making this banal space something 327 00:18:56.599 --> 00:19:01.279 stranger and threatening even and trying to find angles within 328 00:19:01.359 --> 00:19:05.559 this space. It almost comes off as just doodling, but 329 00:19:05.680 --> 00:19:08.880 doodling that is a comes from like a real psychic 330 00:19:08.960 --> 00:19:13.640 we damaged and challenged place really unique and was excited 331 00:19:13.680 --> 00:19:15.440 because I was just at the True False film Fest 332 00:19:15.920 --> 00:19:19.720 last weekend, and that's the film. It also played there, 333 00:19:19.759 --> 00:19:21.759 and that's the film that people seem to be most 334 00:19:21.759 --> 00:19:24.920 excited about and blown away by. So I'm excited that 335 00:19:24.920 --> 00:19:25.640 we're showing. 336 00:19:25.400 --> 00:19:26.880 It in New York and that folks that we catch 337 00:19:26.920 --> 00:19:29.319 up to it. I love how so many of these 338 00:19:29.359 --> 00:19:33.799 films are just going past what we feel like films are, 339 00:19:34.519 --> 00:19:38.000 and like you said, pushing that envelope being very avant garde. 340 00:19:38.039 --> 00:19:40.519 But then also one of the films that you are 341 00:19:40.559 --> 00:19:44.359 showing looks back at a older avant garde film and 342 00:19:44.480 --> 00:19:47.279 in a new way. The fifth Shot of Laete, that 343 00:19:47.319 --> 00:19:49.480 was one of the very first experimental films I remember 344 00:19:49.480 --> 00:19:52.079 seeing in college, and so to have that explored from 345 00:19:52.119 --> 00:19:56.440 a different angle, I've found that to be fascinating as well. 346 00:19:56.440 --> 00:20:01.279 This is Dolnique Cabrera, French hillmaker who's well renowned and 347 00:20:01.319 --> 00:20:03.720 made a lot of films over time, both sort of 348 00:20:03.720 --> 00:20:07.279 an observential mode, but then it also makes films that 349 00:20:07.279 --> 00:20:10.319 are more personal. This is more on the personal side 350 00:20:10.480 --> 00:20:13.640 of her filmmaking. But as you say, in taking on 351 00:20:14.039 --> 00:20:18.720 pretty widely known other film Lagite Chris Markers, and its 352 00:20:19.039 --> 00:20:23.359 approach on it is so unique and it almost like 353 00:20:23.400 --> 00:20:27.000 playfully takes on the mode of a detective film. It 354 00:20:27.079 --> 00:20:31.440 takes place mostly in an editing suite, and in a 355 00:20:31.480 --> 00:20:36.799 that editing suite, there's basically the discovery of a relative, 356 00:20:36.839 --> 00:20:41.799 a cousin of hers, that he's actually in Lageta. The 357 00:20:41.839 --> 00:20:45.000 fifth shot of Lagtay and if you've seen the film, 358 00:20:45.079 --> 00:20:46.759 like there are only so many shots, so they're all 359 00:20:46.759 --> 00:20:49.160 pretty iconic, and it's a shot of a young man 360 00:20:49.480 --> 00:20:52.559 and parents looking at the airport watching planes come in, 361 00:20:53.000 --> 00:20:57.960 and takes that playing and expands on that to look 362 00:20:58.039 --> 00:21:01.200 into the making of the film, look into the conditions 363 00:21:01.200 --> 00:21:03.759 around the making of the film, what was happening in 364 00:21:03.799 --> 00:21:06.920 France and Algeria at that time, and really honing in 365 00:21:06.960 --> 00:21:11.599 on to this moment when so many Francophone folk who 366 00:21:11.640 --> 00:21:14.640 were either working or born in Algeria were coming back 367 00:21:14.680 --> 00:21:19.599 to France because of the revolution, and that site in 368 00:21:19.640 --> 00:21:22.200 the airport, Charles de Gaul airport, I actually don't know 369 00:21:22.200 --> 00:21:24.240 if it was called Charles Degaul at that time, but whatever, 370 00:21:24.400 --> 00:21:27.599 that airport and and anyway, that moment in time, and 371 00:21:28.039 --> 00:21:30.720 it winds up getting deep into her own family history, 372 00:21:30.839 --> 00:21:35.680 deep into the sort of racial and colonial elements of 373 00:21:35.720 --> 00:21:38.839 her family and of France at that time, and also 374 00:21:38.839 --> 00:21:40.720 plays like I said it was like a detective movie 375 00:21:40.799 --> 00:21:44.240 should try to discern if this is actually members of 376 00:21:44.240 --> 00:21:46.880 her family and if they're threaded together with Chris Marker 377 00:21:46.920 --> 00:21:49.599 in that way. So I mean so thrilling. If you've 378 00:21:49.640 --> 00:21:53.559 seen Laja detay to see this film. I also I 379 00:21:53.599 --> 00:21:56.240 saw at doc Leipzig and saw it with an intern 380 00:21:56.279 --> 00:21:58.720 who had never seen Lagete before, and she was also 381 00:21:58.759 --> 00:22:01.640 totally gripped by So I think it can also play 382 00:22:01.680 --> 00:22:05.440 that way. If anything, maybe some folks will discover Loge 383 00:22:05.519 --> 00:22:08.160 Day through this film too, that would be nice. Tell 384 00:22:08.200 --> 00:22:09.839 me about some of the filmmakers that are coming out 385 00:22:09.880 --> 00:22:13.680 to the event as ever, it's really important to us 386 00:22:13.720 --> 00:22:17.400 to have filmmakers present. We're a scrappy, a little festival, 387 00:22:17.759 --> 00:22:22.000 but really whatever resources we can raise for it goes 388 00:22:22.039 --> 00:22:26.039 towards bringing filmmakers because I feel like there's no better effect, 389 00:22:26.119 --> 00:22:29.480 there's no better cause for celebration than to have filmmakers 390 00:22:29.480 --> 00:22:32.799 together showing their film, talking to the audiences, but they're 391 00:22:32.799 --> 00:22:35.559 also talking to each other. We have three of the 392 00:22:35.640 --> 00:22:38.680 daytimes of the five day festival dedicated to the works 393 00:22:38.720 --> 00:22:41.559 in progress, and we bring in filmmakers to show their 394 00:22:41.599 --> 00:22:44.319 new films. We also have filmmakers who are coming to 395 00:22:44.359 --> 00:22:47.920 show these completed films to participate in those sessions. So 396 00:22:48.279 --> 00:22:52.000 a density of filmmakers is really important to us. For 397 00:22:52.119 --> 00:22:55.039 Opening Night, We've got bon George Fristees film a premiere 398 00:22:55.039 --> 00:22:59.000 to Toronto and it's imminently going to come out through 399 00:22:59.079 --> 00:23:02.599 US distribution. But director Durgatchubos is going to be there 400 00:23:02.640 --> 00:23:05.319 as well as the star of that film, Lily McInerney. 401 00:23:05.640 --> 00:23:09.519