Nezouh Photo: Nezouh Ltd, BFI & Film4
In director Soudade Kaadan's magical realist Nezouh, photographed by the French cinematographer Hélène Louvart, 14-year-old Zeina (Hala Zein) and her family are the only ones remaining in their besieged hometown of Damascus, Syria.
When a missile damages their home, a rope is mysteriously lowered through the hole in the roof, offering Zeina an escape from the confines of her apartment. Zeina's father Mutaz (Samir Almasri) refuses to leave, fearful of life as a refugee. As the conflict continues to rage, Zeina and Hala (Kinda Alloush), her mother, must decide whether to go against Mutaz's wishes and leave Damascus.
Nezouh Photo: Nezouh Ltd, BFI & Film4
Speaking with Eye For Film, Louvart discussed the director and cinematographer's relationship, and balancing Nezouh's different points of view.
Paul Risker: Looking back on your body of work, how has...
In director Soudade Kaadan's magical realist Nezouh, photographed by the French cinematographer Hélène Louvart, 14-year-old Zeina (Hala Zein) and her family are the only ones remaining in their besieged hometown of Damascus, Syria.
When a missile damages their home, a rope is mysteriously lowered through the hole in the roof, offering Zeina an escape from the confines of her apartment. Zeina's father Mutaz (Samir Almasri) refuses to leave, fearful of life as a refugee. As the conflict continues to rage, Zeina and Hala (Kinda Alloush), her mother, must decide whether to go against Mutaz's wishes and leave Damascus.
Nezouh Photo: Nezouh Ltd, BFI & Film4
Speaking with Eye For Film, Louvart discussed the director and cinematographer's relationship, and balancing Nezouh's different points of view.
Paul Risker: Looking back on your body of work, how has...
- 5/4/2024
- by Paul Risker
- eyeforfilm.co.uk
Lauren Staerck and Natasha Henstridge in Cinderella's Revenge
Natasha Henstridge plays Cinderella’s Fairy Godmother in Andy Edwards’ Cinderella’s Revenge. It’s a dark, twisted and blood-soaked take on the classic fairy tale, transforming Cinderella into a violent vigilante out for revenge against her wicked stepsisters.
Speaking with Eye For Film, Henstridge recalls daunting and fond memories of her experience making Species, and the joy of being a devil on the shoulder.
Paul Risker: How did you catch the acting bug?
Natasha Henstridge: Even before school, I was a ham. A lot of actors are very quiet and private people, that are out there in the world exploring through other characters. That was not me - I was the kid who was super-hyper, had a camera in someone's face all the time at Christmas functions, pretending I was a reporter or interviewer, wanting to get the nitty-gritty and understand who they were.
Natasha Henstridge plays Cinderella’s Fairy Godmother in Andy Edwards’ Cinderella’s Revenge. It’s a dark, twisted and blood-soaked take on the classic fairy tale, transforming Cinderella into a violent vigilante out for revenge against her wicked stepsisters.
Speaking with Eye For Film, Henstridge recalls daunting and fond memories of her experience making Species, and the joy of being a devil on the shoulder.
Paul Risker: How did you catch the acting bug?
Natasha Henstridge: Even before school, I was a ham. A lot of actors are very quiet and private people, that are out there in the world exploring through other characters. That was not me - I was the kid who was super-hyper, had a camera in someone's face all the time at Christmas functions, pretending I was a reporter or interviewer, wanting to get the nitty-gritty and understand who they were.
- 4/27/2024
- by Paul Risker
- eyeforfilm.co.uk
Opponent
Iranian-born writer/director Milad Alami’s sophomore feature, Opponent, centres on Iman (Payman Maadi), an Iranian refugee who has arrived in Northern Sweden with his family and hopes to be granted asylum. As a former Olympic wrestler, it’s suggested that he competes for Sweden to support his asylum request. The decision not only brings him into conflict with his family, but creates internal and external conflicts.
In conversation with Eye For Film, Alami discussed cinema’s lack of an inner life, how he used the stories of immigrants to grow the story, and his desire to create an elusive protagonist.
Paul Risker: Do you consider storytellers to be naturally curious about human nature and what makes people tick?
Opponent
Milad Alami: Definitely! With filmmaking you have to be a sponge and the fun part is trying to understand those difficult things. I think it was [Andrei] Tarkovsky who said if you want to.
Iranian-born writer/director Milad Alami’s sophomore feature, Opponent, centres on Iman (Payman Maadi), an Iranian refugee who has arrived in Northern Sweden with his family and hopes to be granted asylum. As a former Olympic wrestler, it’s suggested that he competes for Sweden to support his asylum request. The decision not only brings him into conflict with his family, but creates internal and external conflicts.
In conversation with Eye For Film, Alami discussed cinema’s lack of an inner life, how he used the stories of immigrants to grow the story, and his desire to create an elusive protagonist.
Paul Risker: Do you consider storytellers to be naturally curious about human nature and what makes people tick?
Opponent
Milad Alami: Definitely! With filmmaking you have to be a sponge and the fun part is trying to understand those difficult things. I think it was [Andrei] Tarkovsky who said if you want to.
- 4/9/2024
- by Paul Risker
- eyeforfilm.co.uk
Hunting Daze
In producer and director Annick Blanc’s début feature, Hunting Daze, headstrong exotic dancer Nina (Nahéma Ricci) finds herself stranded. She’s able to convince a recent customer to give her a place to stay and joins the group of men on their bachelor hunting trip. While her situation has a precarious energy, it’s not until a stranger arrives that things begin to take a truly dark turn.
Speaking with Eye For Film, Blanc discussed creating an experience for the audience that mimics life, the uniqueness of the female gaze and her fear for the TikTok generation.
Paul Risker: What was the motivation to make this film and to tell this particular story now?
Annick Blanc: I wanted to point the finger at the way we’re living as a society right now. We live our lives partying and enjoying whatever we can, while the world is crumbling around us.
In producer and director Annick Blanc’s début feature, Hunting Daze, headstrong exotic dancer Nina (Nahéma Ricci) finds herself stranded. She’s able to convince a recent customer to give her a place to stay and joins the group of men on their bachelor hunting trip. While her situation has a precarious energy, it’s not until a stranger arrives that things begin to take a truly dark turn.
Speaking with Eye For Film, Blanc discussed creating an experience for the audience that mimics life, the uniqueness of the female gaze and her fear for the TikTok generation.
Paul Risker: What was the motivation to make this film and to tell this particular story now?
Annick Blanc: I wanted to point the finger at the way we’re living as a society right now. We live our lives partying and enjoying whatever we can, while the world is crumbling around us.
- 4/5/2024
- by Paul Risker
- eyeforfilm.co.uk
On The Adamant
Celebrated French documentarian Nicolas Philibert’s On The Adamant ventures inside a place like no other - a home to the transformative power of art. Anchored on the Seine River in Paris, a boat called the Adamant runs daily programs that utilise therapy, education and the arts to reimagine a more humanistic approach to mental health and wellbeing.
In conversation with Eye For Film, Philibert reflected on his career and discussed how the times are positively changing for documentaries.
Paul Risker: A celebrated documentarian, what initially led you to choose documentary filmmaking as a means of expression?
Nicolas Philibert Photo: Michel Crotto
Nicolas Philibert: I don't know, because at the beginning of my career I was an assistant director on fiction films. The first film I wanted to make curiously and paradoxically was a documentary. I had seen very few documentaries at that time, and so I can't explain why.
Celebrated French documentarian Nicolas Philibert’s On The Adamant ventures inside a place like no other - a home to the transformative power of art. Anchored on the Seine River in Paris, a boat called the Adamant runs daily programs that utilise therapy, education and the arts to reimagine a more humanistic approach to mental health and wellbeing.
In conversation with Eye For Film, Philibert reflected on his career and discussed how the times are positively changing for documentaries.
Paul Risker: A celebrated documentarian, what initially led you to choose documentary filmmaking as a means of expression?
Nicolas Philibert Photo: Michel Crotto
Nicolas Philibert: I don't know, because at the beginning of my career I was an assistant director on fiction films. The first film I wanted to make curiously and paradoxically was a documentary. I had seen very few documentaries at that time, and so I can't explain why.
- 3/29/2024
- by Paul Risker
- eyeforfilm.co.uk
Cynthia Erivo in Drift
Singaporean director Anthony Chen’s fourth feature, Drift, continues his interest in the archetypal ‘outsider.’ The story centres on Jacqueline (Cynthia Erivo), a young refugee who arrives on a Greek island. She’s trying not only to survive her present but to confront her past. When she strikes up an unexpected friendship with tour-guide Callie (Alia Shawkat), the pair help one another look to the future.
In conversation with Eye For Film, Chen discussed the rejuvenating presence of cinema, his decision to take a leap of faith, and being open to divine intervention.
Drift
Paul Risker: Why film as a means of creative expression? Was there an inspirational or defining moment?
Anthony Chen: All I know is cinema is so connected to my life that I can't see myself doing anything else. Every time I'm feeling down, every time I'm struggling, or I've lost faith in what I do,...
Singaporean director Anthony Chen’s fourth feature, Drift, continues his interest in the archetypal ‘outsider.’ The story centres on Jacqueline (Cynthia Erivo), a young refugee who arrives on a Greek island. She’s trying not only to survive her present but to confront her past. When she strikes up an unexpected friendship with tour-guide Callie (Alia Shawkat), the pair help one another look to the future.
In conversation with Eye For Film, Chen discussed the rejuvenating presence of cinema, his decision to take a leap of faith, and being open to divine intervention.
Drift
Paul Risker: Why film as a means of creative expression? Was there an inspirational or defining moment?
Anthony Chen: All I know is cinema is so connected to my life that I can't see myself doing anything else. Every time I'm feeling down, every time I'm struggling, or I've lost faith in what I do,...
- 3/27/2024
- by Paul Risker
- eyeforfilm.co.uk
Baltimore
The Desperate Optimists, filmmakers Joe Lawlor and Christine Malloy take a different approach in their latest film, Baltimore, by basing it on a true story. The film follows Rose Dugdale (Imogen Poots), the English heiress who became a revolutionary. Drawn to Marxism she denounced her life of privilege, and joining the Ira’s fight for a united Ireland, on the 26th April 1974, Dugdale and three accomplices, Dominic (Tom Vaughan-Lawlor), Martin (Lewis Brophy) and Eddie (Jack Meade), stole 19 paintings from Russborough House, with the intent of leveraging them for the release of Ira prisoners.
Christine Molloy and Joe Lawler
In conversation with Eye For Film, Lawlor and Molloy discussed their 'slightly unnatural' aesthetic, and Dugdale’s influence in trying a new approach, within a body of work that has refused to repeat itself.
Paul Risker: The striking thing about your films is...
The Desperate Optimists, filmmakers Joe Lawlor and Christine Malloy take a different approach in their latest film, Baltimore, by basing it on a true story. The film follows Rose Dugdale (Imogen Poots), the English heiress who became a revolutionary. Drawn to Marxism she denounced her life of privilege, and joining the Ira’s fight for a united Ireland, on the 26th April 1974, Dugdale and three accomplices, Dominic (Tom Vaughan-Lawlor), Martin (Lewis Brophy) and Eddie (Jack Meade), stole 19 paintings from Russborough House, with the intent of leveraging them for the release of Ira prisoners.
Christine Molloy and Joe Lawler
In conversation with Eye For Film, Lawlor and Molloy discussed their 'slightly unnatural' aesthetic, and Dugdale’s influence in trying a new approach, within a body of work that has refused to repeat itself.
Paul Risker: The striking thing about your films is...
- 3/22/2024
- by Paul Risker
- eyeforfilm.co.uk
Stopmotion
Director Robert Morgan’s Stopmotion follows Ella (Aisling Franciosi), a young stop motion animator grieving the loss of her mother. Renting a flat where she begins work on a new macabre puppet film, she struggles to escape the shadow of her mother’s formidable and celebrated reputation. Worse, she finds her mind begins to fracture when the creations from her imagination begin to take on a life of their own, threatening to destroy her.
In conversation with Eye For Film, Morgan discussed the mysterious origins of ideas, how the uncanny seduced his youthful imagination, and the drive to make a film that divides audiences and sticks in their minds.
Paul Risker: What was the seed of the idea for Stopmotion, and what compelled you to want to tell this story at this point in time?
Robert Morgan: I have a background in stop motion animation and I’ve...
Director Robert Morgan’s Stopmotion follows Ella (Aisling Franciosi), a young stop motion animator grieving the loss of her mother. Renting a flat where she begins work on a new macabre puppet film, she struggles to escape the shadow of her mother’s formidable and celebrated reputation. Worse, she finds her mind begins to fracture when the creations from her imagination begin to take on a life of their own, threatening to destroy her.
In conversation with Eye For Film, Morgan discussed the mysterious origins of ideas, how the uncanny seduced his youthful imagination, and the drive to make a film that divides audiences and sticks in their minds.
Paul Risker: What was the seed of the idea for Stopmotion, and what compelled you to want to tell this story at this point in time?
Robert Morgan: I have a background in stop motion animation and I’ve...
- 2/22/2024
- by Paul Risker
- eyeforfilm.co.uk
Bleeding Love Photo: Glasgow Film Festival
Director Emma Westenberg’s coming-of-age drama, Bleeding Love, follows a young woman (Clara McGregor) and her estranged father’s (Ewan McGregor) attempts to reconnect during a road trip to Santa Fe, New Mexico. The journey opens old wounds, as the father tries to help his daughter with the drug addiction struggles he believes she has inherited from him.
Speaking with Eye For Film, Westenberg discussed expressing the collective experience of finding oneself and embracing the absurdity of life.
Bleeding Love
Paul Risker: What compelled you to want to tell this story at this point in time?
Emma Westenberg: When I read the script, I connected to the characters and this journey of reconnecting, but also of finding yourself, because it was a coming-of-age. There were a lot of personal connections for me in the story and both of the actors were already attached...
Director Emma Westenberg’s coming-of-age drama, Bleeding Love, follows a young woman (Clara McGregor) and her estranged father’s (Ewan McGregor) attempts to reconnect during a road trip to Santa Fe, New Mexico. The journey opens old wounds, as the father tries to help his daughter with the drug addiction struggles he believes she has inherited from him.
Speaking with Eye For Film, Westenberg discussed expressing the collective experience of finding oneself and embracing the absurdity of life.
Bleeding Love
Paul Risker: What compelled you to want to tell this story at this point in time?
Emma Westenberg: When I read the script, I connected to the characters and this journey of reconnecting, but also of finding yourself, because it was a coming-of-age. There were a lot of personal connections for me in the story and both of the actors were already attached...
- 2/21/2024
- by Paul Risker
- eyeforfilm.co.uk
Brief History Of A Family
Chinese director Jianjie 'JJ' Lin’s feature debut, Brief History Of A Family revolves around the shifting dynamics of a middle-class family. Wei, an only child in post one-child policy China befriends the reclusive Shuo, inviting him back home. Wei’s parents warm to the vulnerable teenager. As time passes, their friendship disrupts the dynamic Wei shares with his parents, as Shuo comes to resemble the son they’d quietly wished for.
In conversation with Eye For Film, Lin spoke about experiencing an existential crisis that set him on an unexpected path, his patient and detail orientated approach to filmmaking, and reimagining a traditional genre film.
Paul Risker: What appeals to you about filmmaking as a means of creative expression?
Jianjie 'JJ' Lin: I used to study biology and for a big part of my life I had very little to do with film.
Chinese director Jianjie 'JJ' Lin’s feature debut, Brief History Of A Family revolves around the shifting dynamics of a middle-class family. Wei, an only child in post one-child policy China befriends the reclusive Shuo, inviting him back home. Wei’s parents warm to the vulnerable teenager. As time passes, their friendship disrupts the dynamic Wei shares with his parents, as Shuo comes to resemble the son they’d quietly wished for.
In conversation with Eye For Film, Lin spoke about experiencing an existential crisis that set him on an unexpected path, his patient and detail orientated approach to filmmaking, and reimagining a traditional genre film.
Paul Risker: What appeals to you about filmmaking as a means of creative expression?
Jianjie 'JJ' Lin: I used to study biology and for a big part of my life I had very little to do with film.
- 2/15/2024
- by Paul Risker
- eyeforfilm.co.uk
Zeno Graton Photo: Caroline Monnet
Zeno Graton’s claustrophobic, youth detention centre set feature debut, centres on a love story between newcomer William (Julien De Saint Jean) and Joe (Khalil Ben Gharbia), who is preparing to leave. The pair feel an instant attraction, yet their paths are destined to diverge, provoking a conflict in Joe between his forthcoming freedom and this newfound connection, that offers him hope.
In conversation with Eye For Film, Graton discussed the film’s literary and personal origins, liberating masculinity from imprisoned constructs, and challenging the narrative of shame and guilt.
Paul Risker: How do you reflect on your personal journey of cinematic discovery, and the films that have defined this experience?
Zeno Graton: What I now understand is when you sit down and try to write, you can't lie to yourself. You have to write about you, and even if you're not writing about yourself,...
Zeno Graton’s claustrophobic, youth detention centre set feature debut, centres on a love story between newcomer William (Julien De Saint Jean) and Joe (Khalil Ben Gharbia), who is preparing to leave. The pair feel an instant attraction, yet their paths are destined to diverge, provoking a conflict in Joe between his forthcoming freedom and this newfound connection, that offers him hope.
In conversation with Eye For Film, Graton discussed the film’s literary and personal origins, liberating masculinity from imprisoned constructs, and challenging the narrative of shame and guilt.
Paul Risker: How do you reflect on your personal journey of cinematic discovery, and the films that have defined this experience?
Zeno Graton: What I now understand is when you sit down and try to write, you can't lie to yourself. You have to write about you, and even if you're not writing about yourself,...
- 12/15/2023
- by Paul Risker
- eyeforfilm.co.uk
Farang! Photo: courtesy of Frightfest
A filmmaker who has never been afraid to explore the subject of violence, since his début feature, Frontière(s), in which a group of criminals seeks refuge in an inn run by a group of neo-Nazis, Xavier Gens returns with his revenge thriller Farang (Mayhem!).
The story centres on Sam (Nassim Lyes), who flees to Thailand after being involved in a fatal altercation. There he sets up home with Mia (Loryn Nounay) and her daughter. Their seemingly tranquil life is disrupted when Sam makes a fateful choice, thrusting him and his family into what seems to be an inescapable cycle of destructive violence.
Following the film's international première at Fantasia, Gens spoke with Eye For Film about the influence of the late William Friedkin and the importance of emotion driving the action.
Farang Photo: Courtesy of IFC Films.
Paul Risker: Why film as a means of creative expression?...
A filmmaker who has never been afraid to explore the subject of violence, since his début feature, Frontière(s), in which a group of criminals seeks refuge in an inn run by a group of neo-Nazis, Xavier Gens returns with his revenge thriller Farang (Mayhem!).
The story centres on Sam (Nassim Lyes), who flees to Thailand after being involved in a fatal altercation. There he sets up home with Mia (Loryn Nounay) and her daughter. Their seemingly tranquil life is disrupted when Sam makes a fateful choice, thrusting him and his family into what seems to be an inescapable cycle of destructive violence.
Following the film's international première at Fantasia, Gens spoke with Eye For Film about the influence of the late William Friedkin and the importance of emotion driving the action.
Farang Photo: Courtesy of IFC Films.
Paul Risker: Why film as a means of creative expression?...
- 9/1/2023
- by Paul Risker
- eyeforfilm.co.uk
Trace Lysette in Monica Photo: courtesy of IFC Films. An IFC Films release.
In Andrea Pallaoro’s striking third feature, Monica, Trace Lysette plays the title character, a trans webcam performer, who returns home and tries to reconnect with her ailing mother, Eugenia (Patricia Clarkson). Continuing the director’s exploration of family and relationships in an effort to understand human nature, it refrains from offering answers, instead borrowing from Michelangelo Antonioni’s non-intrusive and observational approach, Pallaoro invites his audience to embrace and understand the fractured family at the heart of his film.
Lysette spoke with Eye For Film about the collaborative relationship she shared with Pallaoro, and the film’s contribution to conversations about representation for trans people.
Trace Lysette and Patricia Clarkson in Monica Photo: courtesy of IFC Films. An IFC Films release.
Paul Risker: When you first read the script, what drew your interest in the character of Monica?...
In Andrea Pallaoro’s striking third feature, Monica, Trace Lysette plays the title character, a trans webcam performer, who returns home and tries to reconnect with her ailing mother, Eugenia (Patricia Clarkson). Continuing the director’s exploration of family and relationships in an effort to understand human nature, it refrains from offering answers, instead borrowing from Michelangelo Antonioni’s non-intrusive and observational approach, Pallaoro invites his audience to embrace and understand the fractured family at the heart of his film.
Lysette spoke with Eye For Film about the collaborative relationship she shared with Pallaoro, and the film’s contribution to conversations about representation for trans people.
Trace Lysette and Patricia Clarkson in Monica Photo: courtesy of IFC Films. An IFC Films release.
Paul Risker: When you first read the script, what drew your interest in the character of Monica?...
- 5/7/2023
- by Paul Risker
- eyeforfilm.co.uk
iMordecai
In first time writer and director Marvin Samel’s iMordecai, a series of unexpected events unfold when Marvin (Sean Astin) buys his father Mordecai (Judd Hirsch) an iPhone to replace his broken flip-phone. A Holocaust survivor, Mordecai’s relationship with his son is strained - the two distanced by a technological and cultural, generational divide. Meanwhile, his wife Fela (Carol Kane) is diagnosed with Alzheimer’s. When he begins taking lessons for his new phone from the 'Einsteins', the tech experts at the store, Mordecai discovers a new and unexpected lease of life.
In conversation with Eye for Film, Samel discussed how his lack of intention to direct led him to contribute to an important conversation, and rejecting on-set conventions to honour his collaborative ethos.
iMordecai
Paul Risker: Why filmmaking as a means of creative expression?
Marvin Samel: I believe that filmmaking is the most expressive form of art there is.
In first time writer and director Marvin Samel’s iMordecai, a series of unexpected events unfold when Marvin (Sean Astin) buys his father Mordecai (Judd Hirsch) an iPhone to replace his broken flip-phone. A Holocaust survivor, Mordecai’s relationship with his son is strained - the two distanced by a technological and cultural, generational divide. Meanwhile, his wife Fela (Carol Kane) is diagnosed with Alzheimer’s. When he begins taking lessons for his new phone from the 'Einsteins', the tech experts at the store, Mordecai discovers a new and unexpected lease of life.
In conversation with Eye for Film, Samel discussed how his lack of intention to direct led him to contribute to an important conversation, and rejecting on-set conventions to honour his collaborative ethos.
iMordecai
Paul Risker: Why filmmaking as a means of creative expression?
Marvin Samel: I believe that filmmaking is the most expressive form of art there is.
- 4/16/2023
- by Paul Risker
- eyeforfilm.co.uk
This Closeness
Director Kit Zauhar uses her sophomore feature, This Closeness, as a Petri dish to explore human nature in a claustrophobic Philadelphia apartment. The plot centres on couple, Tessa (Zauhar) and Ben (Zane Pais), who are in town for his high school reunion. Renting a room in a stranger’s apartment, Tessa begins to form a bond with Adam (Ian Edlund), their temporary lonely and introverted roommate, as tensions mount with her boyfriend.
In conversation with Eye For Film at this year’s SXSW, where the film screened in the Narrative Spotlight section, Zauhar discussed her interest in critiquing white masculinity, and using 'trivialities' to scratch the surface of the human experience.
Paul Risker: Why acting, writing and directing as a means of creative expression? Was there an inspirational or defining moment?
Kit Zauhar: I don't know if I had one moment where I knew. I'm a lucky individual,...
Director Kit Zauhar uses her sophomore feature, This Closeness, as a Petri dish to explore human nature in a claustrophobic Philadelphia apartment. The plot centres on couple, Tessa (Zauhar) and Ben (Zane Pais), who are in town for his high school reunion. Renting a room in a stranger’s apartment, Tessa begins to form a bond with Adam (Ian Edlund), their temporary lonely and introverted roommate, as tensions mount with her boyfriend.
In conversation with Eye For Film at this year’s SXSW, where the film screened in the Narrative Spotlight section, Zauhar discussed her interest in critiquing white masculinity, and using 'trivialities' to scratch the surface of the human experience.
Paul Risker: Why acting, writing and directing as a means of creative expression? Was there an inspirational or defining moment?
Kit Zauhar: I don't know if I had one moment where I knew. I'm a lucky individual,...
- 4/8/2023
- by Paul Risker
- eyeforfilm.co.uk
She Is Love Photo: Courtesy of London Film Festival
Director Jamie Adams reflects on early relationships and the ghosts of unresolved separation in his latest film, She Is Love. The story revolves around an unexpected reunion, when Patricia (Haley Bennett) arrives at a country hotel in Cornwall that is run by her ex-husband, Idris (Sam Riley) and his girlfriend Louise (Marisa Abela). As if fate has thrust them together, Patricia and Sam struggle through the awkwardness of their shared history, in the hope of finding a resolution.
In conversation with Eye For Film, Adams discussed his interest in improvisation, its limits, and using cinema to explore ideas that are neither possible nor pragmatic.
Paul Risker: There’s the story we see onscreen, and there’s the story in the making of the film. Are there any stories within the story that come to mind?
Jamie Adams: The first thing is the pandemic affected us.
Director Jamie Adams reflects on early relationships and the ghosts of unresolved separation in his latest film, She Is Love. The story revolves around an unexpected reunion, when Patricia (Haley Bennett) arrives at a country hotel in Cornwall that is run by her ex-husband, Idris (Sam Riley) and his girlfriend Louise (Marisa Abela). As if fate has thrust them together, Patricia and Sam struggle through the awkwardness of their shared history, in the hope of finding a resolution.
In conversation with Eye For Film, Adams discussed his interest in improvisation, its limits, and using cinema to explore ideas that are neither possible nor pragmatic.
Paul Risker: There’s the story we see onscreen, and there’s the story in the making of the film. Are there any stories within the story that come to mind?
Jamie Adams: The first thing is the pandemic affected us.
- 3/22/2023
- by Paul Risker
- eyeforfilm.co.uk
Daniel Dorr in Pure O Photo: courtesy of Pure O LLC
Actor, filmmaker and musician Dillon Tucker makes his feature début with the autobiographical narrative feature, Pure O, that takes the audience inside the complicated and debilitating reality of Obsessive Compulsive Disorder (Ocd).
Cooper Ganz (Daniel Dorr) believes he’s suffering from depression, but then his therapist diagnoses him as suffering with the Pure Obsessional form of Ocd. It impacts his personal and professional life, but through group therapy and continuing his work as a drug rehab counsellor, he discovers value in human connections.
In conversation with Eye For Film, ahead of the world premiere at SXSW, Tucker discussed the musical nature of film, and Hitchcock’s mastery of psychology and technical manipulation. He also spoke about the masculine point of view and mental health, and his desire to create a broad thematic reflection on human nature.
Pure O writer...
Actor, filmmaker and musician Dillon Tucker makes his feature début with the autobiographical narrative feature, Pure O, that takes the audience inside the complicated and debilitating reality of Obsessive Compulsive Disorder (Ocd).
Cooper Ganz (Daniel Dorr) believes he’s suffering from depression, but then his therapist diagnoses him as suffering with the Pure Obsessional form of Ocd. It impacts his personal and professional life, but through group therapy and continuing his work as a drug rehab counsellor, he discovers value in human connections.
In conversation with Eye For Film, ahead of the world premiere at SXSW, Tucker discussed the musical nature of film, and Hitchcock’s mastery of psychology and technical manipulation. He also spoke about the masculine point of view and mental health, and his desire to create a broad thematic reflection on human nature.
Pure O writer...
- 3/10/2023
- by Paul Risker
- eyeforfilm.co.uk
Swallowed Photo: Blue Finch Film Releasing
Fashion photographer turned genre filmmaker Carter Smith’s unsettling survival and body horror Swallowed, screened in Fantasia’s ‘Queer Genre Cinema Spotlight’ section, and centres on two friends who put themselves in a compromising position.
Celebrating his impending move to Los Angeles to become a gay porn actor, Benjamin is looking forward to escaping his small hometown of Maine. Unbeknownst to him, his friend Dom, has set up an illegal drug run to help fund his Californian adventure. Failing to see the perils of the endeavour, things quickly go awry, as the pair find themselves an ever-evolving nightmare.
Swallowed Photo: Blue Finch Film Releasing
In conversation with Eye For Film out of Fantasia, Smith discussed expanding the representation of queer characters and stories, and genre cinema’s historic reluctance towards diverse representation.
Paul Risker: What motivated your transition from fashion photography to filmmaking?...
Fashion photographer turned genre filmmaker Carter Smith’s unsettling survival and body horror Swallowed, screened in Fantasia’s ‘Queer Genre Cinema Spotlight’ section, and centres on two friends who put themselves in a compromising position.
Celebrating his impending move to Los Angeles to become a gay porn actor, Benjamin is looking forward to escaping his small hometown of Maine. Unbeknownst to him, his friend Dom, has set up an illegal drug run to help fund his Californian adventure. Failing to see the perils of the endeavour, things quickly go awry, as the pair find themselves an ever-evolving nightmare.
Swallowed Photo: Blue Finch Film Releasing
In conversation with Eye For Film out of Fantasia, Smith discussed expanding the representation of queer characters and stories, and genre cinema’s historic reluctance towards diverse representation.
Paul Risker: What motivated your transition from fashion photography to filmmaking?...
- 8/10/2022
- by Paul Risker
- eyeforfilm.co.uk
Lesley Smith and James MacLean in Compulsus Photo: Jessie Redmond
Director Tara Thorne’s feature debut, Compulsus, screening in Fantasia’s ‘Queer Genre Cinema Spotlight’ section, centres on two women who pursue vigilante justice against perpetrators of misogynistic crimes.
Spoken-word poet Wally (Lesley Smith) listens intently to the woes of her straight friends, who find it hard to meet worthwhile men. Meanwhile, word gets around town about a series of sexual assaults. When Wally goes on a first date with Lou (Kathleen Dorian), the chef at the restaurant happens to be this notorious perpetrator. Unable to restrain herself, Wally attack the chef, and the pair, encouraged by responses on social media begin a vigilante wave of either justice or terror.
Tara Thorne Photo: Heather Young
In conversation with Eye For Film from Fantasia, Thorne and Smith discussed challenging the representation of the transparent woman, while giving space for a woman...
Director Tara Thorne’s feature debut, Compulsus, screening in Fantasia’s ‘Queer Genre Cinema Spotlight’ section, centres on two women who pursue vigilante justice against perpetrators of misogynistic crimes.
Spoken-word poet Wally (Lesley Smith) listens intently to the woes of her straight friends, who find it hard to meet worthwhile men. Meanwhile, word gets around town about a series of sexual assaults. When Wally goes on a first date with Lou (Kathleen Dorian), the chef at the restaurant happens to be this notorious perpetrator. Unable to restrain herself, Wally attack the chef, and the pair, encouraged by responses on social media begin a vigilante wave of either justice or terror.
Tara Thorne Photo: Heather Young
In conversation with Eye For Film from Fantasia, Thorne and Smith discussed challenging the representation of the transparent woman, while giving space for a woman...
- 8/8/2022
- by Paul Risker
- eyeforfilm.co.uk
Frederik von Lüttichau and Luisa Taraz in Dawn Breaks Behind The Eyes
In director Kevin Kopacka’s genre-bending and playful horror, Dawn Breaks Behind The Eyes, Margo (Luisa Taraz) and her ill-tempered husband Dieter (Frederik von Lüttichau) find themselves inspecting a castle in the middle of nowhere – as you do. Bequeathed to the wife, who is cursed with an ill-tempered husband, the pair find themselves trapped in its walls, seemingly for eternity. From there, Kopacka weaves together layers of storytelling, as he explores the dynamics of their relationship, and through them the conflict of masculinity and femininity.
In conversation with Eye For Film, Kopacka discussed his creative process, possibly departing filmmaking as an act of metamorphosis, and confronting a personal fear.
Getting ideas in Dawn Breaks Behind The Eyes
Paul Risker: Thinking about your background in painting, how does this feed into your filmmaking, and how do the two inform one another?...
In director Kevin Kopacka’s genre-bending and playful horror, Dawn Breaks Behind The Eyes, Margo (Luisa Taraz) and her ill-tempered husband Dieter (Frederik von Lüttichau) find themselves inspecting a castle in the middle of nowhere – as you do. Bequeathed to the wife, who is cursed with an ill-tempered husband, the pair find themselves trapped in its walls, seemingly for eternity. From there, Kopacka weaves together layers of storytelling, as he explores the dynamics of their relationship, and through them the conflict of masculinity and femininity.
In conversation with Eye For Film, Kopacka discussed his creative process, possibly departing filmmaking as an act of metamorphosis, and confronting a personal fear.
Getting ideas in Dawn Breaks Behind The Eyes
Paul Risker: Thinking about your background in painting, how does this feed into your filmmaking, and how do the two inform one another?...
- 7/14/2022
- by Paul Risker
- eyeforfilm.co.uk
When you think about Italian crime films, the chances are that you have something very specific in mind. As he told my colleague Paul Risker, director Alessandro Celli wanted to get beyond that and do something different when he made Mondocane. The name comes from the film’s young hero, played by Dennis Protopapa, a homeless teen who, along with best friend Pisciasotto (Giuliano Soprano) lives in a shipwrecked boat in a quarantine zone which has biohazard signs all over it. They’re watched over by an old man who sexually exploits them but at least makes sure they’re fed and relatively safe from other forms of violence. Having reached adolescence in reasonable health (Pisciasotto is epileptic) and without becoming addicts, they’re doing better than most of their peers, but that’s about to change.
The reason for the change is...
The reason for the change is...
- 6/5/2022
- by Jennie Kermode
- eyeforfilm.co.uk
Mondocane Photo: courtesy of Kino Lorber
Italian director Alessandro Celli's début feature Mondocane transforms the Taranto landscape of southern Italy into a dystopian vision. Trapped in this space, his two young protagonists, Pietro (Dennis Protopapa), known as Mondocane, and Cristian (Giulano Soprano), known by the name Pisciasotto, dream of escaping the toxic wasteland. When the two best friends are recruited by Testacalda, a.k.a Hothead (Alessandro Borghi), leader of a local gang called the Ants, their bond is tested.
Mondocane
In conversation with Eye For Film, Celli discussed his ambition to diversify from Italian crime traditions, and the uncertainty around the response the film will provoke.
Paul Risker: Why filmmaking as a means of creative expression? Was there an inspirational or defining moment for you?
Alessandro Celli: It was very early on, growing up in Rome with a Canadian father. I'd go to the one theatre in...
Italian director Alessandro Celli's début feature Mondocane transforms the Taranto landscape of southern Italy into a dystopian vision. Trapped in this space, his two young protagonists, Pietro (Dennis Protopapa), known as Mondocane, and Cristian (Giulano Soprano), known by the name Pisciasotto, dream of escaping the toxic wasteland. When the two best friends are recruited by Testacalda, a.k.a Hothead (Alessandro Borghi), leader of a local gang called the Ants, their bond is tested.
Mondocane
In conversation with Eye For Film, Celli discussed his ambition to diversify from Italian crime traditions, and the uncertainty around the response the film will provoke.
Paul Risker: Why filmmaking as a means of creative expression? Was there an inspirational or defining moment for you?
Alessandro Celli: It was very early on, growing up in Rome with a Canadian father. I'd go to the one theatre in...
- 5/22/2022
- by Paul Risker
- eyeforfilm.co.uk
Stephen Friedrich, Sarah Yarkin and Tara Holt in Tankhouse
Fargo, North Dakota, is the stage for two New York blacklisted theatre artists, Tucker (Stephen Friedrich) and Sandrene (Tara Holt), to pursue their dream of an "artistic revolution.” Director Noam Tomaschoff and co-writer Chelsea Frei’s feature debut is adapted from their earlier improv short, and stars Christopher Lloyd, who banishes the pair from the New York scene, and Richard Kind as Mortensen, who lives with the burden of broken dreams.
Putting on a show
In conversation with Eye For Film, Tomaschoff and Frei discussed the irony behind Tankhouse, compromising their artistic expression, and the burden of the creative dream.
Paul Risker: Behind the onscreen story, there’s the story of the making of the film. Are there any tales, or, moments you recall that might surprise the audience to know?
Noam Tomaschoff: … When you do a first feature, the...
Fargo, North Dakota, is the stage for two New York blacklisted theatre artists, Tucker (Stephen Friedrich) and Sandrene (Tara Holt), to pursue their dream of an "artistic revolution.” Director Noam Tomaschoff and co-writer Chelsea Frei’s feature debut is adapted from their earlier improv short, and stars Christopher Lloyd, who banishes the pair from the New York scene, and Richard Kind as Mortensen, who lives with the burden of broken dreams.
Putting on a show
In conversation with Eye For Film, Tomaschoff and Frei discussed the irony behind Tankhouse, compromising their artistic expression, and the burden of the creative dream.
Paul Risker: Behind the onscreen story, there’s the story of the making of the film. Are there any tales, or, moments you recall that might surprise the audience to know?
Noam Tomaschoff: … When you do a first feature, the...
- 5/21/2022
- by Paul Risker
- eyeforfilm.co.uk
Catherine Clinch as Cáit in The Quiet Girl
Irish director Colm Bairéad's debut feature, The Quiet Girl (An Cailín Ciúin), an adaptation of Claire Keegan's novella Foster, centres on Cáit, a young girl despatched for the summer to the temporary care of surrogate parents, Eibhlin and Seán Cinnsealach.
Although Seán is initially distant towards Cáit, she blossoms in their care. As the Cinnsealach's tragic past is revealed, the relationship with their temporary foster daughter becomes more emotionally complicated. Set against the backdrop of rural Ireland, the three characters fill a void in one another in what is a mutually transformational experience.
The Quiet Girl
In conversation with Eye For Film, Bairéad discussed having faith that simple storytelling can yield something complex and compelling, honouring the spirit of Keegan’s novella, and the transformation of tragedy into a life affirming message.
Paul Risker: It’s a commitment to make a film,...
Irish director Colm Bairéad's debut feature, The Quiet Girl (An Cailín Ciúin), an adaptation of Claire Keegan's novella Foster, centres on Cáit, a young girl despatched for the summer to the temporary care of surrogate parents, Eibhlin and Seán Cinnsealach.
Although Seán is initially distant towards Cáit, she blossoms in their care. As the Cinnsealach's tragic past is revealed, the relationship with their temporary foster daughter becomes more emotionally complicated. Set against the backdrop of rural Ireland, the three characters fill a void in one another in what is a mutually transformational experience.
The Quiet Girl
In conversation with Eye For Film, Bairéad discussed having faith that simple storytelling can yield something complex and compelling, honouring the spirit of Keegan’s novella, and the transformation of tragedy into a life affirming message.
Paul Risker: It’s a commitment to make a film,...
- 5/18/2022
- by Paul Risker
- eyeforfilm.co.uk
Home Photo: courtesy of Strike Media
German actress Franka Potente makes her feature directorial début with Home, the story of Marvin (Jake McLaughlin), a 40-year-old felon who returns to his Californian home town after serving his sentence for murder. Receiving a cold reception from the community, he's forced to confront his past as he tries to reconnect with his mother Bernadette (Kathy Bates).
In conversation with Eye For Film, Potente discussed the casual metaphor of filmmaking as war, being deprived creative milestones by the pandemic, and how cinema like life is a trojan horse.
Paul Risker: Filmmakers have often compared the filmmaking process to having a child, that you eventually send out into the world once they’ve grown up. How do you compare and contrast the creation of the character as a performer, to your experience as a writer and director?
Jake McLaughlin in Home Photo: courtesy of Strike Media
Franka Potente: Well,...
German actress Franka Potente makes her feature directorial début with Home, the story of Marvin (Jake McLaughlin), a 40-year-old felon who returns to his Californian home town after serving his sentence for murder. Receiving a cold reception from the community, he's forced to confront his past as he tries to reconnect with his mother Bernadette (Kathy Bates).
In conversation with Eye For Film, Potente discussed the casual metaphor of filmmaking as war, being deprived creative milestones by the pandemic, and how cinema like life is a trojan horse.
Paul Risker: Filmmakers have often compared the filmmaking process to having a child, that you eventually send out into the world once they’ve grown up. How do you compare and contrast the creation of the character as a performer, to your experience as a writer and director?
Jake McLaughlin in Home Photo: courtesy of Strike Media
Franka Potente: Well,...
- 2/1/2022
- by Paul Risker
- eyeforfilm.co.uk
Bliss
German director Henrika Kull takes audiences inside a working Berlin brothel, in her sophomore feature Bliss. The drama centres on the romantic relationship that forms between Sascha (Katharina Behrens) and new girl Maria (Adam Hoya), but their insecurities and struggles to open up threatens their hopes of finding something more emotionally permanent.
In conversation with Eye For Film, Kull discussed taking her audience into unfamiliar spaces, challenging preconceptions and changing perception.
Paul Risker: Filmmakers are often asked what they want the audience to take away from a film. Speaking with directors, I get the sense they’re often not trying to tell the audience anything, but instead give them an experience. Is this how you approach filmmaking?
Henrika Kull: Yes, and the places I go in my research, for example with my first film Jibril, was to prison, but also the Arab community of Berlin, and here it was an actual brothel.
German director Henrika Kull takes audiences inside a working Berlin brothel, in her sophomore feature Bliss. The drama centres on the romantic relationship that forms between Sascha (Katharina Behrens) and new girl Maria (Adam Hoya), but their insecurities and struggles to open up threatens their hopes of finding something more emotionally permanent.
In conversation with Eye For Film, Kull discussed taking her audience into unfamiliar spaces, challenging preconceptions and changing perception.
Paul Risker: Filmmakers are often asked what they want the audience to take away from a film. Speaking with directors, I get the sense they’re often not trying to tell the audience anything, but instead give them an experience. Is this how you approach filmmaking?
Henrika Kull: Yes, and the places I go in my research, for example with my first film Jibril, was to prison, but also the Arab community of Berlin, and here it was an actual brothel.
- 12/24/2021
- by Paul Risker
- eyeforfilm.co.uk
Lola And The Sea Photo: Az Movies
Belgian director Laurent Micheli's sophomore feature Lola And The Sea tells the story of a trans woman, Lola (Mya Bollaers), who reconnects with her estranged father Phillipe (Benoît Magimel), during a road trip to scatter her mother's ashes in the North Sea. The question at the heart of the story is whether he can finally accept Lola, which would be the most fitting act of remembrance to his wife, who supported her.
In conversation with Eye For Film, Micheli discussed not presenting a view of trans people as victims, and challenging his audience to understand the need for compassion and understanding.
Paul Risker: Why filmmaking as a means of creative expression? Was there an inspirational or defining moment for you?
Lola And The Sea Photo: Az Movies
Laurent Micheli: I never wanted to be a director. I've worked mostly as...
Belgian director Laurent Micheli's sophomore feature Lola And The Sea tells the story of a trans woman, Lola (Mya Bollaers), who reconnects with her estranged father Phillipe (Benoît Magimel), during a road trip to scatter her mother's ashes in the North Sea. The question at the heart of the story is whether he can finally accept Lola, which would be the most fitting act of remembrance to his wife, who supported her.
In conversation with Eye For Film, Micheli discussed not presenting a view of trans people as victims, and challenging his audience to understand the need for compassion and understanding.
Paul Risker: Why filmmaking as a means of creative expression? Was there an inspirational or defining moment for you?
Lola And The Sea Photo: Az Movies
Laurent Micheli: I never wanted to be a director. I've worked mostly as...
- 12/21/2021
- by Paul Risker
- eyeforfilm.co.uk
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.