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June 2024 volume 34 issue 5 Richard Linklater Alice rohrwacher the fall guy black film bulletin £6. 50 The many faces of From Slacker to Hit Man. the big career interview | sfx.issue.379.june.2024.pdf |
STARRING KOJI YAKUSHO mubi. com/perfectdays NOW STREAMING “Achingly lovely... advocates not just a new way of looking, but also a new way of living” THE OBSERVER “A film of profound gentleness... Koji Yakusho delivers a sublime central performance” LITTLE WHITE LIES “Rich and resonant... surrender to its intimate, cont... | sfx.issue.379.june.2024.pdf |
IN THIS ISSUE CONTENTS 56 36 RICHARD LINKLATER As Hit Man hits UK screens, the director talks to Hannah Mc Gill about the myth of the everyday assassin and looks back over the highlights of his career, from his Sundance breakthrough Slacker and his early battles for independence from studio control in the 1990s50 THE F... | sfx.issue.379.june.2024.pdf |
IN THIS ISSUECONTRIBUTORS HANNAH MCGILL is a writer, broadcaster and critic based in Scotland. She also teaches and lectures on film studies and film festival history. She was the artistic director of the Edinburgh International Film Festival from 2006 to 2010. LEE MARSHALL is a film critic, travel writer and cyclist b... | sfx.issue.379.june.2024.pdf |
A GLIMMERING NEW 4K RESTORATION AVAILABLE ON UHD COLLECTOR'S EDITION APRIL 22 COPY RIGHT © 1 951 STUDIOCANAL FILMS LTD /VINTAGECLASSICSFILM. CO. UK 64PAGE BOOKLET, 2 POSTERS PLUS SET OF 4 POPART ARTCARDS | sfx.issue.379.june.2024.pdf |
EDITORIAL Mike Williams @itsmikelike Eleanor is the film's sole voice of reason, surrounded by men in different stages of unravelling: Dennis Hopper, Martin Sheen, Sam Bottoms and, of course, Francis Ford Coppola himself Hearts of Darkness: A Filmmaker's Apocalypse, the 1991 documentary co-directed by Eleanor Coppola a... | sfx.issue.379.june.2024.pdf |
BFI MEMBERS ENJOY 15 % OFF | sfx.issue.379.june.2024.pdf |
BFI FILM CLASSICS Discover more and add to your collection at www. bloomsbury. com/BFI BFI Film Classics have introduced, analysed and celebrated cinema's most memorable works for over 30 years. The Red Shoes Mean Streets Rushmore It's a Wonderful Life The Deer Hunter Point Blank Eraserhead Lost in Translation“Magnifi ... | sfx.issue.379.june.2024.pdf |
OPENING SCENES Y esterday's tomorrow Paola Cortellesi's hit comedy drama There's Still T omorrow borrows the language and settings of 1940s neorealism-but the themes of feminism and domestic violence remain dismayingly contemporary BY JONATHAN ROMNEY It is more than a little ironic that it took a highly commercial femi... | sfx.issue.379.june.2024.pdf |
language is ingrained in our collective culture, it's the way we see the past. So when I heard the stories [about the past] from my grandparents, I would translate them in my mind into the visual language of neorealism. ” In fact, There's Still T omorrow is nei-ther strictly a forgery of neorealism nor a parody, and no... | sfx.issue.379.june.2024.pdf |
EDITORS' CHOICERecommendations from the Sight and Sound team FLATPACK FESTIVAL flatpackfestival. org. uk, 10-19 May, venues across Birmingham I'm always intrigued to see what Flatpack, which is committed to showing film in all shapes and sizes, has assembled for its annual festival. Think crafty cross-cultural inventio... | sfx.issue.379.june.2024.pdf |
I see Holland, I see Franz BY THOMAS FLEW Her refugee drama Green Border is coming to cinemas in June, having had a prize-winning Venice premiere last year, but Agnieszka Hol-land is already deep into production on her next feature, Franz, about the German-speak-ing Jewish writer Franz Kafka, played by new-comer Idan W... | sfx.issue.379.june.2024.pdf |
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IN CONVERSATION Q Y our family employed a nanny while you were growing up. What do you remember most about her? A She's still in my life, she still calls me 'daughter' all the time. It took a long time for me-too much time, actually-to understand or even ask myself who she is, where she came from, who her family were. ... | sfx.issue.379.june.2024.pdf |
FESTIVALS indelible damage of wars deeper back in time, as if to warn our belligerent present. Both festivals' main competition winners were cases in point. At CPH:DOX, the DOX:AWARD went to Alessandra Celesia's The Flats, a deftly attentive and empathetic portrait of besiegement and bruised survival among a ragtag cas... | sfx.issue.379.june.2024.pdf |
Spotlighting artificial intelligence in film and TV BY THOMAS FLEW As Alex Garland's Civil W ar battles at the box office, its production company and distributor A24 is losing the PR war, having become embroiled in controversy over a series of posters reportedly created using generative AI. The artworks, which depict f... | sfx.issue.379.june.2024.pdf |
THE BALLOT OF... Each month we highlight a voter in our Greatest Films of All Time poll. Here the English screenwriter and director of Hoard, her first feature, which is out now, shares her choices Luna Carmoon I'm sure I will kick myself for many others, but I weirdly wrote and chose quite fast, and for that it's prob... | sfx.issue.379.june.2024.pdf |
MEAN SHEETS The Rome-born painter Anselmo Ballester created lurid, pulpy posters that were bursting with the promise of sex or violence- even when the film wasn't On the W aterfront (1954) Salome (1953) The Man from Laramie (1955)BY THOMAS FLEW Anselmo Ballester (1897-1974) was a legend of Italian poster design who spe... | sfx.issue.379.june.2024.pdf |
READERS' LETTERSGet in touch Email: sightandsound@bfi. org. uk T witter: @sightsoundmag By post: Sight and Sound, BFI, 21 Stephen Street, London, W1T 1LN David Thompson's complaint ('Orchestral manoeuvres in the dark', Sight and Sound, April) that Portrait of a Lady on Fire (2019) features a piece by Vivaldi at a date ... | sfx.issue.379.june.2024.pdf |
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Robot Dreams is a silent wonder, crammed with visual references celebrating classic films Pablo Berger's wistful, comic animation Robot Dreams is set in a very familiar place, a colourful version of 1980s Manhattan. Gridlock, graffiti and rollerskates-it's a milieu I recognise well from the movies of my childhood. And ... | sfx.issue.379.june.2024.pdf |
This T own, like so many other band dramas, hits a bum note when it comes to the actual music Andrew Male @Andr6w Male There is a thrilling point, half way into the chaotic final episode of Steven Knight's This T own (BBC i Player), when it looks as if this overambitious drama about the formation of a post-punk ska ban... | sfx.issue.379.june.2024.pdf |
Nicole Flattery @nicoleflattery Flick Lit We live in a time-perhaps because of social media, which allows, even encour-ages, a proliferation of selves; or because of sheer brazenness bred of desperation in our capitalist landscape-in which the fraudster occupies a central role. Patri-cia Highsmith's T om Ripley is back... | sfx.issue.379.june.2024.pdf |
While the gas crisis was not as detrimental to the country's morale as the protracted horror of the Vietnam War, or the disgrace of Watergate, energy instability added a new flavour of volatility to the mix Why the American road movie in 1974 had begun to run on empty Jessica Kiang @jessicakiang the magnificent '74 “No... | sfx.issue.379.june.2024.pdf |
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In this issue, Dr June Givanni talks to the actress Adjoa Andoh, Dr Joanna Abeyie assesses the climate for diversity and inclusion in the industry, and critics Leila Latif and Ellen E. Jones ask whether film and TV really can save the world THE BFB EDITORS: DR JUNE GIVANNI, JAN ASANTE, MELANIE HOYES. @BLKFILMBULLETIN T... | sfx.issue.379.june.2024.pdf |
ADJOA ANDOH: SWINGING THE LENSJune Givanni: Y our character Lady Danbury is central to both Bridgerton [2020-] and the Queen Charlotte [2023] historical drama series. How culturally significant was it to have these come out of the Shondaland development stable? Adjoa Andoh: I don't think there would have been that int... | sfx.issue.379.june.2024.pdf |
'There were a lot of Black artists coming through theatre, TV and film at that time who never received the recognition they deserved. That's why, in our era, Spike Lee just blew everyone's minds' ABOVE Leonie Forbes and Adjoa Andoh in Frances Anne-Solomon's What My Mother T old Me (1995) America or the West Indies and ... | sfx.issue.379.june.2024.pdf |
African American actor, producer and showrunner Issa Rae's thoughts on the ever-changing television and film land-scape in a recent interview with Porter magazine provoked my own personal reflections on representation, account-ability and fairness in the UK TV and film industry. Rae referenced a number of Black equity,... | sfx.issue.379.june.2024.pdf |
Significantly, the Porter article points out the dwindling investment in earlier commitments to increase authentic Black stories on screen and the development of Black talent off screen. Rae states, “Y ou're seeing so many of these Black shows get cancelled, you're seeing so many execu-tives-especially on the EDI side-... | sfx.issue.379.june.2024.pdf |
JONES PORTRAIT: MARTINA LANGLeila Latif: How has the reaction to the book been so far? Ellen E. Jones: I anticipated it being more confrontational, but people seem to be on their best behaviour. I occasionally do interviews where it's obvious that the person understands the topic and we can develop the ideas in interes... | sfx.issue.379.june.2024.pdf |
who've been historically marginalised do when we go to the cinema. That's the great power of film and television. When we start thinking about it as something that enriches everybody's experience and see there are also lots of commercial incentives to connect with different audience groups, you'll get rid of that attit... | sfx.issue.379.june.2024.pdf |
guess an anxiety in myself that I've had to overcome in writing the book and talking about the book is asking whether I, as a light-skinned, mixed-race person, had the experiences to talk about racism? There's cultural cachet which comes with being the oppressed group sometimes and people want to kind of muscle in on t... | sfx.issue.379.june.2024.pdf |
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As his blackly comic thriller Hit Man hits UK screens, Richard Linklater discusses the myth of the everyday assassin for hire and looks back over the highlights of his electrifying career, from his Sundance breakthrough Slacker and his early battles for independence from studio control in the 1990s WORDS BY HANNAH MCGI... | sfx.issue.379.june.2024.pdf |
Hannah Mc Gill: What was the origin of Hit Man ? It wasn't a ten-or twenty-year project, but it was a long-term one... richard linklater: Like so many of my movies, yeah-years and years. It was a 2001 article by Skip Hollandsworth [in Texas Monthly ]. I called Skip-“What a fascinating story. ” I just had my eye on it f... | sfx.issue.379.june.2024.pdf |
Which Jesse is writing a novel about in Before Midnight-remember, I've just watched all of your films! Very much so! I can usually reference these things without anyone noticing -“Y ou touched on that. ” But yeah, these are the themes I'm interested in. The most frightening one I read-this looms for everybody, and it m... | sfx.issue.379.june.2024.pdf |
Likable, though? He is, actually... he has a certain charm. In the way the wrestler is, the bad guy-you love hating them, they willingly play the heel, they're just funny enough, they can deliver a line... I don't wanna talk about T rump. The tone you take in Hit Man is quite breezy, it's delightful-and that creates a ... | sfx.issue.379.june.2024.pdf |
roles and were actor/director, but we were both just grinding through every detail, the whole way. Was he someone you had always wanted to place in a lead role? I mean, I knew him as a teenager-but it was when he auditioned for Everybody W ants Some!! that I was like-“Wow, when did Glen become this?” He's got quick syn... | sfx.issue.379.june.2024.pdf |
In your early learning about cinema, was your focus on watching films or amassing technical expertise? All of the above. I just read a Godard quote recently about his early twenties, watching a thousand films a year. He said, “The cinema screen was the wall we had to scale to escape from our lives. ” Exactly. The peopl... | sfx.issue.379.june.2024.pdf |
a speech, things like that. That's completely lost these days, of course. I think the mainstream back then was still a little more avant garde, indie-curious, and now they just can't afford to be. The regional divide you mention wasn't so apparent from outside the States. As a UK teenager getting into film, I would def... | sfx.issue.379.june.2024.pdf |
something on that film... Let's start with my own lack of experience. That creates an insecurity and a paranoia. And I'm stepping out of the indie world, and I'm Mr Indie with a chip on my shoulder. I've seen this story, that you go Hollywood and they fuck up your movie, and I was determined for that not to happen-so I... | sfx.issue.379.june.2024.pdf |
Conversation became a clear focus- at least as important, in much of your work, as plot. Was this about developing philosophical ideas through your characters, or more about the dynamics of the conversations themselves? Conversation is my default, and I think we're all kind of philosophical. I was always like that: eve... | sfx.issue.379.june.2024.pdf |
Something I love in your films is extended depictions of people having fun-whether it's Jesse and Céline, or the boys in Everybody W ants Some!! singing 'Rapper's Delight' in the car. It's the kind of thing that often gets consigned to montages... Before getting back to the real drama that means something! But you give... | sfx.issue.379.june.2024.pdf |
They always grab the idea and make it a serious movie. And there have been good ones. But I wanted to capture the weirdness, the drugs... it was all so personal. I got to know his kids, one daughter in particular. She gave me his own copy of A Scanner Darkly. And she said, “This was a real world. This was my dad, this ... | sfx.issue.379.june.2024.pdf |
ON TEEN MOVIES “[With Dazed and Confused ] it was fun to be in a genre that I knew pretty well. There are a lot of good high-school movies. My favourite ones are really the edge movies, Over the Edge [)979, starring Matt Dillon, left], River's Edge [)986]. I like If.... [)968] a lot-the true way to end a teenage movie ... | sfx.issue.379.june.2024.pdf |
limited edition Sight and Sound framed cover prints Ready to hang on your wall sightandsoundprints. com | sfx.issue.379.june.2024.pdf |
RISKY BUSINESS | sfx.issue.379.june.2024.pdf |
Maybe,” David Leitch says, “we're entering a new golden age of stunts. ” If this seems unexpected amid a blockbuster cinema landscape under threat from the rampant use of CGI and artifi-cial intelligence, keep in mind who's saying it: Leitch was once one of the most respected Hol-lywood stuntmen-he doubled for Brad Pit... | sfx.issue.379.june.2024.pdf |
the Academy that there is now a precedent for a new category: in February, it was announced that from 2026 an Oscar will be awarded for Best Casting. Mc Cormick says, “There could be a conversion if we follow the blueprints of casting directors and what they've just achieved. ” Pondering why stuntpeople historically ha... | sfx.issue.379.june.2024.pdf |
Six sublime cinema stunts Three Ages (1923) Buster Keaton said that if he couldn't make a stunt work without cutting he'd throw it out, but when he mistimed a jump between buildings in Three Ages, he decided to expand the gag instead of dumping it. After failing to grab the ledge, Buster continues to fall, crashing thr... | sfx.issue.379.june.2024.pdf |
Police Story 3: Super Cop (1992) The Police Story films were primarily showcases for Jackie Chan's acrobatic stunts, but the third instalment was stolen by Michelle Yeoh, returning to the screen after a five-year hiatus. As Chan fights henchmen on a train, Yeoh (below) races alongside on a motorbike, negotiating tricky... | sfx.issue.379.june.2024.pdf |
ADVERTISING FEATURE | sfx.issue.379.june.2024.pdf |
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