Posted tagged ‘New Directors/New Films’

ND/NF alum Tatia Rosenthal’s $9.99 opens this weekend!

June 16, 2009


Great news for anyone out there who missed the chance to see Tatia Rosenthal’s $9.99 as part of New Directors/New Films. It opens this weekend in New York and L.A.!

Check out our interview with the director

Congrats, Tatia!


Short film: “I see,” a MoMA commission by ND/NF alum

May 12, 2009

The Museum of Modern Art has just started an interesting program of commissioning short films about the museum experience by New Directors/New Films alums. I really dug this one directed by Azazel Jacobs (Momma’s Man, ND/NF ’08). In it, a beleaguered urban dude takes a departure from reality via one of those audio tours. I found it an engaging comment on what a museum can bring to your life, that it can be more than just a static and staid interaction between a viewer and an art object.

I’d love to see more of this kind of thing. Maybe it justifies someone with a camera going down the NewYorkology cultural institution list?

On New Voices, Life in Public, and shark attacks…New Directors/New Films wrap up

April 6, 2009

Last night, Ondi Timoner’s witty and fast-moving We Live in Public closed New Directors/New Films, appropriately placing an exclamation point on the provocative festival of new work. Telling the history of the Internet at a speed that suits the information age, the film zeros in on a critical moment in the underground history of pre-millennial New York when a large group of artists, technologist and other assorted creative types got together to live in an underground bunker for twenty days under constant video surveillance.


Josh Harris and Ondi Timoner, photo by Godlis

Was it a cult? A social experiment? An art project? A premonition of a life lived on Facebook? Though it seemed that no one involved in the original event could agree on the meaning of the project, all acknowledged its main architect–Josh Harris–as a visionary. And just as Timoner’s documentary left all of us in the audience questioning our own place in a brave new world of social networking, the film’s magnetic subject, Josh Harris himself, appeared in the flesh to add an extra layer of self-reflexivity to the proceedings (which were already being webcast and most likely being Twittered about!).With an audience filled with some of the film’s subjects, and cameras roving everywhere, it was hard not to think that all of us were embodying Harris’s correction of Andy Warhol: in an Internet future, we’ll all be famous for fifteen minutes a day.

It really has been a whirlwind of a festival. When I first came up the idea of turning the filmlinc blog over to a raft of New Voices, I wasn’t quite sure what to expect. Would anyone actually take me up on the offer? And what would they come up with? Looking back now, one thing seems clear: unexpected and wonderful things happen when you engage the diverse talents of a group of creative people. That those wonderful things took the form of lots of fresh points of view, fantastic interviews with the likes of Tatia Rosenthal, Anna Boden and Ryan Fleck, Alexis Dos Santos, Adam Leon and Jack Pettibone Riccobono and Armond White, great photography and even a shark attack (press play above) was one of the delights of this experiment. So I would like to say a heartfelt thanks to the correspondents who really went above and beyond to provide daily coverage of this festival: Nick Feitel, Matt Griffin, Tom Treanor, Morgan Green, Jessica Loudis, Michael Masarof, Sam Song, Eric Yue, Melanie Shaw, Jay Felty, Nick McCarthy, Aily Nash, Tim Young, Kazu Wantanabe, Brandon Harris, Christian Del Moral and Wayne Titus.

I’d also like to give a shout-out to our New Directors/New Films co-presenter, The Museum of Modern Art. Not only do they have a terrific film exhibition program of their own, and shows specifically geared toward film-lovers, they also do a terrific job of cultivating an online community.

Because a picture is worth a thousand words, I’d like to thank our wonderful photographers, Susan Sermoneta and David Godlis for shots that really bring our events to life.


Finally, I’d like to thank our online community: our Fans on Facebook, those who Twitter with us, and of course, readers of the filmlinc blog. It is thanks to your attention that March was our most successful month yet in our relatively brief existence. We are extremely grateful for your interest and we will always be looking for ways to better bring the Film Society experience to you and to engage you in a vital conversation about films and filmmaking.

-Amanda McCormick

New Directors/New Films video diary: the New Voices have a Mid-August Lunch

April 6, 2009

For their very first film festival experience, New Voices Melanie Shaw, Jay Felty and Eric Yue pack light, journey to Lincoln Center, and solicit plenty of seasoned advice from NYU professor Antonio Monda, the Film Society’s Richard Peña and even New Director Gianni Di Gregorio.

Last chance…Twitter for chance to win tickets to ND/NF Closing Night + party!

April 3, 2009

picture-20picture-191picture-18picture-17picture-16There’s still time to get your entry in…Twitter how you live in public to @filmlinc using the hashtag #ndnf by 5PM tonight and you might win tickets to Closing Night film We Live in Public and afterparty for you and a guest!

Seen on the scene: more photos from New Directors/New Films

April 2, 2009

All photos by Godlis.


Laurel Nakadate (Stay the Same Never Change) and MoMA's Rajendra Roy


So Yong Kim (Treeless Mountain), the Film Society's Doug Laible and producer Bradley Rust Grey


Alexis Dos Santos (Unmade Beds)


Filmmaker Alexander Olch

Sebastian Silva (The Maid)

Sebastian Silva (The Maid)


Adam Leon (Killer)


The Walter Reade Theater's Nita McDaniel

See even more at his site.

ND/NF: tracking the erotic meaderings of European road movie Give Me Your Hand

April 2, 2009


Summarizing the plot of film director/animator Pascal-Alex Vincent’s Give Me Your Hand (2008) tells the potential viewer both everything and nothing about this remarkable film: A pair of young, dark, brooding, fantastically handsome identical (monozygotic) twins, Antoine and Quentin, hitchhike across Europe from France to Spain to attend the funeral of the mother they never met. On the way, the two get caught up in a number picaresque side-adventures, particularly sexual encounters—individually, simultaneously, or in tandem—with other lost, seeking people-of-the-road.

Describing the film like this makes it sound like a sexual fantasy. Well, this label—like my skimpy, too-literal logline plot—is both technically accurate and qualitatively insufficient to engage the distinctive, deeply resonant experience Vincent offers. Yes, the film is incredibly sexy and erotic, from the perspective of a number of different sexual orientations, but does this mean this film is nothing more than “high-(t)art”?

With horror films, a reviewer has an easier time pointing to the crafting of mood and setting, the evocation of the uncanny, sensations of dread/fear/menace, and the visceral experience of engaging with the unknown as positive achievements by the filmmakers at a technical level: these are difficult effects to make linger with the audience beyond the boundaries of the screening. In fact, in the best cases (like Wise’s The Haunting (1963) and Kiyoshi Kurosawa’s Seance (2000)) these elements become themselves strong reasons to admire and evangelize the film. Baroque variations of plot are not the only way we love a movie.

With Give Me Your Hand (2008), Vincent perfume-composes a new genre by sifting in twin/road movie  (primary scents) with youth-on-the-run, story of siblings, and post adolescent sexual awakening (modifiers) and the erotic, uncanny, and metaphysical (blenders). You don’t worry too much about the existence of ghosts in the real world when watching a ghost story: you think about what makes ghosts tick in this context. Likewise, you don’t doubt that Antoine and Quentin’s journey will continue to become stranger and stranger, and the probability for sexual activity with strangers is at least a bit higher than it might be in the real world. (Though, I’ll admit that part of the fun of the film is wondering if the glances the film reveals of characters gazing at/desire the leads might not spill over into the real world for two such attractive real-world rarest-of-rare monozygotic males.)

What Vincent gains access to with all of this visceral, juices-churning irreality is the creative potential space to imagine his way into compelling questions about brothers and twins that I haven’t seen elsewhere. Unlike something like Twins (1988), and arguably Dead Ringers (1988) (my primary notion of a twin movie before including this one), Vincent does not divide a single human personality into fractions, but instead grapples with the ineffable question confronting all of us not part of a monozygotic twin pair: what does it mean for two complete humans to resemble/share so many external elements in common, and yet also maintain their individual agency? Vincent considers ways in which their private, unspoken, almost too-intense intimacy is as frequently the cue for violent aggression for each other as it is for support and care. How will time and experience and desire effect the evolution of their relationship?

–Matthew Griffin

Buy Tickets
Sat Apr 4: 9 (FSLC)
Sun Apr 5: 4 (MoMA)