MCN Curated Headlines

“In a crucial scene, Michèle literally unmasks her attacker, stares him in the eye, challenging him, unblinking—her rapist is someone she knows. It’s an all-too-familiar paradox: that someone can be friend and rapist, lover and rapist, relative and rapist. Michèle refuses to let her attacker escape this contradiction by being one role or the other. She forces him to be both at once.”
Miriam Bale Says Isabelle Huppert Takes Control As Actress And Auteur In Elle

“We almost never get the chance to see these towns for what they are, without decoration. Hell Or High Water does this with shocking grace and civility. By showing without underlining, it makes you feel the desperation of these places.”
Kaleb Horton In Hell Or High Water Country

variety

 “While the president will remain actively engaged in inspiring young people and he is interested in the changing ways people consume information, he has no plans to get into the media business after he leaves office.”
Unsourced Report On Mic Website Claims Obama Looking To Digital Media Career

“Donald J. Trump is not the first professional entertainer or pitchman to be elected president of the United States but, however he may refuse to break character or take an adjustment, he is not Ronald Reagan.”
J. Hoberman On Donald J.

variety

“I welcome the chance to be part of the important discussions about the most effective ways to grow jobs and expand economic opportunity in America.”
Disney’s Iger Joins Trump Advisory Committee

“I’m not much of a fan of biopics. I don’t think these films are biopics. They’re approximations of a specific sensibility—a moment of crisis in which someone is transformed by their surroundings, has to confront it, and in the end can lecture the person they once were. These are people that, filtered through the unique elements of film, are filled with the arbitrary and the fictional.”
Pablo Larrain On How He Got To Neruda And Jackie

“I think there’s only something like three percent of cinematographers who are female, so in that way, I related to these women. Katherine, Dorothy and Mary went through much worse adversity than anything I’ve ever come across, but still they powered on. I feel like this film is important because it shows other young women if they have ambitions in math or science, they should pursue them.”
Mandy Walker On Shooting Hidden Figures On Film

Transcribing The BAFTA Screenwriters’ Series
A Talk By Kenneth Lonergan
AndA Conversation With Maren Ade
And
Park Chan-Wook

“We had to establish Paterson as a poet from the very start. We developed the idea of shooting a montage of forms and fragments, an abstract visual festival, that would overlap the live action and build around the poetry he narrates.”
Fred Elmes On Shooting Paterson

“He is ebulliently chatty, like a pile of words are always at the back of his teeth.”
Ethan Hawke, From Boyhood To Fatherhood

MCN Curated Headlines

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Kyle Buchanan: I think the deal with a lot of white, male critics is there’s a very empirical way that they write that they write their movie reviews that always puzzled me. Movies are such subjective things. Back in the day, I used to be the film critic for The Advocate, and it was really striking to me when I would go into screening rooms and I was by far the youngest. They were filled with old white men. And when you watch a film like Black Snake Moan, that’s playing with a whole lot of gender and race issues, I was like, Are like 70-year-old white men like really the sole voices that I want to hear on this movie? It just didn’t feel right.

Jen Yamato I’ve been very pleasantly surprised to see the receptions Moonlight has gotten. But one of the films that I was disappointed to see not get more traction was American Honey. I distinctly remember sitting in a screening room full of mostly older white guys and thinking during the film, How are any of them going to relate to this movie?

~ Taking On The “Old White Guys”

“I was frustrated, a bit angry even. There should be no need for winning in the arts. Awards condition people into thinking that art is a competition, that good cinema is prize-winning … that a filmmaker must win an award or two to be considered finance-worthy. It enables the slow death of many and lack of support for most. My films do not ask to be liked. In fact, my films actively seek to be disliked. It seems that I have failed at this goal. What does it mean to be political in the time of Trump… in the country of Duterte? I dedicate the film to all the outsiders of the world: kids, midgets, freaks, paralytics, prostitutes, scoundrels. These are my people. I make outsider films that talk about the pain and joy of not belonging, of always being on the outside peering in.”
~ Prolific Philippines Filmmaker Khavn de la Cruz On Getting A Prize From Geneva Int’l Film Fest