Portraiture: The Language of the Camera in Digital and Film
This past summer, I was asked to photograph my family reunion in North Carolina. Compared to our previous gathering four…
Articles
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‘What’s up with you?’ – Understanding intimacy in Harry Lighton’s ‘Pillion’
Peggy (Lesley Sharp) studies the face of her son’s partner, Ray (Alexander Skarsgård) closely. The two men have been seeing…
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‘Drunken Noodles’ Review: Lucio Castro’s Quaint Second Feature Threads the Needle Between Drama and Fantasia
In his sophomore feature ‘Drunken Noodles,’ filmmaker Lucio Castro captures a plethora of these quiet moments, contrasting them with euphoric tableaus of various gay dalliances. The film spiritually evokes a space between two worlds: the hushed atmosphere of a cruising site and the unburdened revelry of one of Sal Salandra’s canvases (the real-life artist who inspires a crucial character in the film). Inside of this delicately drawn world, protagonist Adnan — a graduate student house sitting for his uncle in New York City while working at a small art gallery — seeks to fulfill his desires.
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Interviews | TV
Inside ‘Closet Space,’ the Sapphic Dating Show Fighting Against Shallow and Heteronormative Dating Culture with Community and Authenticity
As queer dating culture bleeds into mainstream culture at a heightened rate — with the current crazes surrounding “Heated Rivalry”…
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Magical Girl Transformation: Alice Maio Mackay’s ‘The Serpent’s Skin’
For all that feels familiar about “The Serpent’s Skin” — a horror film featuring demonic possession, witchcraft and characters connecting…
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Liz Sargent Talks Emotional Authenticity and Systemic Fragility for People with Disabilities and Their Caregivers in her Feature Debut, ‘Take Me Home’
Following the film’s festival run, “The Independent” spoke with Sargent about the deeply personal origins of the project such as the risks of building a film around her own sister’s lived experience and the larger questions around disability, autonomy and care that emerged throughout her filmmaking process.
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New Directors/New Films April 8-19
In a world where most film directors start by making shorts, just one New York fest shows them all to…
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Caught Between Tragedy and Utopia: A Review of Liz Sargent’s ‘Take Me Home’
Within minutes of the feature, L. Sargent’s intention to shift away from her proof-of-concept 2023 short becomes obvious. Though captured by different cinematographers, both films share similar documentary-style camera work and capture a tone of devastating and tender social realism. A striking difference, however, is the father’s, Bob’s (Victor Slezak), absence in the short and significant presence in the feature, in which he almost completely replaces Anna’s fellow adoptee sister, Emily (Ali Ahn). This drastically shifts the film from a depiction of sisterhood to one of parenthood complimented by sisterhood.
