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Articles by Bette Gordon
Monsters (1988) S01 480p DVDRip 10bit EAC3 2 0 x265-iVy
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Koji Fukada on his family drama Love Life: “If you have a deaf character in a film, the chances are they’re pure and angelic”
Across the past 15 years, Koji Fukada has steadily become one of the most celebrated independent filmmakers working in Japan.
“It was always destined to be a Ken Russell head-trip”: screenwriter Stephen Volk remembers Gothic, his psychotropic tale of the Romantics
By the 1980s, Ken Russell’s cinema had reached new heights of delirious indulgence. Although the previous decade saw him make a string of classic films, including The Devils (1971), The Boy Friend (1971) and Tommy (1975), the 80s were a more difficult period for the director. His projects were increasingly difficult to get off the ground, and often critically lambasted upon release. From this distance, however, the draw of his flamboyant later films is undeniable.
Charlotte Regan on Scrapper: “I’d love to see more working-class films that are happier”
In Scrapper, writer-director Charlotte Regan’s lively debut feature, mischievous 10-year-old Georgie (Lola Campbell) lives alone on Limes Farm, Chigwell, on the fringes of east London. Her mother has died, but Georgie manages to con social services into thinking she has parental supervision. Georgie passes the summer making poor attempts at bike theft with friend Ali (Alin Uzun) until one day a man claiming to be her estranged father Jason (Harris Dickinson) leaps over her garden fence.
Bette Gordon on Variety in 1984
On performing and saying things out loud: as the feminist cult classic Variety returns to cinemas for its 40th anniversary, we look back at this piece by the film’s director Bette Gordon, first published in the Monthly Film Bulletin in 1984. 3 August 2023 By Bette Gordon The Variety pornographic cinema from Variety (1983) My life, my sexual identity, is as a feminist, but my films don’t fit easily into that category – they are not easy films at all, in fact.
Screening Female Desire: Bette Gordon's ‘Variety’ 35 Years On
‘Once in a fiction workshop my professor critiqued a scene because “women wouldn’t ask about a hookup’s performance in bed” and a girl replied “that’s literally the first thing you talk about” and the way he said “oh” will stay with me til I die’– @girlinabasement Object permanence – that is, the ability to understand that objects continue to live in the world, even if they exist outside of one’s frame of vision – is said to develop in infants as young as five months.
Voyeurism and Half-Lit Streets: Bette Gordon on Variety
In 1980, I moved back east from Madison, Wisconsin, to New York City, and to Tribeca, which at the time was a neighborhood empty of people, except for artists, and looked like a studio lot. As a visual artist and filmmaker, I was attracted to the underside of New York, the city I’d seen in movies like The Naked City or Sam Fuller’s Pickup on South Street. Film noir was always an appealing genre for me.
Bette Gordon On Dealing With the Realities of Filmmaking
You are a filmmaker who also teaches filmmaking. What are some of the of the specific challenges involved with learning how to make films, as opposed to, say, learning how to paint or take photographs? They are so different. I talk with my students about this. As a filmmaker I feel like you don’t get enough opportunities to practice. You can’t exactly practice making a feature film. You usually learn by actually making one.
BOMB Magazine - Karyn Kusama by Bette Gordon
Karyn Kusama and I met on a hot June Saturday to talk about her new film, . Kusama gives us a glimpse into the world of boxing from a female point of view, and she pushes our expectations by drenching her story in sweat, emotion and bad-girl attitude. As a director, Kusama has figured out how to get inside the psyche of her young protagonist, played by first-time actress Michelle Rodriguez.
Watch Jerichow, the German Neo-noir film by Christian Petzold
Even with the familiar source and plot, the tension is high throughout - not so much about what is going to happen, but how. Each character in the triangle (an immigrant, a woman in debt, a war veteran) is trapped by socioeconomic circumstances that recapture the emphasis on class in the original novel by Cain.
Gregg Araki by Lawrence Chua
Intimidated, perhaps, by the potency brimming under the chalky surfaces of Gregg Araki’s HIV positive road movie, The Living End, a major Los Angeles dubbing facility refused to make video copies of the film, calling it “pornographic shit.” The only thing pornographic about The Living End, though, is the “dark, personal place” from which the 33-year-old director says the film came.
David Cronenberg by Bette Gordon - BOMB Magazine
David Cronenberg. © 1986 20th Century Fox. David Cronenberg’s previous movies, They Came from Within, The Brood, Scanners, The Dead Zone, Videodrome, and The Fly are tales of psychological and physical transformation which are considered to be quintessential horror films.
Diane Kurys by Bette Gordon - BOMB Magazine
Ingrid Scacchi in Diane Kurys’s A Man in Love Diane Kurys’s A Man In Love is a film within a film. A film that alternates between reality and artifice until we are no longer sure whose story we are being told. Isolated during the shooting of a film from their daily lives, actors are, in Kurys’s words, the first accomplices and also the first victims of storytelling. This fragile world, as temporary as it is intense, becomes the setting for a love which is just as intense and just as fragile.
Variety (1983) ⭐ 6.0 | Drama
A woman becomes obsessed with pornography and the mysterious rich patron of the Times Square porn theater called Variety where she works selling tickets. This awakens her sexuality, which co... Read allA woman becomes obsessed with pornography and the mysterious rich patron of the Times Square porn theater called Variety where she works selling tickets.
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