Metrograph

Christopher Doyle, courtesy Christopher Doyle Interview The legendary DP discusses working in different cultures, his collaborations with Wong Kar-wai, and dancing with Pina Bausch. Like the Wind: Lensed by Christopher Doyle is currently playing at Metrograph. Share: A FILM MAY BEGIN WITH plans, but in the end it is the product of chance.

Columns Looking back at the inimitable Indigenous Australian icon. Walkabout (1971) is playing at Metrograph on Friday, August 14, as part of Going Up the Country. Walkabout (1971) Share: SINCE THE DEATH OF DAVID GULPILIL RIDJIMIRARIL DALAITHNGU in 2023 at the age of (probably) 68, it’s become commonplace to describe him as the greatest actor in Australian cinema. For myself, I have no doubt such praise is warranted—but when we make a statement like this, what exactly do we have in mind?

Essay On Jack Hill’s classic horror-comedy, a film outside of time. Spider Baby (1967) opens at Metrograph on Saturday, August 22 as part of That Most Taboo of Red Meats. Share: IT’S A POPULAR CLICHÉ THAT the 1960s didn’t really begin until sometime in the middle of the decade—maybe when President Kennedy was shot, or when the Beatles landed in New York, or certainly by the time Bob Dylan “went electric” at Newport.

Columns In Futures and Pasts, Metrograph’s Editor-at-Large Nick Pinkerton highlights screenings of particular note taking place at the Metrograph theater. For the latest entry, he considers the wry eye and deadpan drollery of a Georgian national treasure. Otar Iosseliani: Fables of Modern Life opens at Metrograph on Saturday, August 8. Otar Iosseliani, at the 1989 Venice Film Festival, photograph by Gorup de Besanez. Share: I ONCE SPENT ALL OF an hour in the company of Otar Iosseliani.

Double Exposure With India Donaldson’s acclaimed debut feature Good One currently streaming on Metrograph at Home, we return to this interview from the Journal archive, from 2024—part of Metrograph’s Double Exposure column, in which two filmmakers interview one another about the craft.

This interview by Serge Daney and Serge Toubiana, with the collaboration of Pascal Aubier, was first published in Cahiers du cinéma, no. 305, November 1979. It has been translated into English for the first time by Andy Rector on the occasion of the zine Otar Iosseliani: A Georgian Suite, published by Cinema Guild Press, and has been excerpted here with their permission.

Essay On women who haunt women. In Her Shadow, a 10-film series exploring the haunting phenomenon of the female double, opens at Metrograph on Friday, July 31. Share: ONE OR TWO THINGS ABOUT the ghost: they are disruptive, usually desperate. They test the borders of the corporeal and invite the living to translate their mysteries, to give language to what has gone untold.

Essay On Ted Kotcheff’s masterwork and the great rude awakening of Australian cinema. Wake in Fright (1971) plays at Metrograph from Friday, July 31 as part of The Worldwide West. Share: IT’S AN ODD AND, FOR some, uncomfortable truth that the greatest film about Australia was directed by a Canadian. Upon opening in October 1971, Wake in Fright was shunned by the Australian moviegoing public, earning less than a quarter of its AUD$800,000 budget at the box office.

Chronicler of tradition, seeker of things and values (nearly) lost, Otar Iosseliani’s career was divided between his native Georgia and his adoptive home in France, but he remained very much the same filmmaker throughout his long working life: a student of Tati, Dickens, and Buñuel, a master of the long-shot long take, a slyly smiling satirist fascinated and bemused by the remarkable variety of human types, melancholy in contemplation of the tendency of modern society—both the Soviet system...

Tsai Ming-liang, courtesy of Big World Pictures Interview On the influences, personal and melodic, that shaped the slow cinema icon’s quarantine musical. The Hole plays in a weeklong run on a newly struck 35mm print at Metrograph, from Friday, July 24. Share: IN TSAI MING-LIANG’S THE HOLE (1998), a curious epidemic hits Taiwan and compels those left behind suffering the disease to exhibit roach-like behavior.