Talking with Corneliu Porumboiu for the Festivalists, Tara Karajica asks, “Where do you see your place in the Romanian New Wave?” The answer: “I do not know, I think each one of us is very different. In a way, I am afraid… I do not like to compare myself. OK, I like the work of Cristi Puiu, I like the work of Cristian Mungiu, but, at the same time, I also love Rohmer and Godard. I see myself more universally in a way, because I also like Lucien Pintilie, and my roots are here, but at the same time, they are also abroad. So, I think that my movies are more linked to Rohmer than to my colleagues. And now, because we are past our first or second films, each one of us goes in his own direction and each has his own obsession.”
“I begin my conversation by thanking [Mia] Wasikowska for her intrepid choices, and for being so protective of her characters’ entrancing privacy—even as it is now my errand to plumb their secrets a little, and hers.” That’s Nick Davis.
Vanity Celis introduces an interview with Pieter Van Hees at photogénie: “Following up on Linkeroever (2008) and Dirty Mind (2009), Waste Land (2014) doesn’t play coy with its rather overt subtext by presenting Brussels as a smouldering, near-mythological cityscape that’s teeming with the memory of darker days…. A fervent believer in the moral reprehensibility of negating a troubled chapter in our national history, Van Hees talked style, influence and ideology in an interview conducted in the wake of last year’s Young Critics Workshop at Film Fest Gent.”
Wong Kar-Wai‘s Chungking Express (1994) turned the Hong Kong high-rise Chungking Mansions into a tourist attraction. In the Stranger, Charles Mudede talks with Frances Cheong, a lecturer on genome sciences at the University of Washington, “and Jeremy Stone (a film lover who lives in Seattle and is familiar with Hong Kong) about the history, politics, architecture, and location of the building that gave a part of its name to and played a big role in Wong’s masterpiece.”
Patrick Z. McGavin talks with Mia Hansen-Løve about Eden, “art and creativity, collaborating with her brother and the deeply personal nature of her work and and the stylistic and formal patterns present in all of her work.”
Despite their vastly differing source materials and the expanses of years separating each of their releases, André Gregory and Wallace Shawn’s three film collaborations, My Dinner with André, Vanya on 42nd Street, and A Master Builder, retrospectively cohere as a thematic trilogy that follows several privileged men and women as they wrestle with their place in the world, struggling to breach the interiors of their embittered minds to connect with outer society. In each, the characters played by the two actor/screenwriter/playwrights have a similar relationship with one another: Shawn plays the rattled, impassioned, insecure foil to Gregory’s cooler, sporadically smug cucumber (though this pattern is cannily reversed in A Master Builder). Shawn’s characters are always the leads though, and each film charts a distinctive portion of their development, as they move from middle-aged everyman bookworm to powerful elder statesman.
Philip Maughan‘s conversation with John Berger comes by way of Movie City News. Maughan knows this is a big deal, and he needs to warm up first: “The life and work of John Berger represents a challenge. How best to describe the output of a writer whose bibliography, according to Wikipedia, contains ten ‘novels,’ four ‘plays,’ three collections of ‘poetry’ and 33 books labelled ‘other’?”
The Guardian‘s Mark Brown talks with Jim Broadbent “about the dressed and painted wooden figures he has been quietly carving in his shed for the last six years.”