Giles Edwards buzzed about the idyllic experimental feature Honeycomb with young director , actor Henri Gillespi, and composer Max Graham.
Giles Edwards sat down with co-directors Kristina Buozyte and Bruno Samper to discuss their science fiction opus, and to get some recommendations for good places to grab a bite in Vilnius and Montpelier, France.
Capsule review is near the bottom of the page here.
As it was, it barely happened; on most timelines, it probably didn’t. But there he was: his flight delayed, Mickey Reece leaned against the bar edge, ready to discuss Country Gold, and more. Listen with pleasure as a knowledgeable auteur and a country music-ignorant reviewer chat about Reece’s latest film. Though 366 somehow failed to ask about a restaurant, we learned exactly how Mickey’s boyhood steaks were prepared: well done—not unlike his films.
Chicly sprawled over a chair or two, film director La Pietà [review], with the able assistance of his translator, Marta Calderon. Join 366 as we discover the influences on his visual style, his favorite hometown place to eat (of course),and just how great Giles’ mustache is.kindly answered our questions about his latest (and most personal) film,
(Keep an eye and ear out for a cameo by Madison Brek, Fantasia Press Relations Representative extraordinaire!)
You can listen to the interview’s raw audio here.
366: [handing over business card] This is who I am…
EC: “…Weird Movies”, okay!
366: ..and I guess that explains itself. My name is Giles Edwards and I am sitting here with Eduardo Casanova, and I managed to see La Pieta in the press screening the other day, and was very pleased with what I saw. So I am hoping to ask just a little about that in the brief time we have.
EC: I can understand you when you talk, but sometimes it is difficult for me to explain in English back, but when you talk I can understand.
366: Great. I’d like to start…
EC: I like your mustache! It is like‘ mustache. Some people say my movies are like John Waters’, too.
366: Yes, it’s a partial inspiration for it. I like to be as distinguished-looking as possible.
EC: Ahhh, you got it, bitch.
366: Uhh, …there is a strong visual feel to your films, I was curious about your visual arts background, because you have a setup for your images that is painterly or photographical–a lot of specific composition–and I was curious about your educational or experience background in that, what that might have been.
EC: I am obsessed with the [panalack?]. I really like aesthetics dictatorship regimes, like the Soviet Union and communist dictatorships, where the buildings are all looking the same. I think in the countries that have totalitarian regimes, everything around you is really big and makes you feel that you are small, and… part of something. I remember when walking through Berlin through Karl-Max Avenue, how small I felt walking amongst those buildings.
I try to recreate this with one of the most important aspects of the Continue reading THE MAESTRO FROM MADRID: AN INTERVIEW WITH EDUARDO CASANOVA
While the film revels in its disorienting nature, filmmaker Mitchell Stafiej and co-leads Travis Cannon and James Watts provide clarity about the inspiration, process, and production of The Diabetic. Traveling all the way from Montréal to a different section of Montréal, this gang of storytellers and comedians exuded an affability that their film’s anti-hero would do well to learn from, as well as providing restaurant recommendations North of the Border.
“[W]e needed to get into Alec’s mind because otherwise he was just like this huge loser, and that’s all he was.”—Mitchell Stafiej