Screen Slate

A guide to moving image culture in NYC & beyond. Criticism, listings & programming around rep film, media art & indie releases.

Visit online // subscribe to daily email // Listen


Podcast #24 - Kelly Reichardt on Showing Up

LISTEN // Filmmaker Kelly Reichardt joins the pod over Zoom to discuss her new film Showing Up. We talk about how the art school setting bred on-set creativity, shooting in familiar Portland haunts, artist-landlords, turning Outkast's Andre Benjamin into a certified ceramics guru, and the film's discrete shoutout to Light Industry co-founder Ed Halter. And much more!

Screen Slate Podcast #23 - How to Blow Up a Pipeline

LISTEN // Our friends Daniel Goldhaber, Ariela Barer, Daniel Garber, and Jordan Sjol visit Screen Slate HQ to talk about their new film How to Blow Up a Pipeline, which adapts Andreas Malm's nonfiction book of the same name into a heist-style eco-thriller. We get into the research and adaptation process, stealing locations, balancing Barer’s screenwriting and actor roles, and the art of editing as edging. Plus: what does Andreas Malm think of CAM?

Screen Slate Podcast #22 - Mark Jenkin on Enys Men

LISTEN // Cornish filmmaker Mark Jenkin joins the pod to discuss his new film Enys Men, now playing in cinemas nationwide. We talk about the legacy of big, scary stones in British horror, working with a skeleton crew, hand-processing 16mm film, eco-friendly filmmaking, and creating soundtracks entirely in post. We also discuss his remarkable BAFTA-winning previous feature Bait, which returns to select theaters this weekend.

Screen Slate Podcast #21 - Cinema Projection

LISTEN // Projectionist Genevieve Havemeyer-King joins us to talk about recent articles on theatrical film exhibition in The New York Times, Vulture, and n+1. Along with co-host John Klacsmann of Anthology Film Archives, we get into how pre-digital trends toward multiplex automation, corporate union busting, and studios stacking the deck in their favor with the DCP specification have shaped the current state of theatrical film presentation. We also talk about 35mm projection, 70mm blow-ups, the projectionist as showman vs. mechanic,…

It Was a Tragedy, Now It’s a Drama: Gaspar Noé on Irreversible: Straight Cut

Interview with Gaspar Noé by Chris Shields on Screen Slate - There is almost something Duchampian about reversing the order of one’s own film, like hanging a painting upside down. Though in this case the flip, rather than creating strangeness, is a righting of sorts. Gaspar Noé’s sophomore feature, Irreversible (2002), was shot with a three-page outline of 12 scenes that were improvised in chronological order and then reversed in the film’s editing. Ironically, the radical formal choice of Irreversible:…

“I Like the Avant-Garde. I’m an Artist.”: Corey Feldman in Conversation with Michael M. Bilandic

In February 2022 (2-22-22, to be exact), Corey Feldman released the first single from his album Love Left 2: Arm Me With Love. It was called “Comeback King,” and he directed the video himself. It starts out with a young boy getting beat up at some type of backyard volleyball game. The scrawny kid is knocked over, leaves and dirt kicked in his face. It cuts to a fogged-out soundstage, where we see Corey, in a deep v-neck tee and an…

Screen Slate Podcast #20 - Skinamarink director Kyle Edward Ball

LISTEN // Five years ago Kyle Edward Ball started making short horror videos inspired by people’s nightmares and posting them on YouTube. His debut feature Skinamarink—shot for just $15,000 in his childhood home in Edmonton, Canada—was the breakout hit of last year’s Fantasia Film Festival, and came from seemingly out of nowhere to become one of the most anticipated upcoming horror films.

Recent reviews

Pod #22: Mark Jenkin | Cornish filmmaker Mark Jenkin joins the pod to discuss his new film Enys Men, now playing in cinemas nationwide. We talk about the legacy of big, scary stones in British horror, working with a skeleton crew, hand-processing 16mm film, eco-friendly filmmaking, and creating soundtracks entirely in post. We also discuss his remarkable BAFTA-winning previous feature Bait, which returns to select theaters this weekend.

"Black life is an 'enforced state of breach,' writes literary critic and Black feminist scholar Hortense Spillers, and 'mother is a relation that loses meaning since it can be invaded at any given and arbitrary moment by property relations.' Savannah Leaf’s directorial debut, Earth Mama (2023), is a multi-layered poetic portrait of the complexities of Black motherhood in the face of the state’s punitive assault on Black and poor families. It takes up the lens of one young woman’s journey…

"Launched in November 2012, “The Deuce,” a monthly, 35mm-only series celebrating the 12 theaters on 42nd Street between 7th and 8th Avenues and the grindhouse fare they pumped out daily in the 1970s and ‘80s, has become a cherished ritual to many of the hundred people that show up each month, and as such naturally provides a soothing mnemonic device for a catastrophic moment like the shutdown of the city.
... 'The Deuce' is a full-fledged Event, intended to transport the crowd through space and time."

Madelyn Sutton for Screen Slate.
Featured 2/9/23 at Nitehawk Williamsburg on 35mm, the hundredth screening of the series “The Deuce.”

"'It is an X-ray, not of Mexico, but of what it means to be Mexican,' said Alfonso Cuarón when introducing La Fórmula Secreta at the Morelia International Film Festival in 2017. Released in 1965, the film was coming on the heels of Mexico’s decades-long project of extolling national icons in its cinema, to create a cohesive national imaginary and to bury the factionalism left behind by the Revolution. La Fórmula Secreta is a direct riposte to a Golden Age of…

"Godland, despite its violence, is a gentle viewing experience. It invites meditation on home, grief, desire, the passage of time, and the indifference of nature. Those who adapt to the pace of the film’s two and a half hours will be rewarded with the kind of sublime peace that comes from a long, silent afternoon watching sheep graze from the earth to which we all will return."

Brittany Dennison for Screen Slate.

"Jaakko orients himself in the world through his sharp humor, his ability to quickly read the intentions of others (particularly those intending him harm), and his abiding dedication to Sirpa. But, perhaps most of all, it is his long-standing commitment to film art that sustains him. His mind, his language, is populated by movie references, from Misery (1990) and One Flew Over the Cuckoo’s Nest (1975) to jokingly describe his no-nonsense home assistant, to Braveheart (1995), Fargo (1996), and the…

"Kagero-za concerns the horniness of Shungo Matsuzaki (Yūsaka Matsuda), a sophisticated playwright caught in a love triangle between a ghost and a European woman in disguise, whose blue eyes and blonde hair only reveal themselves under moonlight. To make matters worse, both paramours have been married to his patron, Tamawaki (a hilarious Katsuo Nakamura)."

Nicholas Pedrero-Setzer for Screen Slate.
Featured 2/3/23 at Japan Society on 35mm.

"Product placement abounds. Jokes are used again and again. Two-thirds of the way through the movie, it becomes an ad for Royal Caribbean cruises. But the most bizarre aspect of Jack and Jill, and the reason for its enduring place in popular culture, is the very last scene: the ad Pacino shoots for Dunkin’.

It's a stunning thing, the Dunkaccino commercial—all the more so when you know it's coming and have sat through the entirety of Jack and Jill in advance of it."

Merritt K for Screen Slate. Featured 2/1/23 at Nitehawk Prospect Park in 35mm.