“I show up at the airport. And the guy asked me, ‘Is there anything we might find suspicious in there?’ I said, ‘There’s an art piece [read: a glass bong] inside in the shape of a gun.’ And literally the entire security department was like, ‘What is wrong with you?’ Long story short, it made it through.” “And we got the movie.” From the paraphernalia they had crafted to show off their passion to the producers of Spring Breakers to Moonlight’s briefest of Oscar losses to La La Land, A24’s David Fenkel, John Hodges, and Daniel Katz (and several grateful filmmakers) talk to Zach Baron about the distribution company that’s gone from idle dream to major indie power-player in just a few years’ time.
“Film Forum’s centennial Melville celebration has enabled audiences to see how much terrific work this ultra-masculine director pulls off with female performers in close quarters. Melville is best known for the fabulous hard-guy iconography of films like Bob le Flambeur, Le Doulos, and Le Samourai and for blending granular detail and Homeric breadth in underground extravaganzas like Le Cercle Rouge and the Resistance epic Army of Shadows. Recent appreciations have focused on his tributes to crime-world professionals and the tough feelings that bind his gesture-laden style. But Melville also displays his distinctive surgical keenness in chamber dramas and “women’s pictures.”” Not least the exceptional Leon Morin, Priest, whose complex examination of faith under occupation—and its sterling central performance by Emmanuelle Riva—receive praise from Michael Sragow.