24 Oct

kelly reichardt movies

Xan Brooks (from The Guardian) uses the examples of "wonky Kurt, left wandering city streets at the end of Old Joy, hapless Wendy, still looking for Alaska, or Meek’s Cutoff’s lost pioneers, forever strung between triumph and disaster. But it would seem absurd to do that at the end of one of my films. "[7], In 1999, she completed her sophomore feature, Ode, based on Herman Raucher's novel Ode to Billy Joe. She started by using her father's camera, which he used for photographing crime scenes. She went to the School of the Museum of Fine Arts in Boston, Massachusetts. Reichardt is also an Artist-in-Residence in the Film and Electronic Arts program at Bard College. I thought, “Oh my God, the inventiveness of that film and the sort of circular motion of it and how she just decides to let people talk to the camera at a point, even though she’s in this narrative!” Anyway, just her confidence to be so inventive with narrative form. Ahead of the movie’s release, Reichardt spoke with Rotten Tomatoes about five films that were on her mind as she made First Cow, and which she feels are a piece with the new film’s look and feel, its characters, and its message. It's all out there". [20] Reichardt elaborates on this, saying "Maybe I’m suspicious of absolutes. Chucky Vs. Leprechaun: Who Is the Ultimate Tiny Terror? I return to the Apu Trilogy constantly. Kelly Reichardt. In addition to her feminist themes, Reichardt rejects mainstream methods through the avant-garde content in her films. But there’s also that incredible friendship that runs through the Apu Trilogy. We had this really economical way of shooting; people moving in the frame and we pan one way or the other. In Gleaners And I, what’s around you is what you survive on – it’s a kind of contemporary foraging that they’re doing. Well it was Jonathan Raymond’s novel, The Half Life, which has kind of been hovering around us, he and I, for a couple of decades, and we’ve been trying to think of how we could ever sort of get our arms around it, because the novel spans 40 years and there’s a ship ride to China and it’s this very big [story]. They leave us dangling, forced to write their third acts in our heads”. I mean, yes, there is something satisfying about watching an old film when the music rises up and the words come at you – The End. Her parents were law enforcement officers who separated when she was young. She then directed Meek's Cutoff, a Western starring Michelle Williams. We spent a week with them and then on they went". [20], Reichardt's films all contain feminist ideas in both style and content, rejecting mainstream commercial film making methods and focusing on issues of gender (most of her films have female characters as the lead), but she herself rejects the label of a feminist filmmaker. Reichardt has confirmed in many interviews that the character of Meek is intentionally written to be similar with Bush. In 2016, Reichardt wrote and directed the Montana-set drama Certain Women, and in 2019 directed First Cow, again set in Oregon. [13] Sony Pictures Worldwide Acquisitions (SPWA) bought the rights to distribution. She earned her MFA at the School of the Museum of Fine Arts in Boston. Kelly Reichardt, Director: Wendy and Lucy. And they’re all craftspeople in Ugetsu, and in First Cow Cookie is a cook and they’re constantly making things, and King Lu is sewing his slippers – it’s a life of just endless making of things because it’s how you’re surviving. It was nominated for Best Film and Best Female Lead at the Independent Spirit Awards. [7], Most of her films are regarded by critics to be part of the minimalist movement in films.[7]. She had an interest in photography from a very young age. Editor’s note: This interview took place before the Coronavirus outbreak and subsequent lockdown and was originally published ahead of the movie’s limited theatrical release. [26], "Kelly Reichardt Is One of the Best Filmmakers in America, and We Don't Appreciate Her Enough — NYFF", "Kelly Reichardt • Great Director profile • Senses of Cinema", "Meek's Cutoff and Post Mortem shine at Venice film festival", "Kristen Stewart Joins Kelly Reichardt's Montana Drama", "Kelly Reichardt's New Film Lands At Sony Pictures Worldwide Acquisitions", "60th BFI London Film Festival announces 2016 awards winners", "With rugged feminist piece 'Certain Women,' Kelly Reichardt shows why she's the last indie purist (for now)", "Kelly Reichardt Sets 'Certain Women' Follow-Up with 'First Cow, "Kelly Reichardt: 'My films are just glimpses of people passing through, "Director Kelly Reichardt explores idealism in Night Moves", "The Quiet Menace of Kelly Reichardt's Feminist Westerns", "A completely false security: an interview with Kelly Reichardt", "An interview with Kelly Reichardt, director of Old Joy", "Kelly Reichardt: Emergency and the Everyday", https://en.wikipedia.org/w/index.php?title=Kelly_Reichardt&oldid=981696300, Pages containing links to subscription-only content, Articles with dead external links from August 2010, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat identifiers, Creative Commons Attribution-ShareAlike License, Los Angeles Film Critics Association Awards, Independent/Experimental Film and Video Award, Gotham Independent Film Award (Best Feature), This page was last edited on 3 October 2020, at 22:05. I had just finished editing, and when I got back from Cannes, I was going to do my sound mix. We don’t know where these people were before. She had an interest in photography from a very young age. It had a lot to do with being a woman. She started by using her father's camera, which he used for photographing crime scenes. Kelly Reichardt doesn't have any movies playing in theaters. It was named as one of the best films of 1995 by the Boston Globe, Film Comment, and The Village Voice. I thought of that, and Agnes [Varda, the director] was on my mind because, A) she passed away when I was making a film, and B) they brought back a print of Vagabond before I was shooting. But for some reason it really resonated and I have returned to it so often. Kelly Reichardt's Five Favorite Films The First Cow director goes deep on the movies that informed her critically acclaimed new film, from a landmark Indian … I mean the thing with Ugetsu, and the whole Apu Trilogy [discussed next], that I was really looking at when I was making First Cow, was that they are super low-to-the-ground films. Notably, it was the first American film to win the Tiger Award at the Rotterdam Film Festival. How she moved in and out of documentary and narrative and how her docs have such narrative threads in them and her narratives… she just opens the door, and it’s like, “OK, now you’re going to talk to these real people that aren’t actors,” and she is just very fluid between those two. [7] Reichardt herself has stated that her films are "just glimpses of people passing through". In Night Moves, Dakota Fanning's character serves as a strong female counterpoint to Jesse Eisenberg's male protagonist, and the film's environmental story line reflects eco-feminist values. [5], Her debut film River of Grass was released in 1994. [22], Reichardt has frequently collaborated with actress Michelle Williams, saying that she enjoys working with her due to her confidence and inquisitive nature, and that she can never guess what she's going to do. Being a director working in indie cinema, her films have not been huge hits at the box office, with Certain Women being the most successful at $1.1 million. [8] In these two films, critics have noted that she makes clear her displeasure with the Bush administration and their handling of the Iraq War in a subtle manner that she often does. The Unbelievable Truth. [2] She is known for her minimalist-style films, many of which deal with working class characters in small, rural communities.[3][4]. Reichardt's use of realism and camera angles rejects the objectification of bodies and challenges the expectations of audiences by lingering on shots of seemingly insignificant images after characters have left a scene. For her latest, First Cow, she returns to the forest (echoes of Old Joy) and to the 19th Century (echoes of Meek’s Cutoff), adapting a portion of her co-screenwriter Jonathan Raymond’s novel, The Half Life. Kelly Reichardt (/ˈraɪkɑːrt/; born March 3, 1964)[1] is an American screenwriter and film director. So part of it was that and that I had my head in this time period for this film that I ended up not making, and I had been sort of steeped in just some paintings from the 19th century, in images I didn’t really want to lose hold of. The acclaimed director has been producing quietly devastating portraits of life on the economic margins of American society for the past 25 years; her films move quietly, slowly, centering on economic anxieties and reveling in the vistas of the American wild, whether on the frontier or in the country’s densest woods. Neil Kopp won the Producer's Award at the 2007 Independent Spirit Awards for his work on Old Joy and Paranoid Park. She developed a passion for photography when she was young. Next, she made two short films, Then a Year, made in 2001, and Travis, which deals with the Iraq War, in 2004. Reichardt was born in 1964 and raised in Miami, Florida. Kelly Reichardt was born and raised in Miami-Dade Country, Florida, to a family of police officers. 1 of 6. Kelly Reichardt is the director of seven feature films: River of Grass (1994), Old Joy (2006), Wendy and Lucy (2008), Meek’s Cutoff (2010), Night Moves (2013), Certain Women (2016), and First Cow (2019).Her work was the subject of a retrospective that took place at … Eric Kohn (from Indiewire) supports this sentiment in his description of her films as "a mesmerising statement on the solitude of everyday life for working-class people who want something better. That goes against everything that I just worked for, so I have no interest in summing it all up. Reichardt then had trouble making another feature film, saying "I had 10 years from the mid-1990s when I couldn’t get a movie made. At Home. All of which seemed relevant to the moment"[7] (in reference to the Iraq War and George Bush). Reichardt won the top award at the 2016 London Film Festival for Certain Women. She’s so inspiring. [7], Furthermore, critics have noted that her films frequently have ambiguous endings that leave the audience hanging and unsatisfied. There were some thematic things, but again, it’s people in their little houses working all day – always sewing, fixing things, feeding the animals – and then around the candlelight at night telling stories and cooking in their fires and everything is very tactile. (Photo by Dominika Zarzycka/NurPhoto via Getty Images). During that time, it was impossible to get anything going, so I just said, ‘Fuck you!’ and did Super 8 shorts instead. Suddenly First Cow did come together, and they were both in the same period, and they both were sort of films of peasants in their little hutches.

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