Interview with ABI director Timothy Troy & screenwriter Dan McGuire
director Timothy Troy (left) and screenwriter Dan McGuire (right) with their awards for “Abi”
Technology overtaking life as we know it has been a fear that writers have incorporated into their stories for some time now. The idea that something we rely on or use everyday for work or leisure to make life easier, working against us or replacing us has always been a plausibility. From traffic lights going haywire or elevators malfunctioning to Siri or Alexa backfiring on us, this idea of something man has created taking over has been an exhilarating, often horrifying, element in books, television and movies. It’s an element that’s front-and-center in the horror short film “Abi”, which finds director Timothy Troy and screenwriter Dan McGuire wasting no time getting to the threat of the story.
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CLASSICS: Tokyo Drifter (1966)
written by: Kouhan Kawauchi (screenplay and story)
produced by: Tetsuro Nakagawa
directed by: Seijun Suzuki
rated: unrated
runtime: 82 min.
release date: April 10, 1966 (Japan), February 23, 1999 (U.S. via The Criterion Collection)
Among the most stylish directors in Japan in the 60s was Seijun Suzuki, and his 1966 classic “Tokyo Drifter” is among the most unique and, dare I even use this word, cool movies of the 60s. The framework of the film is relatively simple, a lethal assassin decides to get out of the game, but no matter what he does, he can’t escape the world of crime. Read more…
CLASSICS: The Umbrellas of Cherbourg (1964)
written by: Jacques Demy
produced by: Mag Bodard
directed by: Jacques Demy
rated: unrated
runtime: 92 min.
release date: February 19, 1964 (France), December 16, 1964 (U.S.)
“People only die of love in movies.”
CLASSICS: The Color of Pomegranates (1969)
written by: Sergei Parajanov, based on poems by Sayat Nova
directed by: Sergei Parajanov
rated: unrated
runtime: 79 min.
release date: October 1969 (Armenia) and October 1980 (U.S.)
“We sought asylum for our love, but the road led us out to the land of the dead.”
First things first, before we get started, I must inform you that “The Color of Pomegranates” is not for everyone. It is, however, for anyone that might want to reconsider the notion of what film can be. If you think that cinema exists to tell a multitude of stories in one specific way, that is with a cohesive narrative structure, you’re probably not going to think much of this film. If you’re open to the many possibilities of what a film can be, however, you’ll find much to love in these 79 brisk minutes. Read more…
Interview: THE NIGHTINGALE actress Aisling Franciosi
Aisling Franciosi stars in “The Nightingale.” (photo: Deirdre Hayes)
I’m compelled to start off by mentioning that this interview contains spoilers for “The Nightingale” and it would be best to read it after you see it. If that doesn’t deter you, by all means, read on. On that note…if you see the latest film from Australian filmmaker Jennifer Kent (writer/director of “The Babadook”), you will have seen a very special albeit challenging film about the desperate need to hold on to the light during very dark days, something that’s sadly quite relatable. I emphasize “if” because “The Nightingale” will be undoubtedly be a challenge to take in – as witnessed firsthand this past May at the Music Box Theatre where the film screened as part of the Chicago Critics Film Festival, when I witnessed some viewers walk out of the film due to its harrowing and wrenching depiction of violence. That response is understandable, but it’s only after watching Kent’s film in full is it possible to understand that she is aiming at communicating much more than provocative images. Read more…
25 years of the Black Harvest Film Festival
Doing anything for 25 years is impressive. You’d know that if you’ve tried it and if you’ve done it, you’d agree that it takes a certain resolve and firm believe in what you’re doing in order to keep at it. It also takes a confidence and passion for what you’re aiming to accomplish. Such is the case with Sergio Mims, a Chicago-based film critic and historian who has been involved in the Black Harvest Film Festival since 1994 which specifically celebrates black cinema, as a co-founder/programmer. I haven’t posted an interview with another film critic here on Keeping It Reel before, but the 25th anniversary of this festival compelled me to approach Mims to discuss his involvement and I honestly feel like we could’ve gone on and on.
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TOY STORY 4 (2019) review
written by: Stephany Folsom and Andrew Stanton
produced by: Jonas Rivera and Mark Nielsen
directed by: Joshua Cooley
rated: G
runtime: 100 min.
U.S. release date: June 21, 2019
The talented folks at Pixar Animation have come a long way. The groundbreaking animation in the first “Toy Story” movie looks rudimentary compared to what is presented in “Toy Story 4”, the latest addition to the Disney franchise. Granted, these movies haven’t always been about visual feats, they have clever humor and emotional punch as they touch on topics that range from friendship and purpose to abandonment and mortality. While this funny third sequel touches on some relatable themes, it stands out by adding some fresh weirdness to the franchise, making it one of the oddest entries in the franchise. While no one was asking for another entry, offering something unexpected is a welcome relief considering the sequels currently out in theaters.
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