Stories
Podcast: Killers of the Flower Moon with Vulture's Bilge Ebiri
For the official release of Killers of the Flower Moon, we're bumping our Cannes podcast discussing the film with NY Mag/Vulture critic Bilge Ebiri.
Screen Slate NYFF 2023 Coverage Part II
With the New York Film Festival wrapped, here's a look at the second leg of our reviews and interviews. For more, see our earlier post and our list of films.
Screen Slate NYFF 2023 Coverage Part I
NYFF 2023 is halfway over, and Screen Slate has been covering a wide selection of titles from across the various programs. Here's what we've been up to so far:
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,…
Working Girl(s) at Anthology Film Archives
New on Screen Slate: Stephanie Monohan on the Working Girl(s) series at Anthology Film Archives:
Tickling an Alligator: An interview with Sara Driver
Sara Driver interviewed by filmmaker Sierra Pettengill on Screen Slate
Lists
R. Emmet Sweeney's Action Item: iQIYI Film List 10 films
From R. Emmet Sweeney's article "Action Item: iQIYI," published February 25, 2024 on Screen Slate.
Screen Slate NYFF 2023 Coverage 29 films
A rolling list of Screen Slate's coverage of the 2023 New York Film Festival. View all coverage on our site…
Screen Slate's Top Films of 2022 20 films
See also our "First Viewings and Discoveries" by filmmakers including including Elegance Bratton, Davy Chou, Ricky D'Ambrose, Daniel Goldhaber, Owen…
Screen Slate Presents: The Medium is the Massacre 24 films
October 2016 at Anthology Film Archives
Not on LB: Soda_Jerk, Undaddy Mainframe Takeshi Murata, Untitled (Silver) Max Almy, Lost in…
Screen Slate: The Outskirts 29 films
A column by Cristina Cacioppo for Screen Slate
Screen Slate Presents: 1995: The Year the Internet Broke 13 films
February 2020 at Anthology Film Archives // Series info
The groundwork for interconnected global computer networks was laid in the…
Recent reviews
In a podcast recorded at Cannes, Vulture/NY Mag critic Bilge Ebiri sits down with Screen Slate's Jon Dieringer to discuss Killers of the Flower Moon.
In this spoiler free-ish discussion, we cover how the film fits into the Goodfellas crime mold and smartly diverges from the book to center the Osage characters. We also talk about where DiCaprio and De Niro's performances fit within their body of work for Scorsese and its place in his overarching project of chronicling America through its corrupt institutions.
Saffron Maeve for Screen Slate [Full Review] - "Do Not Expect makes repeated reference to what Angela terms “small films,” a matryoshka of media offerings sprinkled throughout: Bobita’s lewd posts; the workplace-safety cell footage; Uwe Boll’s nonunion creature feature (featuring Boll, himself, stomping around a backlot); the clipped vignettes of Angela Moves On; a silent sequence of 100+ roadside crosses. Jude has never conceived a small film, only dense repositories for bedded connotations—or, big films made up of small ones.…
Mark Asch for Screen Slate [Full Review] - "Arguably The Beast is an edgier Eternal Sunshine of the Spotless Mind, a plea for painful, necessary human connection, newly irony-pilled, climate-anxious, and galaxy-brained for 2023."
Mark Asch for Screen Slate [Full Review] - "Korine believes, or at least has said, that “the Call of Duty trailer . . . looks better than anything that Spielberg’s ever done,” but EDGLRD has some distance to make up on Activision. Recurrent cutaways foreshadow the hitman’s showdown with the ultimate embodiment of evil, a swole mob lord who keeps women in cages and repeatedly humps the air and grunts while holding a katana, as if you spilled soda on your controller and now one of the buttons sticks."
Liked reviews
Date night in Park Slope! So cool to see this with a sold-out crowd. The color palette sings beautifully on the big screen.
Harry Dean Stanton is truly one of the greats. Wenders does Americana better than most Americans. Claire Denis AD'd this? So much talent in one place, most impressive of all our server who carried drinks to the whole row, in the dark, without disturbing anyone's viewing experience.
Tipped 70% and a $25 gift card to Dave & Buster's.
Horrifying. Free Palestine.
A remarkable exploration of Y2K as a cultural phenomenon. Fully expected this to be dry and boring, but instead it becomes vital. It does away with talking heads, instead relying exclusively on archival material, largely from news broadcasts. In doing so, it tells a dual narrative, not just about Y2K but also about how a panic like this is captured, exacerbated and forgotten by the media. About the way Capitalism and religion exploit fear as a money making process and…