agnès films converses with documentary filmmaker Rosylyn Rhee about her craft, her views on the current state of filmmaking and her advice to fellow artists.
In the News
Haifa al-Mansour is interviewed by The Telegraph about her trajectory as a filmmaker in Saudi Arabia’s repressive environment and about her first feature film, Wadjda, the story of a Saudi girl who decides she wants to ride a bike in spite of the country’s rule against girls and women doing so.
Interview with Daniella Daemy, director of Ava
All I can say is that it’s amazing to be able to take a unique, untold story and make it something that the audience can connect with. If you have story worth telling, you should tell it. If you have passion for something, then it’s worth all the hard work. But before starting a project, you have to consider if you are ready to put everything into it.
Review of Daniella Daemy’s Ava
The compelling and emotional teaser is eloquently cut and scripted. “Come from somewhere nice?” asks a London cabbie, while Ava is silent, wracked with angst. This film is not about tourism.
Review of Marie Ullrich’s Faster!
For much of the film’s short duration, we see Jasper zipping through the city streets on her bike, eyes staring directly forward with a sharp gaze that is intermittingly interrupted by the harsh voice of her dispatcher. Most of the time, we see Jasper’s body hunching forward, pushing herself ahead as she moves through the cars and pedestrians in her way.
La Vie D’Adèle (Blue is the Warmest Color): When a Lesbian Narrative Wins the Palme d’or in Cannes : To Be, or Not To Be, a Lesbian.
Why so many become enraptured about lesbian sex on screen is already asked and answered: it sells. It is a well-known male fantasy, but as far as a female fantasy, this depends on how the scenes are shot. Maroh has already addressed the problems. The nearly 10-minute sex scene is considered “long” by both standards, and the primary selling point of the film.
Review of Stacie Passon’s Concussion
As a storyteller, Stacie Passon wastes no time and rather than explaining everything in dialogue, her picture language is both economical and meaningful. The interior sets of the family home have a hygienically sealed cleanliness and smoothness.
Interview with Stacie Passon and Rose Troche, director and producer of Concussion
Abby’s either on her way out or on her way back in or she will continue hooking and all of the choices will be fine, but I think the central question of the film is, “ I belong to only you but you don't want me,” and that is where the film ends for me—that is the resolution and acknowledgment of the question in 93 minutes.
Interview with agnès films member Barb Morrison, score composer for Concussion
It’s always a collaboration between the director and me, and in the case of Concussion, Rose also had a lot of input on where there should be music. I’m also a big fan of using silence in a score. So I always give the film one or two viewings where I actually place silence where I think it should go. Silence can be powerful.
Review of Nicole Holofcener’s Enough Said
Chemistry, that ever-elusive quality between actors, becomes palpable between Louis-Dreyfus and Gandolfini. The wit and delightful awkwardness of Holofcener’s dialogue rolls out of their tongues with mesmerizing naturalness and we root for their love to succeed so we can watch them share the screen in another scene.
The Director of Photography circled the gear and nodded, approving the way the packages were coming back together. I was crouched over his smattering of cases in a parking lot off of Market Street, loading up a delicate array of equipment for his return trip to New York. We had worked for days on location, [...]