Currently Browsing: Amelie Lasker
Even in her fiction, Collins was thinking about the art of point of view and its role in film.
It’s delicious to see this kind of character taking up so much space on screen: unkempt, dazed, and aimless, with occasional moments of alertness to take pleasure in something tiny, just because she wants to.
Cheryl Dunye’s first feature, The Watermelon Woman, plays with autofiction in film: the plot follows “Cheryl,” played by Cheryl, as she “tries to make a documentary” about an actor from a 1930s film known only as “The Watermelon Woman.”
Olivia is a particularly beautiful watch. Within lavish costumes, bedrooms, and ballrooms, the story is surprisingly intimate.
“As a director, you need to explain your ideas to like fifty people, and you have to somehow be consistent. You share a lot.”
“The number one goal of our film I think has been accomplished, which was to talk about her, and to get people to read her work more, and get her more in the national discussion.”