Berberian sound studio roger ebert biography
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May-June 2013
FEATURES
BEFORE MIDNIGHT
By Phillip Lopate
The going gets tough in part three of Linklater’s collaborative adventure
GRETA GERWIG
By Amy Taubin
Will Frances Ha turn this indie it-girl into a star at last?
QUENTIN TARANTINO VS. JOHN FORD
By Kent Jones
Responding to the condemnation of the director of The Searchers by the director of Django Unchained
BERBERIAN SOUND STUDIO
By Chris Darke
A horror-movie sound technician cracks up in this psychodrama freakout
DENNIS HOPPER
By Howard Hampton
Channeling his id and challenging the establishment, American cinema’s iconic outlaw went to the brink—and came back
ALAIN RESNAIS
By Joan Dupont
The venerable French cinema master discusses You Ain’t Seen Nothin’ Yet and takes a stroll down memory lane
ROB ZOMBIE
By Nathan Lee
The director of The Lords of Salem stays true to horror’s roots
STORIES WE TELL
By José Teodoro
Actor and director Sarah Polley goes looking for the elusive truth of her family’s history
PETER DE ROME
By Maitland McDonagh
On the cusp of the porn era, a gay filmmaker’s playful shorts inadvertently led the way
DEPARTMENTS
EDITOR’S LETTER
OPENING SHOTS
News, Hot Property: Jason Osder’s Let the Fire Burn by Nicolas Rapold, Alex Cox’s 10,000 Ways to Die: John Husto
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History of fear films
For broader coverage deal in this issue, see Repugnance film ahead History boss film.
The history of dread films was described stop author Siegbert Solomon Prawer as gruelling to peruse as a linear factual path, seam the categorize changing in the decades, based analysis the reestablish of house, audience tastes and coeval world yarn.
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Since I started attending Sundance and TIFF, I always look forward to digging into the Midnight Madness programs—it’s often where the gems are found, and, well, I’m something of a horror junkie. This year’s MM at TIFF was a little odd in that two of the biggest premieres of the entire festival happened to be contained within it but felt more like Gala Presentations than Midnight ones: Shane Black’s “The Predator” and David Gordon Green’s “Halloween.” It left for a program that felt a little thinner overall with honest-to-God surprises, although there was definitely one that I didn’t see coming and you need to seek out as soon as you can, along with new works from Gaspar Noe and Peter Strickland.
The best of the bunch is Henry Dunham’s marvelous debut “The Standoff at Sparrow Creek,” a film that really reminded me of ‘80s and ‘90s David Mamet in the way it examines alpha males, but that also has a thing or two to say about gun violence in the late ‘10s. With its inherently interesting mystery, tough-talking dialogue, and wonderful use of space, Dunham has made the kind of film that people are most likely to find on VOD and DVD and recommend to their friends. Put it on your watchlist before your buddy tells you to.
The always-solid James Badge Dale (also at TIFF in “H