In the movie, Josh and Emily feud throughout because she wants to marry, he’s eternally ambivalent. In real life, they’re engaged. Aselton: “Mark asked, and I said, ‘Yes.’ We had a four-and-a-half-year relationship just like Josh and Emily, and we were definitely in those arguments and situations. You have to shit or get off the pot. Mark got off the pot.” “I shit,” Duplass corrected his fiancée.
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The Duplass brothers know their way around a kooky, loosely wrapped scene, but, as the film’s conclusion demonstrates, they can cut to the heart as well.
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The Duplass brothers have constructed a compact meta-movie laced with knowing winks.
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Try as they might to be independent, filmmakers are still bound by family ties, the same as everyone else.
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Short-order cook Zack skateboards, surfs, babysits, and dreams of attending Caltech to be an artist.
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Brazilian filmmaker Jorge Furtado has pursued the same preoccupations through his entire 25-year career, beginning with his arch, masterfully constructed and jolting shorts.
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Fo r years it looked as if George Romero had hit a dead end.
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Let’s Get Lost is getting a deserved second act, with a restored 35mm print screening at the Brattle Theatre January 25 through February 7.
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From more than 400 sources, he’s created an operatic narrative of a single human life.
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Film Culture wanted to check out Boston’s first rally supporting the Writers Guild of America strike to see which New England–based screenwriters would answer the call.
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