Pennsylvania native Madeline Anderson may not be a household name, but she is a trailblazer in the world of nonfiction filmmaking. In March 2016, Ashley Clark spoke with Anderson about her remarkable, incomparable career.
Essays on retrospectives and repertory films playing at Metrograph
March 1 Aboard the Human Express
Eduardo Williams’s The Human Surge is a film that knows no boundaries, cycling through formats, shifting from micro to macro scale, and passing through cyberspace in the blink of an eye in the course of gathering together its disparate story threads. As such, it seemed only appropriate to match its first-run stand with a revival of an earlier, formally-audacious city symphony with an unorthodox approach to narrative, Wong Kar-wai’s Chungking Express. A reminder, we hope, of what movies can be.
February 14 "I Made a Film with Jean Seberg"
A newly-translated letter to Cahiers du Cinema by filmmaker Philippe Garrel in 1984.
February 14 BUSTIN' MAKES ME FEEL GOOD!
'Ghostbusters' is not an outdated Reaganite fantasy at all, but a hero story more suited to our time than any of the Marvel Comics.
December 26 Not Easily Pleased
Early in our friendship, I made the mistake of telling Patricia Highsmith that I loved Hitchcock’s adaptation of her first novel, Strangers on a Train. I wasn’t sure the friendship would survive the night.
December 21 RFK '64
Haunted by enemies both real and imagined, Robert Kennedy was a patrician without a court in 1964.
November 12 Up and Down the Ladder: Excerpt from an Unpublished Manuscript c. 1933
Francis Ford wrote his memoir when he found himself virtually unemployable at the coming of sound. A copy of this memoir exists in the collections of The Academy of Motion Pictures Arts & Sciences; it doesn’t read half as bitter as one might expect.
November 10 Bitter Victory: On Ezra Edelman's OJ: Made in America
Why did a few hundred teenagers in Cincinnati, far from USC or Brentwood or even Buffalo, feel this amount of investment in the O.J. Simpson murder trial? Why did people all over the country feel the same psychic involvement? And how did we think we knew which side represented justice?
September 8 The Conditional Magnificence of the Ambersons
When I saw this desecrated masterpiece for the first time at the age of 13, I could actually feel where Welles' footage stopped and RKO's began: Ambersons is such a profoundly physical experience that the difference is plain.
July 26 PG and the Power of Nightmares
Nowadays, the PG rating, one P higher than a G, intimates a family film, not simply a title for which “Parental Guidance” is suggested. This was not the case in the seventies and early eighties.