PAUL FELTEN is a screenwriter based in New York City.
MAY 2017 | Film
Until now, the British filmmaker Terence Davies has always been his own best subject. His first early short films and the subsequent features—Distant Voices, Still Lives, and The Long Day Closes—invented a new kind of cinematic memoir, rendering his rough working-class childhood in Liverpool through a series of complex, formally elegant tableaux and tracking shots.
SEPT 2016 | Film
Spanish director José Luis Guerín is one of contemporary cinema’s foremost practitioners of the documentary/fiction hybrid; and Anthology Film Archive’s near-complete retrospective of his films is ideal relief from the ugly campaign pageantry glutting the dog days of our absurd American summer.
OCT 2014 | Film
Beginning with The Stolen Man (2007) the Argentinian-born director Matías Piñeiro has made films that I can only describe as tantalizingly in-betweenin between classical elegance and avant-garde jaggedness, workshop and finished product.
OCT 2013 | Film
The best narrative fiction films have at their center the war between two necessary and contradictory impulses: the impulse to observe and the impulse to declaim.
OCT 2012 | Film
From the moment David Cronenbergs Cosmopolis begins, when young tycoon Eric Packer (played by Robert Pattinson) tells his head of security that he wants a haircut and slides into his state-of-the-art car despite warnings of monumental traffic snarls and probable attempts on his life, we know, skeletally speaking, what were going to see.
JUL-AUG 2010 | Express
Forget the mumblecore tag: the young characters in Andrew Bujalksis three feature films (Beeswax, Mutual Appreciation, Funny Ha Ha) speak audiblyif not always articulatelyand what they say isnt as important as the honest confusion their chatter belies.
FEB 2016 | Film
You’d be hard-pressed to find a contemporary filmmaker more searching or mercurial than Claire Denis; her films aren’t unclassifiable, exactly, but they inevitably frustrate attempts at description that favor story, character, or identity politics.
APR 2015 | Film
Tsai Ming-liang has recently written that he is tired of cinemaspecifically, of making the kinds of films that expect the patronage of cinema audiences.1 Whether he will retire from filmmaking altogether is still unclear (he was going to, apparently, but then made another film), but on the evidence of his first feature Rebels of the Neon God, he has been tired of cinema from the get-go, or at least the kind of cinema that attempts to excite us with strenuously subjective storytelling.
FEB 2013 | Film
1. We begin in a Tokyo barroommaybe a little tacky but amiable enough, familiar enough, with its Toulouse-Lautrec posters and youthful customers sipping neon cocktails.
APR 2012 | Film
I often find myself defending my affection for Whit Stillmans films to a certain kind of youngish film cognoscente who argues that: a) Stillmans work is unable to transcend the limitations of the chattering preppy class it both celebrates and anatomizes; b) this chosen milieu is in the first place politically irresponsible, especially since he doesnt subject his characters to some kind of Buñuelian smackdown; and c) his conservative sensibility is reflected in a flat visual style that prizes talk over, well, visuals.
APR 2011 | Film
A whiskered man guides a lumbering ox along the banks of a river as two women in wide bonnets wade across, carrying parakeet cages high over their heads; the birds twitter and flit, the ox makes placid, amiable ox-noises, the flaps of covered wagons snap in the breeze.