FYC: "The Killing of a Sacred Deer" for Best Cinematography

by Ilich Mejia

Sometime this fall, Yorgos Lanthimos’s The Killing of a Sacred Deer began recurring less and less in conversations surrounding films likely to be Oscar nominated this month. The fact that a film featuring a vindictive teen with supernatural powers was even in any awards-friendly conversation despite voters’ general aversion to anything paranormal is a testament to its many assets: a compelling cast well led by Colin Farrell, Nicole Kidman, and Barry Keoghan (and even child actors Raffey Cassidy and Sunny Suljic, both easily disturbed but unmoved like any Lanthimos vet), an eerie score tuned flawlessly to make you laugh out loud at the most horrific sight, and some of the most concealed but poignant contemporary costume work in film this year. But perhaps the movie’s greatest showcase is Thimios Bakatakis’s cinematography as he paints ordinary Cincinnati into a most chilling Epidaurian stage.

Come read more about Bakatakis's wizardry, wary of miiild spoilers!

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Revisiting "Frida"

by Ilich Mejía

Frida came out in my native Honduras towards the end of 2003, nearly a year after it was released in the United States. Back then, it wasn’t uncommon for Honduran theaters to get films much later, but it was uncommon for them to show anything that wasn’t a blockbuster—regardless of the amount of Oscars or movie stars under their belt. Despite featuring niche themes like political art and unconventional family dynamics, Frida offered Latin American audiences something else: visibility in an optimistic, familiar context. This was not a film about a Latin American drug lord knowingly putting their family’s life at risk to meet wealth or about an immigrant leaving their roots behind to see if the American dream is a real thing: it was the story of a woman trying to make her native Mexico proud, ironically funded by Hollywood to be seen by more without the condescending, stingy distribution of a foreign film.

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In Context: The Contentious Making of "Frida"

by Ilich Mejía

The New York Times published an op-ed by Salma Hayek where she discloses how working with Harvey Weinstein, then head of Miramax, affected the production of her passion project Frida. The film, centered around the life of Mexican painter Frida Kahlo, was released in 2002 with Hayek portraying the titular character. In the article, Hayek relates her refusals to Weinstein's inappropriate proposals (massages, showers, sex) to his explicit sabotaging of the film and its release. Up next, we contextualize five of Hayek's most poignant tellings of how Weinstein's ruthless power machine compromised the making of a promising film.

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The New York Times' Great Performers' Shorts, Ranked

by Ilich Mejia

Every year, The New York Times Magazine picks their greatest performers of the year. This year's top ten each got to star in their own silent, "Horror Show" themed short. Italian-Canadian photographer Floria Sigismondi directed the group as characters that wouldn't be out of place in Beyoncé's haunted house. Hopefully next year, the magazine will branch out and recognize some of television's equally terrific performances. Check out the spooky standouts after the cut...

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Sundance Primer: The 2018 Dramatic Competition Lineup

It's a wonderful week for diversity! In the festival world, at least. The American and International Dramatic Competition lineup for the 2018 Sundance Film Festival was announced and it includes narratives representing people of all kinds from all over the world. This year's lineup also features exciting film directorial debuts from familiar (Idris Elba! Paul Dano!) and new visionaries.

In the past, major films like Precious: Based on the Novel Push by Sapphire and this year's awards darling Call Me By Your Name premiered under this category. Check out this year's contenders to gauge who critics and audiences will still be talking about months after the festival's run.

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