Interview: Edu Grau on "Passing", queer cinema, and first time filmmakers

by Nathaniel R

Black and white photography has been the hot trend this past year. Despite that, the incredibly specific and resonant visuals of Passing have been underdiscussed.  Some of that we attribute to the quiet nature of the film itself; the watchful, perpetually anxious drama focuses on Irene (a splendid Tessa Thomson) a woman in 1920s Harlem who is shocked to discover that her childhood friend Clare (brilliant Ruth Negga) is living as a white woman, and not just "passing" but boastful about her subterfuge and marriage to a proud racist (Alexander Skarsgård).

We were thrilled to meet with the cinematographer Edu Grau to discuss his fascinating movie. We broke the ice talking about his changing name in film credits. With a self-deprecating laugh he explained that he went by Eduardo at the beginnign of his career because it sounded more serious but changed his mind. "Only the police use Eduardo," he says laughing "Everyone calls me Edu". There are a lot of Edwards and Eduardos in America, he adds, reasoning "Edu is more special!" The Film Experience agrees and suggests that people should commit the name to memory...

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Posterized: Ryan Reynolds

Contrary to what the P&A budget for Minions will have you believe, there are other movies opening this weekend. It's a big weekend in the top markets for LGBT releases. And nationwide a horror movie (The Gallows) and a new sci-fi body swap thriller Self/Less starring Ben Kingsley & Ryan Reynolds are also opening. I read a headline yesterday lamenting

WTF happened to Ryan Reynolds's career?" 

Ryan Reynolds in his first real year of stardom (2002) and now (2015). Images from Buying the Cow and Self/Less

And I thought: Well... nothing. It's always been this way!

He first won semi-stardom in 2002 frequently displaying his then amazing body (it wasn't the norm for male stars to look like cartoon superheroes OUT of costume just 12 years ago) in the popular college comedy Van Wilder and the lesser seen romantic comedy Buying the Cow. Since then it's been a constant annual barrage of mainstream comedies, mainstream action and franchise pics, and mainsteam horror. Some of his movies were barely screened or went straight to DVD but even those were populist ventures. Either Reynolds or his management just haven't had ambitions outside the multiplex. This has only very recently begun to change with experiments like Buried (good) and The Voices (terrible) which fit comfortably into populist genres but still were plainly too weird --even in screenplay stages -- for mass appeal. He's been perpetually "on the verge" but has never achieved anything beyond the B list. Okay, the B+ list.

So how many of his 24 pictures (excluding voice work and cameos) have you seen since his 2002 breakthrough? The posters are after the jump...

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