Interview: Nadav Lapid on 'Synonyms' and who gets to tell which stories

by Murtada Elfadl

Using his own experiences as a blueprint Nadav Lapid (The Kindergarten Teacher) made a furious, kinetic and altogether astounding film about being disaffected and seeking a new life, ideals and country. In Synonyms (opening today in limited release) Tom Mercier plays Yoav, a young Israeli who flees Tel Aviv for Paris and tries to completely erase his former identity. The movie is not easy to describe, it’s better to dive in and enjoy the experience. It won numerous accolades around the world this year starting with the Golden Bear at the Berlinale. While in New York to present his film in the main slate of the New York Film Festival, we got the chance to talk to Lapid about his film, his powerful lead actor and who owns the rights to tell which stories. The interview has been edited and condensed for clarity

Murtada Elfadl: Can you talk about the beginning of the film. The first 10, 15 minutes are hypnotic, confusing, and disorienting, throwing the audience into the story with no introduction.

NADAV LAPID: I felt that the movie should start with a vibration, with movement. In a way the biggest challenge of the filmmaking was to create this movie that doesn't have a clear narrative line. I didn't want the film to become a series of anecdotes. We had to have something attached to that feeling, that vibration. It's a movie that's based on compulsion, on an urge. You cannot imagine an introduction to such a movie...

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Interview: Waad Al-Kateab and Edward Watts on 'For Sama'

by Murtada Elfadl

For Sama, the new documentary in theaters that chronicles the five years of the Syrian uprising in Aleppo, is presented as a document from a mother trying to explain what happened to her newborn daughter. Yet what filmmaker Waad Al-Kateab shows through capturing the minutiae of everyday life in a city under siege and continuous bombardment, is a love letter to people committed to building a better society even as the situation around them becomes dangerous. Al-Kateab, a journalist, and her husband Hamza, a doctor, make the choice several times to stay in Aleppo and continue their work while starting a family, building a life, helping their community, hoping they can sustain despite the circumstances. The film presents a narrative rarely seen on screen, intimately documenting life from inside a city ravaged by war, as its people are just trying to live through the days. We recently spoke to Al-Kateab and her British co-director Edward Watts in New York. (This interview has been edited and condensed for clarity.)

Murtada Elfadl: How did you come to work together?

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Interview: Lulu Wang on 'The Farewell' and why it's important to declare she's American

by Murtada Elfadl

When I meet Lulu Wang at the A24 offices in Manhattan, she looks really cool despite the hot weather and despite the fact that she has “not been part of the world since January because I've just been traveling.” Perhaps it’s the effect of Headspace, the meditation app she uses. “It has all of these five or ten minute meditations. I listen to in the car ride between going to screenings. It just helps me breathe.”

January was when her second feature film as a writer and director, The Farewell, premiered at Sundance to ecstatic reviews, including one from this writer. Since then Wang has been flying around the world as the film played at many other film festivals. Wang has drawn on her own family’s history to tell a warm, funny and poignant tale about a young Queens artist, Billi (played by Awkwafina), and the tender relationship she has with her grandmother, whom she calls Nai Nai or "grandma" in Mandarin, and who lives in Changchun, China. When Nai Nai (Zhao Shuzhen) receives a terminal cancer diagnosis, the family decides to hide the news from her and instead concocts a scheme to marry off a cousin, so that they have an excuse to gather around the grandmother one more time before she goes. This lie doesn’t sit well with Billi and the film shows us the friction and love as the family grapples with this. This interview has been edited and condensed for clarity.

 Murtada Elfadl: There were reports last week that you turned down a big payday from a streamer and chose to go with a theatrical release. Why is that important to you?  

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Interview: 'Diamantino' directors on queer influences, genre twists, and Pekingese puppies

by Murtada Elfadl

The balancing of many different tones differentiates Diamantino, which just opened in theaters after a hit run at Cannes last year. It's a satire, an allegory, a rom-com and a fantasy -- all of those things in one yet it all jells. Co-directors Gabriel Abrantes and Daniel Schmidt kept all these different balls in the air. The story is absolutely bonkers. Let’s see if we can get it straight with the help of the official synopsis: 

Portuguese soccer hunk Diamantino (Carloto Cotta, Tabu) blows it in the World Cup finals, he goes from superstar to laughing stock overnight. His sheltered worldview is further shattered after learning about the European refugee crisis and he resolves to make amends by adopting an African refugee – only to find that his new “son” is actually an undercover lesbian tax auditor investigating him on the suspicion of corruption. From there, Diamantino gets swept up in a gonzo comic odyssey involving cigarette-smoking evil twins, Secret Service skullduggery, mad science genetic modification, and a right-wing anti-EU conspiracy.

This doesn’t even include the fluffy giant Pekingese puppies that make the best co-stars. Critics, including this writer, have been in love since the film premiered at Cannes last year winning the Critics' Week Grand Prize. We recently had the chance to speak to the co-directors in New York. The interview has been edited and condensed for clarity...

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Interview: Ritesh Batra on 'Photograph' and why he makes movies about longing

by Murtada Elfadl

By his own admission Ritesh Batra makes movies about longing. Movies about people trying to connect. That was evident in The Lunchbox (2013), where two strangers meet and bond through a case of mistaken lunch deliveries. In Our Souls at Night (2017) two older neighbors - played by Jane Fonda and Robert Redford - try to fill their lonely nights by sleeping in the same bed, for companionship not sex.

In his latest film, Photograph, two strangers from different backgrounds also try to connect. He’s Rafi (Nawazuddin Siddiqui), a struggling street photographer. She’s Sanya (Sanya Malhotra) a shy Accounting student. They meet when he takes her photo at the Gateway of India, the famous arch monument in Mumbai. Rafi is being pressured to marry by his grandmother so he convinces Sanya to pose as his fiancée during a family visit. The film tells more with the silences between the strangers than any words, Batra is able to let emotions rise quietly but clearly to the audience. We recently interviewed him in New York about why these themes keep attracting him. The interview has been edited and condensed for clarity...

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