Kelly Reichardt: ‘My films are about people who don’t have a safety net’
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- เผยแพร่เมื่อ 14 มี.ค. 2017
- Kelly Reichardt, the director of Wendy & Lucy, Night Moves and Certain Women, talks to the BFI’s Clare Stewart about her body of work, describing her films as stories in which characters have to make only one mistake to see themselves sunk.
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Kelly Reichdart is one of my favourite filmmakers ever. Somehow her films connect with me deeply.
My favourite director. I love her films.
English Bob just saw river of grass. I could see why
So happy to see MS. Stewart pick up on the "Last Frontier" element, which I take to be the rancher's call to adventure in "Certain Women." In dealing with the theme of what we owe each other, the film joins Wolfram von Eschenbach’s “Parzival” and Jean-Paul Sartre’s “No Exit” in being about people having trouble expressing compassion when the opportunity arises.
shes way more open and comfortable in this talk compared to many of her others.
The absolute best
Kelly is in my top 3 filmmakers today I wait for their work and read any new news about their upcoming movie
This is great.
I don't know. "You make one mistake you're sunk." Meek's Cutoff a great example of why that is often wrong. They made countless mistakes, but at the end they were within reach of safety. Wendy & Lucy was hopelessly flawed. You don't leave your dog with a stranger just because you fall on hard times. The dog is better adapted to survive than you are, and there are times when it might be a real assistance. I've seen people dying outside in the parks, but their dogs looking okay. Some of the poorest most beaten down people I've ever seen have had dogs. If the 'journey' is supposed to illustrate how we grow in terms of our relationships, then it's very unfortunate that the animal gets cast adrift...it gives the message that as soon as things don't go right you abandon all relationships...not only is that incorrect (unless you are suicidal), but it gives the wrong message to people in hard times. But I loved 'River of Grass' (wonderful ending) and 'Meek's Cutoff' (no ending coz the budget was spent), and was ambivalent about 'Old Joy'...
Okay
When you think of the soul & innards of white feminism, the Williams-Reichardt duo certainly tops the list. Chiefly through Williams' manner of industry climb.
What an unnecessarily narrow lens through which to view her films.