Interview: Keva Rosenfeld

The Maidstone. East Hampton, NY
Interview: Rob DeStefano


In between jogging from screening to screening, I sat down with director Keva Rosenfeld to discuss his fresh and thoroughly enjoyable documentary All American High Revisited. Aptly compared to a non-fictional John Hughes trip, Keva’s camera follows exchange student Rikki Rauhala through her senior year at a California high school. He returned to his work, now nearly thirty years since its creation, to check in on these “characters.”

Inflatable Ferret: Your film has a clear cinema verite style. Any specific filmmakers of this nature who inspired you?

Keva Rosenfeld: I was partially inspired by Frederick Wiseman, who made the classic film High School (1968). He has a very distinct style and has worked that way for years. He goes in and imbeds himself into a social institution – mental hospital, airport, public housing – and he just parks himself there with a small crew, and he films everything. There were a handful of pioneers who did this, the Maysles brothers for example. read more

HIFF 2014: Day 4

Words: Rob DeStefano

Foxcatcher (2014)

Foxcatcher (2014)

Bennett Miller has directed some knockout roles: Truman Capote as played by Philip Seymour Hoffman (Capote) and Brad Pitt’s portrayal of Billy Beane (Moneyball). These are larger than life individuals with clearly defined traits rather than nuances, but Miller presents them with a sense of understatement. He continues now with Foxcatcher, an all too real tale of John du Pont and his relationship with the Schultz brothers. Miller tends to the facts in his adaptation, allowing the audience to integrate their own personal interpretations and reflections. Regardless of how this pans out for the viewer, there is no denying the cold darkness that lurks at the heart.  read more

HIFF 2014: Day 3

Words: Rob DeStefano

Two Days, One Night (2014)

Two Days, One Night (2014)

Two Days, One Night (Deux jours, Une nuit)
The Dardenne Bros did not arrive at their current success by creating easily digestible characters. Their camera stalks said subject, keeping the audience at an uncomfortably close vantage point. Like Cyril in The Kid With A Bike, Sandra (another winning performance by Marion Cotillard) is two parts alienating, one part sympathetic. Her world comes to a sudden hault – she seems to have faced a similar crisis in the past – when she learns her employment is contingent on an office vote: distribute company bonuses or layoff Sandra. Empowered by her devoted husband Manu (Fabrizio Rongione) and a package of Xanax, the mother of two visits her co-workers over the course of a weekend to solicit their support.  read more

HIFF 2014: Day 2

Words: Rob DeStefano

Nightcrawler (2014)

Nightcrawler (2014)

All American High Revisited
Film is a perfect weapon for studying time, the trivial actions of a day or the progression over decades. Boyhood framed this into a beautiful fantasy, but documentaries have long been fascinated with this. All American High Revisited is actually two movies. The first, a cinema-verite observation of High School. We enter into the Fall of 1984 through our conduit, Rikki, a Finnish exchange student. Director Keva Rosenfeld and his camera listened in on class discussions, attended keg parties, and honored the usual ceremonies throughout these suburban Californians’ senior year. Rosenfeld returned to his subjects, at least the ones he was able to track down, which was the surprising majority, to learn how their aspirations panned out roughly thirty years later. Rikki remains the focus in his Revisited section; we gaze at her family as they play the original film, the effect of which is expectedly tender. read more

HIFF 2014: Opening Night

Words: Rob DeStefano

st vincent

St. Vincent (2014)

It’s time again to refill the Hamptons with some of that money that left with Summer. Locals continue to retreat once more, as film enthusiasts steal all parking from Westhampton to Montauk, for the 22nd annual time. Hamptons International Film Festival 2014 will serve up Fall’s hotly anticipated indies, titles bound for year end Oscar discussion, and smaller gems from around the world. There are director and performer panels, and if hearing from a man like Joel Schumacher (responsible for classics like The Lost Boys… and Batman & Robin) isn’t on your bucket list, then you can gorge on Rowdy Hall’s brunch. Past openings included Jeff Who Lives at Home and Kill Your Darlings; this year they decidedly went wider with St. Vincent. David Nugent, the festival’s artistic director, introduced St. Vincent with unbridled enthusiasm, claiming that when he found it at Toronto, it turned his terrible, horrible, no good, very bad day into a spectacular one. To each his own. read more

Review: The Guest

Words: Rob DeStefano


The first Saw hit theaters in 2004, igniting a torture porn fever that perpetuated annually for six years – yes, there are seven installments for those counting. Throughout this near decade reign of brutal horror, similar iterations filled Jigsaw’s sabbaticals: Hostel I through III, The Human Centipedes, Captivity, The Collector, The Family Stone. This gore pileup eventually exhausted itself, forcing filmmakers and public interest to recoil from gritty, claustrophobic bloodletting and experiment with the nostalgic, in both atmosphere and storytelling. This is most evident in last year’s monster success, The Conjuring, set in 1971 and capitalizing on a good old-fashioned haunting; the trend continues with the release of its prequel, Annabelle. Turning the clock back in similar fashion, Ti West’s The House of the Devil revels in its 1980s spirit, attracting critical acclaim and bolstering the young director as a genuine genre talent. This push into the past garnered success with Berberian Sound Studio (an awarded festival favorite) and even Paranormal Activity 3 (a 1988 bewitchment that reinvigorated its franchise’s box office earnings). New to this conversation, and most important to it, is director Adam Wingard and screenwriter Simon Barrett, the duo responsible for 2013’s You’re Next. Their latest is The Guest, a present day film that’s steeped in an 80s aesthetic, is reverent to early horror, and is the kind of contemporary rendition we’ve needed. read more

October Release Schedule

Words: Rob DeStefano

October, an optimistic improvement of this year’s September.

October 3

Gone Girl

gone girl

Time-tested, critic-approved: When David Fincher makes a movie, you see it. His adaptation of Gillian Flynn’s bestseller should fit snugly in his world of dark fiction. As entertaining and expansive as some of his projects can be, his fascination with simple human nature and how it drives or destroys relationships has remained the subject of his lens. Coming off the heels of The Social Network and The Girl with the Dragon Tattoo, Gone Girl makes complete sense. The concern is the story’s non-linear and alternating narration, which does not make for an easy conversion to the big screen. Luckily with Flynn providing the screenplay, we shouldn’t see the novel’s unflinching character study or endless tension sacrificed.

Learn more about Amy Elliott Dunne. read more

Dawn of Justice: WTF Update

Words: Rob DeStefano


I join the majority when I say that I am, now more than ever, skeptical of this DC comics amalgam, helmed by the notorious Zack Snyder. If Man of Steel wasn’t enough to deter you from ever looking at a red cape again, the unlikely Ben Affleck addition was sure to raise skepticism for its sequel. These warnings were followed by a flurry of bizarre posters, the superheroes standing in the middle of – I still don’t know, volcanoes? Man of Steel was a tonal disaster, the camera work suggesting a gritty and grounded story, the story suggesting the opposite of something grounded. The latest Batmobile phtograph confirms that this movie will bring us only farther away from Nolan’s trilogy. The proportions on this vehicle are quite telling: tiny, impractical headlights sized against an obstructive turreted Gatling gun. If the one hour city desecration scene from the first installment didn’t scream “Aggressive directing,” this new weapon fixture should fire the message right into our skulls. On discussing this highly “anticipated” superhero merge, Snyder might have stated, “I’m going to make it Bat Shit Crazy! (…Bat…Get one of the screenwriters over here!)” Meanwhile, Nolan is off directing something of substance, hoping, “Gee, I hope no one uses Bat Shit Crazy in front of Zack.” And the people at craft services are starting to realize that the production designer can’t stop watching Dante’s Peak. That’s all for now. read more

Trailer Talk: The Guest

Words: Rob DeStefano

the guest

Last year’s release of You’re Next was an enormous treat for genre fans. It knocked off a few of the horror niches, serving up home invasion, slasher, and revenge, ultimately proving to be a clever subversion. Director Adam Wingard and screenwriter Simon Barrett continue their teamwork with The Guest, and by the tagline alone – “Be Careful Who You Let In” – it doesn’t seem to wander too far from their previous film. The trailer suggests a vengeful justice to bullying and lots of inexplicable machine gun rounds. With a noticeably larger budget, I’m curious to see what Wingard dishes out this time around. From the preview alone, I think it’s safe to say that he’s retained his appreciation toward violence, wit, and style.

Opens: September 17, 2014

Now Streaming: Don Jon

Words: Rob DeStefano

don jon2

Platform: Netflix

Choose your streaming wisely, check out our pick of the week.

Child stars. They make you want to break out in song, “I’m writing a letter to daddy!” Robert Aldrich’s What Ever Happened to Baby Jane? showcases two former actresses who have fallen victim to the Hollywood fame of their younger years, leaving them aged and at the mercy of unattainable dreams and disillusioned talent. Aside from reoccurring roles on “Dark Shadows” and “Roseanne,” Joseph Gordon-Levitt became known at age fourteen during the extended run of TV’s “3rd Rock from the Sun.” He then went on to gain leading man status in films like Brick, 50/50, and Looper. Now at thirty-three and with a diversified collection of films under his belt, he attempts to juggle the tasks of starring in, writing, and directing his first feature. The inevitable question springs to mind before starting Don Jon: does he have the talent to execute each of these jobs? Or will he fall victim to a generalized case of nepotism and be destined to echo Baby Jane Hudson’s famous diddy? Maybe the young director deviously references this very concern when his eponymous character sits in a movie theater and states in voice-over, “I don’t understand movies.” Luckily for us, this is not the case. read more

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