In 'Diana Kennedy: Nothing Fancy', a Spicy Chef Shares That You've Been Making Your Guacamole All Wrong
When it comes to iconic female pioneers, fashion has 98-year-old Iris Apfel, government has 87-year-old Ruth Bader Ginsberg, and cooking has 97-year-old Diana Kennedy.
This extremely talented, smack-talking British chef is the subject of Diana Kennedy: Nothing Fancy, the documentary from first-time filmmaker Elizabeth Carroll.
What makes Diana stand out from the rest is her life's dedication to researching and cooking authentic Mexican food, all while sporting an attitude that makes Julia Child look reserved. Author of nine books, most famously The Cuisines of Mexico, it's fascinating to watch Diana as she preaches authenticity and sustainability with such passion, even if that means insulting something or someone in the process. Widowed with no children, Diana is the definition of untraditional. While her lifestyle may be out of reach, she lives alone in the mountains 100 miles west of Mexico City, her mission is simple: greatness–in life and in food–takes time. That's her attitude as she peels and roasts coffee beans, a process that takes about 20-30 minutes to prepare one cup of coffee.
With a swift 81-minute runtime, Diana Kennedy: Nothing Fancy is a wonderfully inspiring look at the art of Mexican cooking and the British woman who immortalized its importance. "You're a legend," says a photographer to Diana at a celebratory gala. "I know, goddammit," replies Diana with a cheeky grin. What is Diana up to now? She's still traveling Mexico, still learning, and most importantly, still sharing her wisdom. And yes, you've been making your guacamole all wrong.
'Diana Kennedy: Nothing Fancy' opens nationwide on Virtual Cinema on Friday, May 22nd. Available on VOD on Friday, June 19th.
Like A Good Twist? Then You'll Love This Documentary, 'The Painter and the Thief'
After tracking down Karl-Bertil Nordland–the man who stole two beloved oil paintings from her exhibition in an Oslo art gallery–Barbora asks if she can paint his portrait. Troubled, yet determined to make amends, Karl-Bertil agrees and becomes Barbora's muse, sparking a platonic love no one expected.
Directed by Benjamin Ree, The Painter and the Thief is a humble documentary that tells a story of not just solving a mystery, but the evolution of compassion and humankind. There is no reliance on a show-stopping score or narration; Ree and his camera act as a fly on the wall, intimately capturing these moments in a charming, home video-like fashion. By shifting perspectives throughout the film, the painter–Kysilkova–and the thief–Nordland–each have an equal opportunity to share their story from their point of view.
Executive produced by famed documentarian Morgan Neville (Won't You Be My Neighbor, 20 Feet From Stardom) and released by NEON (Parasite, Portrait of a Lady on Fire), The Painter and the Thief already sits at 100% on Rotten Tomatoes at the time of this review.
Available everywhere this Friday, May 22nd.
'Spaceship Earth' Prepares You for Life on Mars
In 1991, eight biospherians made a commitment to live in a large, self-sustained terrarium for two years.
Located in Oracle, Arizona, the futuristic-looking dome was created as a prototype for colonies to live in space; should Earth become uninhabitable for any number of reasons, this experiment would either confirm or deny humans' ability for survival on another planet. In Matt Wolf's documentary Spaceship Earth, we are given an insider's look into this wild project that was created by scientific pioneers, brave humanitarians, and zany artists, and which ultimately fell into the hands of Steve Bannon. But that's another story.
At the intersection of Art and Science is a man named John Allen aka Johnny Dolphin. The San Francisco-dwelling artist is portrayed as a charismatic genius who easily could befriend other like-minded bohemians. After John and his newly-formed community of outsiders decided to form a theatre troupe as an outlet for creative expression, John shifted his focus from public performances to visionary science. Concerned with the effects of climate change, and with the support of his troupe, John created the Biosphere 2. His idea was to replicate Earth's natural biosphere that would incorporate all atmospheres inside of a dome: a man-made rainforest, an ocean with living coral reef, and a desert, all curated with specific animals and plants to populate it. In theory, it was genius. But like all good sci-fi stories, things didn't go according to plan.
Spaceship Earth plays like a love child between Claire Denis's sci-fi drama High Life and the sensational cult series Wild Wild Country, with a little inspiration of Biggest Little Farm mixed in. Supporters viewed Biosphere 2 as the search for the truth. Critics viewed it as trendy ecological entertainment, complete with matching red jumpsuits that looked like they came straight off of a Hollywood set. Rumors of John's cult-like behavior is a fascinating theme throughout the film, and while nothing is ever proven, if it actually was a cult, it was at the very least a force for good. In addition to the astonishing story, the archival video content and incredible time-lapse footage are breathtaking.
Watching Spaceship Earth in these times feels a bit ironic. I found myself thinking, why would anyone willingly quarantine!? However, there are similarities here as we continue to isolate from the outside world. Once the stay at home orders begin to lift and we're able to roam outside again, the Earth as we knew it pre-COVID-19, will be changed. Hopefully for the better, but changed nonetheless, and it is up to us to keep our natural habitats happy, healthy, and thriving.
NEON will release SPACESHIP EARTH on Hulu, VOD, Virtual Cinemas, and participating Drive-Ins on May 8th, 2020.
Hurry–Hedi Slimane's MUBI Watchlist is Only Available To Watch Through May
The last time I was this excited about a fashion and film collaboration, it was in 2015 when I interviewed Iris Apfel during her press tour for the documentary, Iris.
Not many things have compared to that feeling of stepping into the world of that feisty, fabulous (and now 98-year-old) woman, until now. Hedi Slimane, the creative, artistic, and image director behind the Parisian fashion house Celine, has partnered with the online streaming service MUBI to create a list of his 10 favorite films. How quarantine chic!
Enviable Style Icons? Check. Forbidden Romance? Check. Brutal War Drama? Oh yeah. Slimane's picks include a wide span of classic and cult favorites, including Xavier Dolan’s Laurence Anyways and Stanley Donen’s Charade starring Audrey Hepburn and Carey Grant.
MUBI has become our go-to for inspiring cinematic escapes during these times, and now it can be yours too because Hedi Slimane and MUBI are inviting everyone to enjoy 30 days for free.
Watch any of the Slimane's picks on MUBI until May 31st, 2020 on https://mubi.com/hedislimane.
Curated By Hedi Slimane:
Atli Örvarsson’s Theme For 'Defending Jacob' is Lush With Strings & Piano
If you're a regular Cinemacy follower, 1) thank you, and 2) you'll know my public admiration and unwavering support of Icelandic composers. Without sounding too dramatic, I have found their unique sound can evoke an emotional response deep down to my core. Atli Örvarsson (The Hitman’s Bodyguard, Rams) brings this soothing vibe to the new Apple TV+ thriller Defending Jacob. This limited drama series unfolds around a shocking crime that rocks a small Massachusetts town and one family in particular, forcing an assistant district attorney to choose between his sworn duty to uphold justice and his unconditional love for his son.
Self-described "Nordic Noir," the airy and foreboding sound that Örvarsson creates in the track "Joan and Laurie" lays the groundwork for rich and thrilling development. The humble track relies heavily on simple strings and strong piano chords to create an otherworldly melody, which perfectly compliments the theme song composed by Icelandic multi-instrumentalist Ólafur Arnalds.
After a stint in Los Angeles, working alongside Hans Zimmer and scoring over 40 films and countless TV shows, Örvarsson suddenly had a gut instinct to leave Hollywood behind and reconnect with his familial roots. He returned to his hometown of Akureyri in the north of Iceland, an inspiring change that he says has become a "lifeblood for inspiration and a catalyst in the inception of his debut album."
Defending Jacob, starring Chris Evans, Michelle Dockery, and Jaeden Martell, premieres its first three episodes exclusively on Apple TV+ tomorrow, April 24th, with new episodes premiering weekly thereafter every Friday.
The Defending Jacob soundtrack will be released by Paramount Music on April 24th and is available exclusively on iTunes and Apple Music.
Relive These Once in a Lifetime Music Moments in 'Coachella: 20 Years in the Desert'
My first Coachella experience was unforgettable.
The year was 2011. I slept in a tent and didn't shower for three days. I busted out dance moves I didn't know I had to Duck Sauce in the Sahara tent. I was serenaded by The Tallest Man on Earth's acoustic guitar under the Gobi tent. I cried when Arcade Fire played Wake Up and a sea of white balloons fell from the sky like magic. (A year later, I'd meet a musician in one of my favorite bands and we'd end up dating, but I digress). Yes, Coachella was my heaven on earth, and in its absence this season due to COVID-19 prevention, watching this documentary at full volume and with space to dance is the next best thing.
The new documentary Coachella: 20 Years in the Desert, streaming for free on YouTube, captures the evolution of the festival that has become one of the most famous events in America. Directed by Chris Perkel, the film is a video diary of the festival's 20-year history; starting from its inception and punk rock roots in 1999 to recent collaborations with mainstream headliners Beyonce and Kanye West. What started out as a two-day, 40,000-attendee event has amazingly morphed into a three day, double weekend, 90,000 person-attended one.
Interviews with prominent figures in Coachella's history tell the story of its metamorphosis with pure passion and hilarious anecdotes. From hosting the first reunion show of Jane's Addiction to dissecting the 2012 Tupac hologram, and even claiming that Daft Punk's performance birthed the EDM movement, Coachella's rich history is something unlike any other.
Artist Shepard Fairey said it best, "Coachella isn't defined by genre, it's just 'good is good.'" It has and continues to draw the biggest artists in the world, Radiohead, Bon Iver, Madonna, A-Trak, Rage Against The Machine, Pixies, and Björk just to name a few. Here's hoping its absence in 2020 will be just a blip in the Coachella legacy, and it'll come back next year, bigger and better than ever.
'Endings, Beginnings' Review: Observing Complicated Young Love
"Everything might not be ok, but that's ok. You're exactly where you need to be."
It's a sentiment that's exceptionally fitting right now, and a beautiful takeaway from Endings, Beginnings, the latest feature from director Drake Doremus. In these times of self-isolation and social distancing, I'm finding his films to be more therapeutic than ever. Although we may be watching from within our houses and apartments this Friday, when when the film is released on Amazon Prime (on-demand May 1st), we will still be connected through its message that: We're allowed to give ourselves the room for personal exploration without judgment, and the vulnerability to admit our universal human desire: to love and be loved.
Daphne (Shailene Woodley) is fresh off a breakup with her long-term boyfriend (Matthew Gray Gubler) and currently calling her sister's Los Angeles pool house home. After four years of struggling to find contentment in her relationship –"Searching for a yes, and never finding it" – the only commitment she is looking forward to having is the one with herself. Daphne romanticizes her future; full of travel plans, bold expressions, and wild adventures. But her intentions are tested when she meets Jack (Jamie Dornan) and Frank (Sebastian Stan), two men who light up Daphne in very different ways, and who also happen to be best friends. This unexpected and complicated love triangle forces Daphne to re-examine past traumas and dependencies and re-prioritize the future she had envisioned for herself.
Scrolling Instagram during personal moments of self-inflicted sappiness, I recently came across a saying that's stuck with me, "The timing isn't wrong, the person is." In this case, Daphne finds compatibility and is attracted to two men, one providing passion and one stability. This sexual vs intellectual chemistry provokes an emotional crisis that Shailene Woodley portrays with incredible honesty. Her performance is raw, selfish, and, admittedly, relatable. Co-stars Jamie Dornan and Sebastian Stan meet her level of artistry, creating scenes that cut right to the heart.
Endings, Beginnings is made up of an abundance of subtext and that is partly fueled by the film's soundtrack and Frank's "Music To Suffer To" Spotify playlist. Moody tracks from Beach House, Hayden Thorpe, Lawrence Rothman, and more act as musical poetry that embellishes every scene. Additional subtext and emotional catharsis swirl throughout the film and let the audience fill in the blanks with occurrences from their own lives. Blue-toned cinematography by Marianne Bakke and imaginative editing by Garret Price also gives the film its dream-like quality.
Triangles have sharp edges, and when it comes to love, someone's bound to get hurt. Endings, Beginnings is a reminder that even with earnest intentions, life doesn't always go according to plan. The sooner we are able to accept this reality with love and grace, the happier and more fulfilled our crazy, chaotic, and beautiful lives will be.
Distributed by Samuel Goldwyn Films. 110 minutes. Releasing on digital April 17 and on-demand May 1.
Drake Doremus Interview: "When I watch a movie, I want to cry my ass off"
It’s as if Drake Doremus has the ability to look directly into our collective minds and at the anxieties and desires that trouble the modern young person. In his newest film Endings, Beginnings, Daphne (Shailene Woodley) finds herself troubled when she becomes entangled in two different relationships with friends Jack (Jamie Dornan) and Frank (Sebastian Stan). Each man offering something the other can't, Daphne’s growing sense of guilt and secrecy only makes her question a deeper desire: is she okay without depending on a partner at all? In our exclusive interview, Doremus talks about his signature filmmaking style and why he loves a good "ugly cry." Endings, Beginnings is on digital April 17, 2020, and on-demand May 1, 2020.
I just want to start off by saying happy belated birthday! Did you have any sort of quarantine party?
Oh, thank you so much! I had a game night with my friends the night before my birthday. I'm a very social person and it was nice to be able to see everybody. I just chilled on Sunday, my girlfriend and I went to Palos Verdes and walked by the ocean. It was a good birthday.
I've been a big fan of yours since the very beginning, and I'm always fascinated by your process. Do you take the same approach with every film, and prefer a treatment vs a script?
Definitely prefer the treatment or outline, it feels more exciting. You're working backward, essentially. The idea of dialogue being last is so exciting as opposed to a script where the dialogue leads you and then you fill in the blanks with subtext and objectives and all the stuff that I'm obsessed with as a filmmaker.
It's a challenge, but every time I do it, I learn more and I just want to do it again and again and again.
The actors in your films are so honest and raw, the performances don't even feel like performances in the best way possible. And in this film especially, Shailene Woodley, Jamie Dornan, Sebastian Stan, and the OG - Matthew Gray Gubler - everyone is so grounded in these truth-based performances. Do you feel bonded with these people after having gone through this experience with them?
I hope so! Each movie is different. Sometimes you end up being close, sometimes you don't. But I feel like I ended up making really good friends on this one. I think this is probably one of my favorite experiences making a movie and one of the most special ones. It's like going in the foxhole together when you do something really emotionally naked and you get to see parts of each other that no one else gets. I think that bonds you in a really special way.
[For Endings, Beginnings], we shot all the big surf sequences first. Shailene, Sebastian, and I took a road trip up to Big Sur together and just had the most amazing experience getting to know each other. By the time we started shooting the movie, it felt like we'd been friends for eight years. Their energies just matched, I knew they were somebody that I could really explore with, no boundaries, nothing off-limits. It really just opened up the door to do something special.
There are so many similarities in this film that mirrored my own life, it's wild. I took a road trip up to Big Sur with an ex-boyfriend to see Beach House at this really intimate venue. So seeing that and having Beach House on the film's Music To Suffer To playlist, I was like, 'Oh my God, how did you know?'
Haha! It was made for you!
To that point, the music in the film is awesome. Beach House, Hayden Thorpe, fantastic choices. Did a music supervisor help with that?
I always pick my music before we shoot. I'll make playlists and give it to my actors, my crew, and certainly my editor [Garret Price], so we started to stockpile music. I worked with Chris Douridas, he's an incredible music supervisor. He's on KCRW and he always gets exciting music. We've done a couple of movies together now and he can fill in the blanks when I'm a little stumped trying to find something. We got pretty much all of [the music I wanted] and it really kind of gives you the texture I wanted.
How would you say that music inspires you as a filmmaker?
It's amazing because you can't even describe why it makes you feel a certain way. It just does. You can't say in words what a song can convey, emotionally. That's why I love using music really specifically. We just talked about Hayden Thorpe, his Love Crimes song– there's nothing that words could say that that song does for you. It's almost the dialogue. I love using music as a kind of dialogue sometimes.
A lot of your films deal with this search for love. With each film, do you feel like you come closer to discovering it?
It depends on the day you get me. Some days I feel like I'm getting closer to it. Some days I feel like I'm getting further away. I mean, that's the human experience, right? It's like sometimes you just feel good and then you don't, it's a roller coaster. I'm trying to balance my life, not getting too high and not getting too low, especially with love and relationships. So that's interesting to me, the idea of Daphne trying to find that balance. This movie was such a cathartic experience. Trying to just be okay with things not being okay. And being able to go easy on yourself and forgiving yourself, trying to learn and grow.
That's why I made the movie.
That last line too, 'It's okay to not be okay.' Powerful.
I think a therapist said that to me at one point and then it just ended up in the film? I stole that from him.
It's so relevant right now! We can't do anything about our current situation, so we just have to accept the fact that it's okay. We may be alone experiencing this movie, but we'll still feel connected because of its universal feeling of heartbreak, longing, and love.
Totally.
I was noticing on Instagram that a lot of people are commenting that they're excited this film will be available to stream online because they can now ugly cry in the comfort of their own home.
Hahaha those are my people! I wouldn't be able to make movies without those people. When I watch a movie, I want to cry my ass off. And if I'm not crying, then I don't really like the movie. I love watching Dumb and Dumber and it makes me happy. But man, I just want to go cry. So I love those people and I love those comments.
I hate what's happening to the world and it's tragic and so heartbreaking. But at the same time, I'm hoping that this movie gives people an outlet and a sense of peace and can be somewhat of a gift in this crazy time. It's certainly hard to let go of theatrical, but at the same time, I love that we bumped up [the release date] and we're giving it to people this week.
I'm a big believer that you can emotionally experience the movie any way you want, whether it's on your phone, your computer, your TV, whatever. It's still the same emotional currency, and that's what it's all about.
Thanks Drake, I appreciate you talking with me. I loved the film and I have to admit, I did ugly cry at the end.
Oh my God, you made my day!
Interview has been edited for length and clarity.