The short film genre and female filmmakers are usually two areas that don’t get enough attention ... till now. Just ask Susie Singer Carter. The current quadruple-threat of filmmaking is right in the middle of the festival circuit with her short “My Mom and the Girl." The story about a young woman dealing with a parent suffering with Alzheimers is both a professional and personal project for the writer/director/producer

Warren and Faye always were good for a bloody ending. Especially Faye Dunaway, who has shown a genius for getting shot in a car to finish a movie. We should feel forgiving toward Mrs. Mulwray. She was born with an eye imperfection. And died with an even bigger one. The Academy of Motion Picture Arts and Sciences could not have picked a better dance pair for the greatest televised mistake in the history of the world. As you surely know

French screen icon, famously cast in her first major part in New Wave Alain Resnais’s first film, “Hiroshima mon amour,” legendary actor Emmanuelle Riva died in Paris yesterday. At age eighty-nine she has had a career that’s spanned five decades, starting with auteur filmmakers in the sixties all the way to her heartbreaking and understated portrayal of an Alzheimers victim in Michael Haneke’s 2013 “Amour,”

A man stricken with Parkinson's disease tries to shift from a chair to his wheelchair; even with his wife and stay-in caretaker assisting, he falls, his eyes filled with terror. A man with emphysema, who can only use one his lungs, wheezes, in a high-pitched croak, that he desperately needs one of his many anxiety meds. A ninety-two year-old woman with dementia—whose Costa Rican caretaker found her after a serious fall—has a casual

Self-actualization is her. Not only has Illeana Douglas become one of the most recognized faces in film but she’s run the creative decathlon as writer, director and producer, recently becoming a movie host and best-selling author and collaborating with distributor Kino Lorber on a multi-disc series of female filmmakers from the beginning of the twentieth century, a vibrant tribute to the women who’ve helped open doors for people like Illeana as well as other women in film.

Joe Strummer was a mensch. That's one thing the makers of "London Town," which opened Friday in New York and Los Angeles, want you to know about the late frontman of The Clash. Set in 1979 in working-class London, the film, directed by Derrick Borte ("The Joneses") and written by Matt Brown, Sonya Gildea and Kirsten Sheridan ("In America"), is a coming-of-age story laced with the political upheaval circumstances of the time: the rise of Thatcherism, hate

Kiarostami, that filmmaker who spoke in a sweet and elegant voice and made the slow films that have, for long, been part of the pantheon, died nearly two weeks ago. Remembering an article that was published about twenty years ago I dug through an old box and found a Chanteh, a lit quarterly published in the D.C. area that was about Iranians. A special issue on Iranian cinema came out in spring of 1996 . One of the sections