Goodfellow, Melanie. "Gaza cameraman who worked with Ai Weiwei shot dead by Israeli military." Screen Daily (April 7, 2018)
Keating, Joshua. "It Makes Complete Sense That Black Panther Will Break Saudi Arabia’s 35-Year Cinema Ban." Slate (April 5, 2018)
Kusama, Karyn and April Wolfe. "Near Dark." Switchblade Sisters #2 (November 16, 2017) ["This week, April sits down with director Karyn Kusama (Girl Fight, Jennifer's Body, The Invitation) to discuss the Kathryn Bigelow vampire classic, Near Dark. The two marvel at Bigelow's mastery in crafting a vampire western, the amazing performance of Bill Paxton as the villainous Severen, and the elegant cinematography throughout the film. Plus, Karyn talks about her journey as a director from discovering Michelle Rodriguez for Girl Fight, to subverting genre expectations for Jennifer's Body."]
Matarazzo, Heather and April Wolfe. "The Invitation." Switchblade Sisters #3 (November 23, 2017) ["This week, April sits down with actress, producer, and director Heather Matarazzo (Welcome to the Dollhouse, Saved, The Princess Diaries). They talk about a movie directed by last week's guest Karyn Kusama, the 2015 film The Invitation. April and Heather discuss the effectiveness of the setting as well as the powerful performance of Tammy Blanchard. Heather also talks about what it's like navigating a corrupt Hollywood system as a woman, having her role recast two weeks before a production, and what interests her about violence committed by women in cinema."]
Phillips, Michael. "First Reformed filmmaker Paul Schrader on hope, despair and 'this odd moment we're in now.'" Chicago Tribune (May 22, 2018)
Standard Operating Procedure (USA: Earl Morris, 2008: 116 mins) ["In 2004, during the invasion of Iraq, the public learned of systemic sexual abuse, torture, rape and even murder going on inside Abu Ghraib prison in Baghdad. Photographs taken by the soldiers themselves were at the centre of the scandal, and seared public consciousness. Standard Operating Procedure sets out to examine the context of these photographs. Why were they taken? What was happening outside the frame? And as the film provides direct accounts of the soldiers who took the photographs and who were in the photographs, we ask: Who are these people? What were they thinking? The Abu Ghraib photographs serve as both an expose and a coverup. An expose, because the photographs offer us a glimpse of the horror of Abu Ghraib; and a coverup because they convinced journalists and readers they had seen everything, that there was no need to look further…"]
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