Isaac Feldberg

“All of a sudden, everyone starts moving together as one organism.”

I interviewed Mona Fastvold about THE TESTAMENT OF ANN LEE, the power of Amanda Seyfried, hunger and thirst, beautiful treasures, the passion of radical art, and more for @ebertvoices.bsky.social: www.rogerebert.com/interviews/t...

a great interview on a great film:

This is the single funniest excuse he could have come up with for not wanting to be booed in public

To be only discovering it now… I wasted so much time

We Live in Time: Joachim Trier on "Sentimental Value" | Interviews | Roger Ebert The filmmaker sits down for a wide-ranging discussion of his film’s poignant themes, the challenges and joys of working with time, and more.

Joachim Trier is Oscar-nominated for best director and best original screenplay for SENTIMENTAL VALUE.

For @ebertvoices.bsky.social, we spoke about family, memory, and the difficulty of forgiving difficult parents: www.rogerebert.com/interviews/s...

Craziness and Contradiction: Kirill Serebrennikov on "Limonov: The Ballad" | Interviews | Roger Ebert The Russian filmmaker discusses his biopic on the Russian poet, the nature of dissidents, and the heightened poetics of his cinema.

Now streaming on the Criterion Channel, as part of its Ben Whishaw collection (also including LIMONOV: THE BALLAD, perhaps this film’s complete moral inverse in what it asks of Whishaw, and which I did interview the director Kirill Serebrennikov about, in case that’s of interest)

BRIGHT STAR: "Still, still to hear her tender-taken breath, and so live ever—or else swoon to death." In its tactile romanticism, its ravishing blend of sensuality and restraint, a work of art that rivals Jane Campion's better-known directorial efforts. Two lovers becoming inextricable, interwoven.

H is for Hawk movie review & film summary (2026) | Roger Ebert The film’s strengths lie squarely with Foy, whose performance is restrained where it should be and revelatory at some moments you don't expect.

"The film’s strengths lie squarely with Foy, whose performance is restrained where it should be and revelatory at some moments you don’t expect,” writes @isaacfeldberg.bsky.social about H IS FOR HAWK.

We Live in Time: Joachim Trier on "Sentimental Value" | Interviews | Roger Ebert The filmmaker sits down for a wide-ranging discussion of his film’s poignant themes, the challenges and joys of working with time, and more.

Joachim Trier is Oscar-nominated for best director and best original screenplay for SENTIMENTAL VALUE.

For @ebertvoices.bsky.social, we spoke about family, memory, and the difficulty of forgiving difficult parents: www.rogerebert.com/interviews/s...

Dictionary definition of a snub

Prediction: As more people see THE TESTAMENT OF ANN LEE, the fact that this film got completely blanked by Oscars voters in crafts categories will be increasingly recognized as the egregious oversight that it is

MARGARET: In his study of a teenager’s moral crisis—of grief and guilt subsumed by revenge and recrimination—Kenneth Lonergan evokes the psychological trauma of post-9/11 New York, the sense of becoming unmoored from anything that ever felt stable, better than any filmmaker I could name.

“Memento mori. Memento amoris." For @ebertvoices.bsky.social's annual list of great performances, I wrote about Ralph Fiennes' strange, unspeakably moving work in 28 YEARS LATER. www.rogerebert.com/features/the...

Loved this — such thoughtful responses from them both!

Had the pleasure of chatting with Affleck and Damon about their films with the most fans on Letterboxd. Watch the full video to see how many times Damon has to guess his before I just give him the answer.

GAME NIGHT

Honestly, what about AIR 2

The boys are back in town.

THE RIP is Ben Affleck and Matt Damon’s first zero-cultural-impact collaboration, vaping in film form.

I think the moment Margaret Qualley became a true movie star to me was in SANCTUARY when she started pulling funny faces to stop Christopher Abbott from using Face ID to open her phone

“All of a sudden, everyone starts moving together as one organism.”

I interviewed Mona Fastvold about THE TESTAMENT OF ANN LEE, the power of Amanda Seyfried, hunger and thirst, beautiful treasures, the passion of radical art, and more for @ebertvoices.bsky.social: www.rogerebert.com/interviews/t...

“Memento mori. Memento amoris." For @ebertvoices.bsky.social's annual list of great performances, I wrote about Ralph Fiennes' strange, unspeakably moving work in 28 YEARS LATER. www.rogerebert.com/features/the...

Prediction: As more people see THE TESTAMENT OF ANN LEE, the fact that this film got completely blanked by Oscars voters in crafts categories will be increasingly recognized as the egregious oversight that it is

Black and white photo of legendary filmmaker David Lynch

“No one really dies, they just drop their physical body, and we’ll all meet again, like the song says. It’s sad, but it’s not devastating if you think like that. It’s a continuum, and we’re all going to be fine at the end of the story.”

~ David Lynch - January 20, 1946 - January 16, 2025

#filmsky

Several-years-delayed appreciation tweet for Ben Affleck’s outfit in AIR

Echo Chamber: Ari Aster on the Western mythos of Eddington, distorted realities and Shōhei Imamura • Journal • A Letterboxd Magazine Ahead of the release of Eddington, Ari Aster tells Isaac Feldberg about realizing his dream to make a Western, how we’re all too much in our own heads, and the films that influenced his latest feature...

“What connects all of them is they know something is wrong. They’re right, in that sense.”

With Ari Aster’s brutally prescient EDDINGTON back in the news, here’s our @letterboxd.social interview on the year of conspiracy thinking, bubbles of certainty, AI armageddon, and more: boxd.it/2BG

Craziness and Contradiction: Kirill Serebrennikov on "Limonov: The Ballad" | Interviews | Roger Ebert The Russian filmmaker discusses his biopic on the Russian poet, the nature of dissidents, and the heightened poetics of his cinema.

"We are now living in a time when the truth is under attack, under threat, under reconsideration."

With LIMONOV streaming on @criterionchannl.bsky.social, here's my interview with director Kirill Serebrennikov on the artifice of cinema and the glory of Ben Whishaw, for @ebertvoices.bsky.social.

Craziness and Contradiction: Kirill Serebrennikov on "Limonov: The Ballad" | Interviews | Roger Ebert The Russian filmmaker discusses his biopic on the Russian poet, the nature of dissidents, and the heightened poetics of his cinema.

"We are now living in a time when the truth is under attack, under threat, under reconsideration."

With LIMONOV streaming on @criterionchannl.bsky.social, here's my interview with director Kirill Serebrennikov on the artifice of cinema and the glory of Ben Whishaw, for @ebertvoices.bsky.social.

Craziness and Contradiction: Kirill Serebrennikov on "Limonov: The Ballad" | Interviews | Roger Ebert The Russian filmmaker discusses his biopic on the Russian poet, the nature of dissidents, and the heightened poetics of his cinema.

"… the ballad is a poetic form. I was … quite under the charm of Limonov's literature & poetry.”

@isaacfeldberg.bsky.social spoke w/ dir. Kirill Serebrennikov about LIMONOV: THE BALLAD, the self-definition of Russian dissidents, & more:

Ecstasy and Agony: Mona Fastvold on "The Testament of Ann Lee" | Interviews | Roger Ebert The filmmaker talks about the dazzling musicality and "dreamlike quality" of her latest.

“That scream that is ecstasy and agony all together. That was a feeling we were searching for.”

I interviewed THE TESTAMENT OF ANN LEE’s Mona Fastvold about faith, trauma, hunger, thirst, communal languages of movement, and the intense spirituality of filmmaking. www.rogerebert.com/interviews/t...