Chapter Two Movie

All creations are, in some way, autobiographical. As the merging of imagination and experience, at least a little bit of the creator’s self is infused in their creation. At times, it’s little more than a thematic hint, like Ethan Hawke’s discussion of his failing marriage in Before Sunset, as the actor himself went through a public break-up. It can also be the combination of memory and fantasy, like Guy Maddin’s eccentric documentary about his hometown and childhood memories, My Winnipeg. And other times, cinema becomes the therapist investigating familial turmoil, like Sarah Polley’s excellent Stories We Tell. On occasion, the film itself becomes a revealing cinematic journal, one that makes its audience witting (or unwitting) voyeurs snooping through private lives with a depth tabloids can only dream of. These films allow the filmmaker moments of introspection, revenge, and confusion that make for compelling narratives, but even more fascinating autobiographies when you know what inspired them.


Nora Ephron on Set

Nora Ephron‘s film career – despite three Oscar nominations and credit with re-inventing an entire genre – somehow doesn’t get the legendary status that it probably deserves. She only wrote and/or directed a few more than a dozen movies, but in those films she delivered iconic characters that achieved a sense of honesty that few filmmakers are even brave enough to approach. She fought myopic views about her sex to build fame as a journalist, an essayist, a novelist, a screenwriter and a director. She got started in screenwriting because everyone else was writing scripts, her film school was being on set with Mike Nichols, and her work made a huge impact on popular culture and faked orgasms. So here it is, a bit of free film school (for fans and filmmakers alike) from a comedy genius.

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published: 01.26.2015
B-, C-
published: 01.26.2015
published: 01.26.2015

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