Gina Telaroli
Gina Telaroli, raised in Cleveland and currently based in NYC, is a filmmaker, archivist, and writer. She is co-editor of the Film Section for the Brooklyn Rail.
In Conversation
HANNAH GREENBERG with Gina Telaroli
Starting August 31, Anthology Film Archives will be taking on an uniquely specific slant on the recent push by many of New York’s repertory theaters to showcase more films by and about women.
In Conversation
CAROLINE GOLUM with Gina Telaroli
By Gina TelaroliIf the beginning of Caroline Golum’s debut feature recalls one of cinema’s great late films, Alain Resnais’s You Ain’t Seen Nothing Yet, the rest of the movie eschews Resnais’s more contemplative nature for antics and affect, a mood that more closely resembles a kind of PG Russ Meyer or even David Cronenberg. Appropriately entitled A Feast of Man, her movie revolves around a group of WASP-y folks that have gathered together following the death of their mutual and wealthy friend. The catch being that said friend has left each of them a rather large amount of money, if, and only if, they agree to consume his corpse.
But Not For Always: Alice Rohrwacher’s Happy as Lazzaro
By Gina TelaroliAlice Rohrwacher's third feature film opens at night, in a mess of muddy, 16mm darkness.
Physical Outcomes: True/False 2020
By Gina TelaroliUnderneath the utopic sheen of the Columbia, Missouri-set festival I was able to witness some of the most exciting programming I’ve seen of late, with many of the films digging deep in their quest to illustrate the world on anything but the simplest or cleanest terms.
In Conversation
GRAHAM SWON with Gina Telaroli
I’ve known Graham Swon (né Swindoll) for coming on 10 years now. We met slowly over the years, going in and out of repertory screenings in New York City—35mm flickering in between the entrances and exits.
The New Le Cinéma Club
By Gina TelaroliClaire Denis's Keep It for Yourself (1991) doesn’t immediately resemble a Claire Denis film. This isn’t surprising, considering that her films tend to be wonderfully unclassifiable, but her ode to New York City goes a step further and seems to actively present itself as a film by a different filmmaker: a lost artifact of the scrappy DIY filmmaking of 1990s NYC.
In Conversation
NO EVIL EYE
This past July a friend invited me to Spectacle Theater to see a screening of work entitled “Sequence 01” by a traveling micro-cinema called NO EVIL EYE, which originated in Columbus, Ohio. According to the Spectacle description of the screening, they are “a radical micro-cinema that aims to redefine the creative and social parameters of non-metropolitan film scenes.
Object of Reverence: Natalie Erika James’s Relic
By Gina TelaroliWhile so many modern horror films rely on scares in the form of grotesque violence—the fear residing less in the audiovisual construction of the scene and more in the idea of torture, dismemberment, impending death—James puts her faith in the unexplained crinkle of a plastic dry-cleaning bag hanging in a closet.
In Conversation
MICHAEL M. BILANDIC with Gina Telaroli
By Gina TelaroliThe movies of Michael M. Bilandic miraculously manage to showcase the joy of being alive and in New York City, of unexpected interactions with random weirdos and haphazard nocturnal journeys to nowhere, alongside the utter despair of being human.
Time is Luck: The 5th Annual Nitrate Picture Show
By Gina TelaroliI’m not sure when precisely it hit me—maybe it was as I examined, by hand, the intricacies of the 20th Century Fox logo (from the opening of Otto Preminger’s 1947 film Forever Amber) on a strip of nitrate film stock—but hit me it did, like a ton of bricks, that the first 50 or so years of cinema, save the occasional special screening and site specific film festival, are actually lost forever.
