An adorable little shell with one googly eye, pink shoes, and a charming sense of humor is back in the limelight this summer. Announced this week, a feature-length mockumentary from A24 will follow the iconic “Marcel the Shell with Shoes On,” whose debut stop-motion short directed by Dean Fleischer-Camp was a viral sensation a decade ago when it garnered myriad awards, prompted two sequels, and spurred an illustrated book.
Once again voiced by actress Jenny Slate, the quirky character is found living with his grandmother Connie and pet lint Alan. Their life involves watching hours of 60 Minutes, gardening a tiny window box, occupying tiny treehouses designed by Jedediah Corwyn Voltz (previously), and now, searching for their long-lost family following a mysterious tragedy. Watch the heartwarming trailer above, and find “Marcel the Shell with the Shoes On” in theaters on June 24. (via Uncrate)
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A new feature-length documentary goes behind the scenes with French artist JR to capture some of his most significant projects to date, including his poignant photographic work of a child peering over the U.S./Mexico border wall and pair of installations at a maximum-security prison in Tehachapi, California. Paper & Glue follows the renowned artist through the evolution of his practice from early graffiti days to his current undertakings—his anamorphic work at Florence’s Palazzo Strozzi earlier this year and his illusory transformation of the Louvre courtyard in 2019 are both evidence of his growth—that are increasingly massive in scope and impact and often shine a light on humanitarian issues.
“The film is the culmination of years of my work and includes an archive of photography and videos
that span back to my adolescence. At the time of many of these recordings, I had no intention or awareness they could be used in this way,” JR says. “I hope this film further uplifts the essentiality of art and the potential it holds to reshape even our most ingrained beliefs.“
Paper & Glue is currently in theaters around the U.S. and premieres on December 10 on MSNBC.
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Interview: Chicago's Manual Cinema Reveals How Its Shadow Puppets Became a Defining Feature of the New 'Candyman'
Having already made box-office history, Nia DaCosta’s Candyman (2021) is deeply rooted in Chicago’s history as it not only critically considers racial violence and the city’s problems with gentrification but also draws in local artists, like the prolific and talented team behind the performance collective Manual Cinema. In a new interview supported by Colossal Members, editor-in-chief Christopher Jobson talks with co-artistic director Drew Dir about the studio’s role in the cult classic horror film, from the production process to using a traditionally lighthearted medium to convey such complex and traumatic stories:
By telling those stories through shadow puppetry, which is about as far from naturalism or realism as you can get, I think that gave (DaCosta) a way to represent that legacy of violence but also filter it through the critical lens of metaphor. The puppets allow the viewer to keep a critical distance (that’s something that puppets historically have been very good at!) and to consider the historical and social forces at play, so the viewer doesn’t lose themself in too much repulsion or fascination with blood and gore.
In the conversation, Dir discusses the unprecedented process of using shadow puppets as a major component of a blockbuster live-action film, experimenting with the technical limits of the medium, and what the studio is working on next.
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We shared footage of the mesmerizing mycelium networks pulsing underneath our feet back in 2019 to mark the opening of Louie Schwartzberg’s Fantastic Fungi, and now the dedicated director takes viewers behind the scenes to show his painstaking process. Filmed throughout a 15-year period in his home studio, Schwartzberg’s timelapses zero in on myriad spores as they burst open, sprawl in every direction, and morph in color and texture. They’re a compelling visual representation of time and nature’s cyclical processes, which he explores in a new short film produced by WIRED.
Most of the challenges in capturing the footage center around predicting where an organism will grow to keep it within the shot and understanding the frame rates of different lifeforms. Schwartzberg explains:
For example, a mosquito on your arm, having a little drop of blood, takes a look at that hand coming towards it in ultra slow motion and has plenty of time to take off because its metabolic rate, its lifespan, is way shorter than our lifespan. And our lifespan is way shorter than a Redwood tree’s lifespan. This reality of real-time human point of view is not the only point of view, and that’s really the beauty of cameras and time-lapse cinematography. It’s actually a time machine.
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A modest house nestled into the bucolic countryside of Uxbridge, Ontario, is home to a premier sound facility behind an impressive array of films, TV series, and video games. Brimming with an eclectic collection of objects and antiques, Footsteps Studio has aided in the post-production audio effects for projects like The Life Aquatic with Steve Zissou, The Big Short, and The Handmaid’s Tale all generated by a small team on the unassuming grounds.
In a short documentary, director Jeremy Benning tours the workspace— each room of the house functions as a recording studio and is insulated by an elaborate outer wall engineered to act as a buffer from outdoor noises—and speaks with three Foley artists responsible for enhancing audio experiences following filming. Benning goes behind the scenes with the company to demonstrate the laborious snd surprising methods used to artificially intensify the sound effects, whether as the clatter of a skateboard, the gnashing of a zombie feast, or the deviously subtle clip-clop of high-heeled shoes.
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The Gaze: Barry Jenkins Directs a Stunning Non-Narrative Film that Preserves the Legacy of Black Ancestors
At the heart of Barry Jenkins’s extraordinarily moving new film is “the Black gaze; or the gaze distilled.” The Oscar-winning director shot the standalone project while filming the TV adaptation of Colson Whitehead’s The Underground Railroad, which premiered on May 14. Notably titled The Gaze, the parallel project isn’t an episode of the series but rather a compelling collection of non-narrative portraits captured spontaneously alongside the show.
Early on in production, Jenkins says in a statement, “I looked across the set and realized I was looking at my ancestors, a group of people whose images have been largely lost to the historical record. Without thinking, we paused production on The Underground Railroad and instead harnessed our tools to capture portraits of… them.”
Presented in the same order as the series which moves from Georgia to Indiana, the vignettes spotlight both principal and background actors who wear striking period costumes by Caroline Eselin—the designer also collaborated with Jenkins on his lauded films Moonlight and If Beale Street Could Talk. Each shot is an intimate and evocative portrayal of imagined kin. “We halted our filming many times for moments like these. Moments where… standing in the spaces our ancestors stood, we had the feeling of seeing them, truly seeing them and thus, we sought to capture and share that seeing with you,” the director says.
Jenkins writes that he was inspired by Kerry James Marshall’s “Scipio Moorhead, Portrait of Himself, 1776,” which is an earnest rendering of the African American artist who actively painted throughout the 1770s while he was enslaved. Marshall’s homage secures Moorhead’s legacy in an urgent and necessary act of visual documentation that Jenkins replicates:
We have sought to give embodiment to the souls of our ancestors frozen in the tactful but inadequate descriptor “enslaved,” a phrase that speaks only to what was done to them, not to who they were nor what they did… This is an act of seeing. Of seeing them. And maybe, in a soft-headed way, of opening a portal where THEY may see US, the benefactors of their efforts, of the lives they LIVED.
Jenkins notes that The Gaze contains only abstracted scenes so it won’t spoil The Underground Railroad. Watch the entire film above, and read the director’s essay describing the project on Vimeo. (via Kottke)
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Editor's Picks: Art
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