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Alex Heeney

Louder Than Bombs, Joachim Trier, Jakob Ihre

Alex Heeney / April 18, 2016

Interview: Joachim Trier talks Louder Than Bombs – Part 1

Joachim Trier discusses his new film Louder Than Bombs: how he experimented with film form to show us the subjectivity of memory, the importance of two-shots and closeups in the film, and how he used physical spaces to convey emotional meaning.

San Francisco Green Film Festival, SonicSea, In Pursuit of Silence

Alex Heeney / April 14, 2016

The San Francisco Green Film Festival screens great docs about the natural world

The San Francisco Green Film Festival is a unique opportunity to immerse yourself in environmental films and connect to the local environmental community.

Sonita, 2016 San Francisco Film Festival

Alex Heeney / April 8, 2016

10 must-see films at the 2016 San Francisco Film Festival (SFIFF)

Seventh Row’s guide to 10 must-see films — five docs and five features — at the 2016 San Francisco Film Festival, seven of which are directed by women.

H., Rania Attieh, Daniel Garcia

Alex Heeney / April 2, 2016

H. directors Rania Attieh and Daniel Garcia discuss their sci-fi film for the digital-age

Structured almost like a classical, Greek tragedy, H. explores mass hysteria. Co-directors Daniel Garcia and Rania Attieh discuss their filmmaking process.

My Internship in Canada, Philippe Falardeau, See The North

Alex Heeney / April 1, 2016

National Treasure Philippe Falardeau discusses his political satire My Internship in Canada

National Treasure Philippe Falardeau’s My Internship in Canada (Guibord s’en va-t-en Guerre) is the epitome of a great political satire: absolutely hilarious and with enough on its mind to make you think. Falardeau discusses writing and making the film, the discussions it’s provoked, and how he made the first great Canadian political satire on film.

The Demons, Philippe Lesage

Alex Heeney / March 29, 2016

With The Demons, Québécois Filmmaker Philippe Lesage defies convention

Québécois writer-director Philippe Lesage discusses how he upended our expectations about sound design, framing, and editing in his first feature The Demons

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