Shot on 16 mm for the shoestring sum of forty thousand dollars, Susan Seidelman’s 1982 debut feature, Smithereens, is a remarkably unvarnished time-capsule view of downtown New York City in all its grungy glory. The film’s heroine, a narcissistic young woman named Wren (Susan Berman), leaves behind her native New Jersey to chase rock-and-roll fame, sneaking into shows at the Peppermint Lounge, papering the city with flyers featuring her face, and trying to pal around with the leading lights of the fading underground (including a musician played by punk icon Richard Hell). In this clip from a supplement on our new edition of Smithereens, Seidelman and Berman recall what it was like shooting on location, without permits, in neighborhoods such as the East Village and SoHo, and how the empty lots and crumbling buildings of a city that had just come out of a bankruptcy crisis became key to the film’s scrappy texture.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.