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Foto de Sophia Takal
Foto de Sophia Takal

Sophia Takal

“I really like movies that are super-naturalistic. I studied film studies in college, but I slept through all the movies, and I love film but I don't have a lot to reference. And so I don't know what my influences are and I don't know where this came from at all.”

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    ALL THE LIGHT IN THE SKY

    Joe Swanberg Estados Unidos, 2012

    Joe Swanberg ha dirigido silenciosamente una de las obras más prolíficas de este siglo y All the Light in the Sky es otro modesto ejemplo. Filmada con pocos medios, el naturalismo de esta obra es notable y la genuina actuación Jane Adams le da a esta película una esencia profundamente resonante.

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    HELLAWARE

    Michael M. Bilandic Estados Unidos, 2013

    El segundo largo de Michael M. Bilandic es una sátira del mundo burgués del arte en Nueva York. Centrado en un hilarante video musical (que en la vida real se hizo viral en WorldStarHipHop) inspirado en el Juggalo, Hellaware da un escaparate perfecto para Sean Price Williams y su gran uso del color.

    GABI ON THE ROOF IN JULY

    Lawrence Michael Levine Estados Unidos, 2010

    Citing both John Cassavetes and Mike Leigh as influences, Lawrence Michael Levine’s film is thus naturally both a dramatic and structural experiment. Driven by an expansive cast of a who’s-who of New York’s independent filmmaking talent, Gabi on the Roof in July is unpredictable, alive, and true.

    UNCLE KENT 2

    Todd Rohal Estados Unidos, 2015

    We know what you’re thinking, “but I haven’t seen the first Uncle Kent” (or perhaps “what is Uncle Kent?”), but don’t fret—this is an entirely standalone film. A happily egregious sequel to end all sequels, Todd Rohal’s film is a welcome cocktail of sincere absurdity and filmmaking as playfulness.

    THE ZONE

    Joe Swanberg Estados Unidos, 2011

    Capping off his acclaimed Full Moon trilogy, Joe Swanberg’s improvised chamber drama unfurls at a lethargic pace, juxtaposing daring sexual experimentation with the volatility of the creative process. Shot in a deliberately unvarnished style, acts of lovemaking and filmmaking mysteriously interlace.

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