Exclusive: Here’s your first official look at Kazik Radwanski’s Matt And Mara starring Matt Johnson (Blackberry) and Deragh Campbell (Anne at 13000 Ft.), which opens September 13 at the IFC Center in New York.
The pic, which debuted at this year’s Berlinale, follows Mara (Deragh Campbell), a young creative writing professor, who reunites with Matt (Matt Johnson), a charismatic, free-spirited author from her past, a chance encounter threatens to spin her life in a thrilling new direction. Bonded by their history and shared interests, the two grow closer, while Mara contends with her strained marriage to an experimental musician. When her husband unexpectedly cancels plans to drive Mara to a conference out of town, Matt accompanies her instead and the pressure in their undefined relationship slowly builds.
Matt And Mara is Kazik Radwanski’s fourth film. His previous credits include Anne At 13,000 Ft (2019), which premiered at The Toronto International...
The pic, which debuted at this year’s Berlinale, follows Mara (Deragh Campbell), a young creative writing professor, who reunites with Matt (Matt Johnson), a charismatic, free-spirited author from her past, a chance encounter threatens to spin her life in a thrilling new direction. Bonded by their history and shared interests, the two grow closer, while Mara contends with her strained marriage to an experimental musician. When her husband unexpectedly cancels plans to drive Mara to a conference out of town, Matt accompanies her instead and the pressure in their undefined relationship slowly builds.
Matt And Mara is Kazik Radwanski’s fourth film. His previous credits include Anne At 13,000 Ft (2019), which premiered at The Toronto International...
- 8/23/2024
- by Zac Ntim
- Deadline Film + TV
The films of Canadian director Kazik Radwanski are freedom in its purest form, or the purest this particular medium can contain. Being the opposite of prescriptive, they sculpt themselves according to interpersonal dynamics that can otherwise be invisible, and by doing so, give shape to parallel emotional worlds, extensions of a protagonist’s psyche. That goes for Derek (Derek Bogart), the impulsive lead in Tower (2012), sleep-deprived gamer dad Erwin (Erwin van Cotthem) from How Heavy This Hammer (2015), and for the chaotic Anne (Deragh Campbell) whose quarter-life crisis makes a delightful whirlpool out of Anne at 13,000 ft (2019). The second collaboration between Radwanski, Campbell, and Matt Johnson following Anne premieres at the Encounters section of this year’s Berlinale and it is humbly named Matt and Mara.
Just as Mara (Campbell) is about to welcome students to her poetry class, she spots her old friend Matt (Matt Johnson) in the corridor. Her...
Just as Mara (Campbell) is about to welcome students to her poetry class, she spots her old friend Matt (Matt Johnson) in the corridor. Her...
- 2/20/2024
- by Savina Petkova
- The Film Stage
When we first meet Anne (Deragh Campbell), she’s in two places at once. Gently cupping a butterfly in her hands, she ushers it onto a young girl’s shoulder as other children look on, mesmerized by her ability to capture the elusive creature. Without warning, the camera cuts from a moment of calm to one of exhilaration — Anne is preparing to jump out of a moving plane for her best friend’s bachelorette party. The two scenes are interwoven to the point where we don’t know where one ends and one begins, like someone trying to piece together formless fragments of distant memories.
It’s a manic introduction to “Anne at 13,000 Ft.,” Canadian director Kazik Radwanski’s portrait of an unsteady woman struggling to navigate her everyday life, and it sets us up for 75 minutes of fits and starts as we are jerked from one episode to the next.
It’s a manic introduction to “Anne at 13,000 Ft.,” Canadian director Kazik Radwanski’s portrait of an unsteady woman struggling to navigate her everyday life, and it sets us up for 75 minutes of fits and starts as we are jerked from one episode to the next.
- 8/31/2021
- by Susannah Gruder
- Indiewire
A riveting and radical act of empathy, with actress Deragh Campbell’s unforgettably embodied portrayal of mental instability as the eye of its storm, Canadian director Kazik Radwanski’s astonishing third feature (after “How Heavy This Hammer” and “Tower”) is a brief, bracing burst of microbudget indie filmmaking at its most powerful. “Anne at 13,000 ft” might look like mumblecore, but it plays as a psychological horror and a ticking-clock thriller that morphs into a wild, windswept tangle of incipient, but never quite arriving tragedy.
Anne (Campbell) has an unspecified anxiety disorder. It’s dormant but with her in the deceptively calm prologue as she cradles a butterfly in her hands and shows it to the kids in her charge at the daycare center where she works. It is with her when she goes on awkward Tinder dates and stutters through a sincere, raggedly emotional speech at the wedding of her best friend and co-worker Sarah.
Anne (Campbell) has an unspecified anxiety disorder. It’s dormant but with her in the deceptively calm prologue as she cradles a butterfly in her hands and shows it to the kids in her charge at the daycare center where she works. It is with her when she goes on awkward Tinder dates and stutters through a sincere, raggedly emotional speech at the wedding of her best friend and co-worker Sarah.
- 3/27/2020
- by Jessica Kiang
- Variety Film + TV
TapewormSince its inception by critic-programmer Adam Cook in 2016, the Future//Present program of the Vancouver International Film Festival has provided an eight-feature snapshot of the year in independent Canadian cinema. The initial program description placed an emphasis on “emerging” directors—though that term has since been dropped, which perhaps highlights a lateral shift in programming mandate: This year’s slate showcases filmmakers that are by some measures established, having presented multiple films at festivals with far more international cachet than Viff, to name but one possible criterion. While it’s too soon to comment on the value of this change, it does alter the ways a prospective audience might approach the films in question. As ever, the focus remains on younger independent Canadian filmmakers. But if there’s no longer the question of some directors “graduating” out of the program, then there’s a redoubled emphasis on the program's curatorial sensibility.
- 11/4/2019
- MUBI
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