This week on IFC News:
What was your first job in New York?
I actually worked here [at the Mercer Hotel]. That was the autobiographical part. [laughs] I really wanted to move to New York, but you can’t move here without a job, because it’s really expensive. When the hotel opened, I came and worked for a couple of years, and had a great time. I learned that I could do something else with my life and make my own money, and be financially secure. While I did that I made my short, [2000’s "Men Make Women Crazy Theory"], and I knew that I was going to move on at a certain point. You know, I ate out of the quarter jar for a few months here and there while I was trying to make the movie, but having no money, and being incredibly destitute was the best thing that could ever have happened to me. eBay was huge for me at that moment. We come from [a well-known] family, but that doesn’t necessarily mean there’s a giant inheritance behind my back. I work hard and support myself.
Shooting in New York and Belgrade, mixing in copious Reichian footage, hunks of Communist propaganda films and talking-heads interviews (sex-obsessed artists, Warhol factory star Jackie Curtis, surviving Reich disciples), Makavejev concocts a heady, self-contradicting, irreverent cocktail of collision, a messy paste-it essay on repression and liberation, as the two oppositive quantities are both represented by political power, by Communism, by sexual relations and by history itself. "Mysteries" is right â€” Makavejev is no Communist, nor is he fond of American values; two polar ideologies are never enough for him, and "WR," in his nation’s proudest manner, is a thoroughly unaligned movie. Everybody gets slammed and celebrated (well, Stalin just gets slammed), and every dogmatic idea of the era is flipped to its B-side.
Christopher Bonet has what’s new in theaters.
And Matt Singer’s reviews will arrive tomorrow, when he returns from LAFF.