Julia Loktev's Day Night Day Night (2006) and The Loneliest Planet (2011) are showing in July and August, 2019 on Mubi in the United States.Julia LoktevMidway through our conversation, Julia Loktev asked to go off the record. The plots of her two narrative features, Day Night Day Night (2006) and The Loneliest Planet (2011), turn on sudden, unexpected, transformative events, and while she’s happy to talk about the twists—“We're so attached to this notion of spoiling, which I find a bit strange”—she’s cagier about her own points of entry into the stories, mostly for fear of ruining anyone’s fun. We agreed to keep the published interview spoiler-free.Loktev was born in St. Petersburg (then still Leningrad) and immigrated to the United States as a child. Her family settled in Colorado, where she lived until college, when she moved to Montreal to study English and film at McGill University.
- 7/23/2019
- MUBI
by Vadim Rizov
The second act of Julia Loktev's first narrative feature—2006's Day Night Day Night—is a real time urban nightmare: an unnamed woman (Luisa Williams) wanders through Times Square with a bomb strapped to her chest, internally/inscrutably debating whether to detonate. When she decides, the movie inevitably gets less tense, but that first hour makes the film as a whole one of the most terrifying things I've seen: the lives at stake get to you less than the sense of a fragile, cringing person tensed up and ready to destroy themselves. Likewise, The Loneliest Planet offers up the continual possibility of something horrible happening for nearly a solid hour of walking, spikes with an unexpected crisis moment requiring a snap decision, then slowly loses excitement as, again, the first hour's more than enough to justify the whole film.
Considering he has less screen time than his two co-stars,...
The second act of Julia Loktev's first narrative feature—2006's Day Night Day Night—is a real time urban nightmare: an unnamed woman (Luisa Williams) wanders through Times Square with a bomb strapped to her chest, internally/inscrutably debating whether to detonate. When she decides, the movie inevitably gets less tense, but that first hour makes the film as a whole one of the most terrifying things I've seen: the lives at stake get to you less than the sense of a fragile, cringing person tensed up and ready to destroy themselves. Likewise, The Loneliest Planet offers up the continual possibility of something horrible happening for nearly a solid hour of walking, spikes with an unexpected crisis moment requiring a snap decision, then slowly loses excitement as, again, the first hour's more than enough to justify the whole film.
Considering he has less screen time than his two co-stars,...
- 9/27/2011
- GreenCine Daily
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