‘I was born without self-esteem’: Hannah Einbinder on Hacks, her buzzy queer horror – and being Hollywood’s most outspoken star

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The Hacks lead was cast in meta-slasher sensation Teenage Sex and Death at Camp Miasma for her ‘deranged physicality’ – but it’s a fitting role for an actor who has made a point of confronting shame and speaking her mind ‘God is good all the time,” laughs Hannah Einbinder. She’s fresh off a plane from Los Angeles and curled up barefoot in an armchair. This, she says, is “a crazy time in life. Starring in Teenage Sex and Death at Camp Miasma in the midst of Hacks ending … it’s definitely an embarrassment of riches.” Hacks is the HBO comedy that ended earlier this year; in May, Teenage Sex and Death at Camp Miasma, Jane Schoenbrun’s queer meta-horror, became the breakout hit of this year’s Cannes film festival. Continue reading... from Film | The Guardian https://ift.tt/EBR5uPv via IFTTT
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‘A tough time – but so exciting’: cult film-maker Vivienne Dick on post-punk New York

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She fled rural Ireland and hit the Big Apple just in time to capture Lydia Lunch, James Chance and the post-punk scene take off. Now back in her home country, she relives those turbulent years

In 2014, the Irish Times ran a profile of the film-maker Vivienne Dick with the headline: “Stifled in Ireland, celebrated in New York.” As an encapsulation of her formative years as an artist who found her calling in exile, it was blunt but pretty accurate. “There was nothing for me in Ireland back then,” says Dick of her youth in the 1960s and early 70s. “It was not an attractive place because, as a woman, you were essentially treated as a second-class citizen. You could train as a teacher, but that was about it. I remember I bought a camera, but there was no way to even get on a course.”

Having relocated to New York by the mid-70s, after various overland adventures that took her to Pakistan, Nepal and even Kabul, she found herself instinctively drawn to Manhattan’s edgy, bohemian downtown scene, where would-be artists, musicians and writers had colonised the low-rent apartments and makeshift studios of what was then a deprived, drug-ridden neighbourhood. There she hung out with many of the characters who would go on to define Manhattan’s legendary post-punk No Wave movement: the likes of Lydia Lunch (of Teenage Jesus and the Jerks), Pat Place (Bush Tetras), James Chance and Adele Bertei (the Contortions). Her films capture these maverick outsiders at the very moment the scene congealed into a fleeting but incredibly fertile cultural moment – all attitude and dissonance – that still resounds today.

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