The 15 Films You Should Be Seeing in New York This Weekend: Chantal Akerman, David Lynch, Jonas Mekas + More

Photo via IFC Center

Sundays may be a “wan, stuff shadow of a robust Saturday” or a day of “forced leisure for folks who have no aptitude for leisure,” but a weekend is still a weekend. We wait for the pleasure of a Friday night, knowing the burdens of the work week have a brief respite, and what better way to indulge seeing some great films—be it new to you treasures or your favorite classics. And this weekend from BAM to IFC Center  there are more than enough wonderful films showing for you to happily disappear into. Here are 15 films that have us running straight to the theater.


IFC Center


“The narrative, such as it is, commences when a lush brunette of mystery soon to be known as Rita (Laura Elena Harring) dodges a bullet, staggers out of her crashed car, and descends from the Hollywood Hills into the jewel-like city below to find refuge in an empty apartment. She’s suffering from amnesia, which makes her the perfect foil for the flat’s caretaker, Betty (Naomi Watts), who arrives the next morning—blond, perky, and inanely optimistic—from the Ontario town of Deep River (named perhaps for the sinister dive where Isabella Rossellini made her home in Blue Velvet). Betty is innocently avid to become a star; Rita is forced by circumstance to impersonate one. Their first meeting is a mini Hitchcock film, with the dazed brunette assigning herself a name from a handy Gilda poster…

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Film Forum

A scene from Guy Maddin and Evan Johnson’s THE FORBIDDEN ROOM,

Guy Maddin, a master of the bizarre (MY WINNIPEG, BRAND UPON THE BRAIN!) and co-director Evan Johnson, inspired by early sound films from the 1920s, conjure a hallucinatory, deep-sea fantasia. A woodsman inexplicably appears aboard a submarine, trapped under water for months, carrying mysterious cargo. As the terrified crew make their way through the corridors of the doomed vessel, they voyage into the origins of their darkest fears. Innovatively shot using techniques that reinvent early cinema, this “exhilarating slipstream of two-strip Technicolor.”

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The Film Society of Lincoln Center


Chantal Akerman fills her movies with patterns and textures of ordinary life, the stuff other films never even notice. The most extreme and best-known incarnation of her cinema of the everyday remains her second feature, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), a three-hour-15-minute drama that manages to extract dread and suspense from the monotonous daily routine of a Brussels housewife.

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BALLET, Frederick Wiseman
Museum of the Moving Image


Ballet is an intimate portrait of American Ballet Theatre. Presenting the company in rehearsal in their New York studio and on tour, Wiseman highlights the creative and administrative work. His camera weaves in and out of dance studios and offices, and into the minutiae of choreographed gestures: corporate funds are raised, elaborate sets are built, and aspiring ballerinas are enlisted and cut from the corps.

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DIARIES, Ed Pincus


From 1971 to 1976, Ed Pincus documented the intimate details of his everyday life: people are born and die, his children grow up, and a series of love affairs tests his open, presumably enlightened marriage. Diaries is a landmark work of direct cinema, fusing the personal and political, the commonplace and the transcendent, to piece together an engrossing portrait of the waning days of the free love era.

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BLUE SUNSHINE, Jeff Lieberman
Nitehawk Cinema


It’s the 1970s in Los Angeles and people are freaking out! One second, they’re perfectly normal, everyday yuppies who hang out at parties, raise their kids, and toil away at work; but then, seemingly out of nowhere, their hair begins to fall out and they kill everyone in sight! The mayhem erupts all around the city, as one man tries to solve the mystery of the city wide killing spree. All signs point to a dangerous form of LSD called Blue Sunshine that the murderer’s all took in the hippie-dippy haze of the 1960s.

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THE SHINING, Stanley Kubrick
IFC Center


Kubrick meets Stephen King: in the deserted off-season at a massive, isolated resort hotel, new caretaker Jack Nicholson descends into madness, with wife Shelley Duvall and their son the only witnesses. “Critic’s pick! Gloriously diabolical.” 

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Nitehawk Cinema

It’s inevitable that complications would arise after chemically altering the fundamental fabric of one’s own body to turn invisible. For Dr. Jack Griffen, the main side-effects seem to be anger, hostility, and severe case sarcasm. Made only a couple of years after the breakout release of Frankenstein in 1931, The Invisible Man continues Whales’ directorial adaptation of literature’s misunderstood and marginalized characters onto the big screen. Whales’ treatment of these misanthropic characters is simultaneously heart-breaking and angering but, unlike our dear Frankenstein’s monster, Jack is a monster of his own making, a victim of his own greed for knowledge. Based on H.G. Wells’ science-fiction novella, the film serves (like Mary Shelley’s Frankenstein) as a cautionary tale of humans playing “god.”

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Pioneering independent filmmaker Jonas Mekas compiled more than 30 years’ worth of footage to create this epic home movie. From intimate moments with his family to records of his travels to snapshots of icons like John Lennon, Andy Warhol, P. Adams Sitney, and Hollis Frampton, this joyous, life-affirming work “finds a secret paradise in the rich harvests of a lifetime’s memories” (Ed Halter, The Village Voice).

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HOSPITAL, Frederick Wiseman
Museum of the Moving Image


Turning his unflinching lens on the brutal banality of human misery, Wiseman shows the daily activities of New York’s Metropolitan Hospital, which for more than 125 years has served a diverse, mostly poor, African-American and immigrant population. Wiseman focuses primarily on the emergency ward and outpatient clinics.

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This wondrously oddball program features more gonzo transmissions from Middle America courtesy of lo-fi wizard George Kuchar. This time around, he confronts scorpions, rattlesnakes, and ornery bulls while staying on a southern Oklahoma cattle ranch in Chigger Country (1999) and the raging storm of his own libido in Hotspell (2011).

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THE GODFATHER, Franics Ford Coppola
IFC Center


“An everyday story of Mafia folk, incorporating a severed horse’s head in the bed and a number of heartwarming family occasions, as well as pointers on how not to behave in your local trattoria (i.e. blasting the brains of your co-diners out all over their fettuccini). Mario Puzo’s novel was brought to the screen in bravura style by Coppola, who was here trying out for the first time that piano/fortissimo style of crosscutting between religious ritual and bloody machine-gun massacre that was later to resurface in a watered-down version in The Cotton Club. See Brando with a mouthful of orange peel. Watch Pacino’s cheek muscles twitch in incipiently psychotic fashion. Trace his rise from white sheep of the family to budding don and fully-fledged bad guy. Singalong to Nino Rota’s irritatingly catchy theme tune.” – Time Out (London)

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Film Forum


Joining the tragic exodus of millions from Italy’s impoverished south, the formidable matriarch of the Parondi clan (Katina Paxinou, Best Supporting Oscar, For Whom the Bell Tolls ) and her brood emerge from Milan’s looming Stazione Centrale in search of a better life in the industrial north. But, as they inch up the social ladder, family bonds are ruthlessly shredded, as the love of Alain Delon’s saintly Rocco (“one of the most vivid and complex characters in all of Visconti’s work” – Vincent Canby) for prostitute Annie Girardot drives brutish boxing sibling Renato Salvatori to rape and murder. Simultaneously a documentation of a changing society; a kind of continuation of Visconti’s classic La terra trema; an evocation of the works of Sicilian titan Giovanni Verga, Dostoyevsky’s The Idiot , and Thomas Mann’s Joseph and His Brothers ; and a visual tour de force as lensed by Giuseppe Rotunno (The Leopard, 8½, Amarcord, All That Jazz, etc. ), Rocco rocketed Delon and Girardot to international stardom and vaulted Visconti to his second triumvirate — here with Antonioni and Fellini — at the cutting edge of Italian filmmaking (his first, with Rossellini and De Sica, in the heyday of neo-realism). The director’s personal favorite, Rocco’s mix of realism and intense, operatic emotion would profoundly influence the work of Coppola and Scorsese.

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THE AMERICAN DREAMER, Lawrence Schiller and L.M. Kit Carson


A mesmerizing portrait of one of the New Hollywood’s great enfants terribles, this long-overlooked documentary follows Dennis Hopper through the making of his dream project The Last Movie.  Produced in the wake of the unexpected, era-defining success of his directorial debut, Easy Rider, The Last Movie was a daringly experimental Western that found Hopper drifting further into eccentricity—and ultimately led him to box-office disaster. Directors Lawrence Schiller and L.M. Kit Carson chronicle him at his New Mexico ranch in the midst of his creative process, and also provide an inside look at his world of drugs, guns, and groupies. The result is one of the great unsung documentaries of the 1970s, and an unforgettable look at one of American cinema’s most iconic rebels.

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SPELLBOUND, Alfred Hitchcock


Hitchcockian malice meets then-in-vogue psychoanalysis in this florid Freudian thriller. Bergman is a buttoned-up psychiatrist who falls in love with an amnesiac (Peck) who may be a murderer. Hitchcock loads Spellbound with delirious stylistic flourishes: the endlessly recurring motif of parallel lines, a lush, theremin-heavy score from Miklós Rózsa, and a surrealist dream sequence designed by Salvador Dalí.

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WELFARE, Frederick Wiseman
Museum of the Moving Image


An absurdist, operatic masterpiece, Welfare shows the nature and complexity of the welfare system in sequences illustrating the staggering diversity of problems that constitute welfare: housing, unemployment, divorce, medical and psychiatric problems, abandoned and abused children, and the elderly. Workers as well as clients struggle to cope with the laws and regulations that govern their work and life, fittingly culminating in one man’s monologue about Waiting for Godot.

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Video: Tilda Swinton and Chuck Close In Conversation, Part One

In the last print issue of BlackBook, we featured an exciting conversation from two incredible luminaries in their respective fields: actress Tilda Swinton and fine artist Chuck Close. The sprawling dialogue covered topics both high brow and silly, from the very meaning of art to time spent hanging out with Oprah, and even a little celebrity gossip for good measure.

In a true sign of the times, the two spoke over Skype connection, he at his home in Miami, her at hers in Scotland. But despite being more than four thousand miles apart, their longstanding friendship and incredible rapport bridge the distance and make it feel like you’re right there with them.

Without further ado, we present the first video from what will be a multiple-part series. So enjoy this discussion the importance of being aware of the work of other artists—both so one can stay original and avoid duplicative work, but also keep pushing oneself to renew. And stay tuned for the next installment, coming in a couple days.

Tilda Swinton and Chuck Close In Conversation for BlackBook, Part One from BlackBook on Vimeo.

Nadia Bedzhanova: A Young Filmmaker Who Will Change Your View of Youth Culture

Nadia Bedzhanova is a Russian ex-pat now living in New York where she creates emotional films and photographs focused on the international unification of youth culture. And while the fashion world and photographers and filmmakers all obsess with the young, creating endless images thereof—Bedzhanova somehow stands apart from the oversexed crowd of youth worshippers. Here, she explains to us why and introduces some of her work.


So you’re a Russian filmmaker living here in the States. Can you tell me a little bit about how and where you grew up, how it led you to be interested in film, and why you moved to the US?

I was born and raised in Moscow, not in the city center but not in the suburbs either. I studied in gymnasium for my middle and high school, in a class advanced in humanities. It cultivated in me ability to enjoy and analyze literature work, that later led to do the same with films, photoseries and other genres of visual arts.

In my teenage years I got my first camera. It was digital and it was more for fun than for pretentious artsy shots. However, there were times when my high school girlfriend and I tried to take some “conceptual” pictures, and our classmates often made fun at us. I am laughing at my old photography too, but doing it and practicing all the time helped me to develop a sense of composition, lighting and just whatever makes the picture look good.

Afterwards, I went to university for BA in journalism (major in photojournalism) and kept improving my skills in visualizing and documenting a specific moment, as well as working with models / actors, thinking through the concept and the story.

In some time I felt like I wanted to expand my stories beyond one frame, or a series of frames: I wanted to have a movement in a shot, along with the camera movements. I started to try myself in videomaking and got accepted at School of Visual Arts in NYC, where I pursued my masters in film directing. The US is the place with the most developed film industry, and this is one of the reasons I moved here. My Moscow background juxtaposing with my five year experience in NYC brought me to where I am now, creatively, mentally and physically; with the help of the great teachers in Russia and the US: Leo Sobolev, Alexander Lapin, Amresh Sinha, Michael Holman.

In a few words, photography and literature led me to filmmaking, and a long time experience shooting in the US, Russia and Europe made me who I am now. And this is how the ball got rolling.


Were there any Russian film makers or artists who influenced your growing up?

In my very early twenties I started to read film history books and watch all the first Soviet movies and experiments in montage. It sure influenced on me as a filmmaker. I might not be original saying that Dziga Vertov’s Man with a Movie Camera, short films by Maya Deren (although she lived in the US but she was born in Kiev, Ukraine), all the work of Andrei Tarkovsky are made a huge impact on me, while I was still developing my personality as a filmmaker.

However, there are two contemporary cinematographers, whom I got lucky to know personally, who inspired and helped me at the very beginning of my movie making journey: Igor Kropotov and Alexander Khudokon. They are extremely talented people, also from Russia and based in NYC. They were the first who introduced me to New York scene of young filmmakers when I just moved to the city. I admire their work, and it was an example for me at the very beginning.


You’re really interested in the universality of youth culture, which is in large part a phenomenon of the Internet and our new found connectedness. What do you hope to convey to people who see your latest photos and films in this regard? Why is “youth” an important aesthetic for people of all ages and walks of life to understand?

Youth is the first period of life that everyone consciously lives through: when you think of yourself as an adult and try to behave accordingly. Although sometimes it doesn’t look like it – everyone has their own experience, and it is surely one of the most important milestones in person’s life.

Thankfully, my generation was the last one who had a chance to grow up without being stuck 24/7 in a posting / choosing filters coma, checking amount of followers and throwing dust in everyone’s eyes with their virtual alter egos. I’m not saying I’m not doing it now – we all want to show only the bright side of the moon – but I didn’t care and didn’t even know about it, while studying algebra or philosophy of Age of Enlightenment. But “Generation Now” is basically born online. I don’t even want to start talking about teens in 15 years from now, who were literally born with their logins and passwords – thanks to their moms who had already made them profile pages in every social media possible.

But what inspires me, is that in this total chaos of chasing popularity and useless information, there are a lot of amazing young individuals, whom I wish I were in the past. These people are the ones who make me want to create. And they are everywhere, all over the world – and because of this easy online connectedness we can see them and admire them.

The idea of global connection itself is also one of the motifs I like to expose in my work. First, it appeared in my short film Wasteland. Then in my new upcoming photoseries, that I took in different hotel rooms during my business trip shoot: sexy selfies and the screenshots of the comments I got from a person I was sending them to. This series is full of self-irony and a hint of narcissism. The phenomenon of emojis, stickers, selfies and photos replacing the actual words and lively communication makes us don’t care about it’s etymology and even the language the person originally speaks on. Lastly, the composition of my first feature script consists of a few different stories set around the world portraying different characters with a specific mental problem, speaking different languages and meeting each other online.

The idea of youth is one of my main sources of inspiration is also because still being in my late twenties I had a very bare idea of what happens beyond it. Sometime I am also missing being a teen, especially a bad one, because I was always nerdy and wasn’t allowed to party with my mates. By working on these stories I was living it myself again, exaggerating the moments I lived through. Youth is the only age when you are allowed to be confused or too self-confident.


What are you working on right now?

Right now we are on a post production of an experimental short film featuring Paz De La Huerta, which I did in collaboration with a photographer Alexey Yurenev. We are finishing the editing and working on a distribution. Meanwhile, I’m writing a feature script, the one I’ve mentioned before, – five different stories set around the world portraying different characters with a rare OCD issue, speaking different languages and meeting each other online; I’m very familiar with this disorder myself. I also keep exploring and looking for characters for my Diary series.


Tell us about your film Wasteland.

I’ve been doing film and photography with the prevailed motifs of intimacy, uncertain sexuality, confusion, digitalism, attraction, endorphins. My recent film Wasteland is about the universal waste of time, state of texting coma, internet surfing, forever hanging out. There is an ensemble of characters loitering around the locations of Paris, Moscow and NYC, chatting online and sending pictures to each other in a global location of internet. Space and time shrink, and despite the time difference they still waste it together.

WASTELAND from Nadia Bedzhanova on Vimeo.


And about Headlong?

Another film of mine, Headlong, is about the ephemeral relationships between two teenage girls, set after-school in a swimming pool with Post-Soviet entourage. Teenage sexuality and confusion in today’s Moscow, Russia, is the subject I really care about. There is no freedom left for people who are “not like the others”, sexual minorities are being pressured. With this story I wanted to show that everything is formed and acknowledged in the age when you don’t understand much and don’t fall for forced rules of society. You only fall for attempts to figure yourself out.

Headlong was premiered on Brooklyn Short Film Festival 2015 and was published on Snob, one of the biggest Russian magazines. There were no international premiere yet.

Глубже / HEADLONG Trailer from Nadia Bedzhanova on Vimeo.


The still photos from your diary project are so emotional, so cinematic. Could you tell us a bit more about some of your favorite subjects?

Of course!

I met Hector in Paris last January, when I was producing Parisian part of Wasteland. A few days ago he came to NYC for a weekend – and it was the most amazing time I’ve spent in a long period of time. These pictures were taken then, on 35mm film, along with a short digital video that I’m currently editing with a lot of screenshots and texting etiquette.


Bruna and Jaq
I first shot these twins two years ago – I did a video featuring new faces for one fashion magazine. Two years after, I chose to do a shoot with Bruna and Jaqueline for Muse Management. We chilled for a little bit in my friends loft, I didn’t really want them to do anything – just relax, get into almost dreamy condition. The pictures turned out to be very fragile and intimate, full of sensuality – this insecure, very naive and innocent state of mind, but in the meantime there is something insanely sexual about it. I love the girls and enjoyed shooting them every time.

Bruna and Jaq

Ashley Smith is the queen of everything. She is open-minded, crazy fun, extremely charming, and probably one of a few girls I am very attracted to. I took these pictures in Cape Cod during the vacation every person can dream about. She is dating a very good friend of mine Charlie Himmelstein, and I just adore all our gang and glad that they exist in my life. They bring so-called lightness of being, but not the unbearable one.

Ashley Smith

Nastya is my little sister that I never had – a girl from Moscow whom I met in New York and with whom we just speak the same language. Not just literal, but visual too. These pictures were taken on her rooftop in Bushwick. I wanted to juxtapose very sensitive and fragile female body with a brutal construction: some kind of a visual symbolism.



How did your recent collaboration with Gosha Rubchinskiy come about? How does the two of you’s interest in youth culture overlap?

Gosha is an amazing artist and designer, who’s theme is very close to me: young people in Russia, their surroundings, influences of society with the certain rules. I was very happy to have his input on Wasteland – although the whole film was done by myself, but having the characters self styled with Gosha’s garments clearly emphasized the motifs of wasted youth and world’s universality. I’m very proud that Gosha’s name is known worldwide – it makes me proud for Russia and the artists from my country as well.


I love when you talk about sensuality in your work (in other interviews). Would it be fair to say that where so many people portray youth culture through hyper-sexuality, your work portrays hyper-sensuality?

I’m trying to keep myself away from hyper-sexuality and portray hyper-sensuality simply because I know the second one better. How Joseph Brodskiy said: “Я любил немногих. Однако – сильно.” (“When I loved, I loved deeply. But it wasn’t often.” – poem “I sit by the window”). Also, everything now is hyper-sexual, we see nudity literally everywhere. More asses, more bigger asses! Let’s all learn how to twerk! I do know how to twerk too, but can I please not post the video of it to my instagram? Sorry, I got less followers than you.

Everything is exposed nowadays. Let’s all be feminists and not shave our armpits and legs for ages – and let’s definitely take thousands of selfies of it for public. What is that feministic about it? We live in the post-porn era, where absolutely nothing can surprise anymore. We see nudity every day, naked men, women and transgender people, celebrities and friends; so images of nudity for us are like pictures of cute cats or food. I’m not saying that I don’t like it, but hyper-sexuality shouldn’t be the major theme that can sell everything nowadays. However, I’m trying to explore sensuality, which is more honest and genuine way to show a person’s inner self without exposing too much. I think it turns on even more.

Watch Now: Cynthia Rowley Spring 2016 Collection Video, Filmed From the Sky

Cynthia Rowley Spring 2016

Yesterday we previewed this amazing film produced by Cynthia Rowley for her Spring 2016 collection. Shot on the beach in Montauk, the video was created in collaboration with the Chinese drone manufacture DJI, which has been at the forefront of pushing the technology to the place its at now.

Yesterday, Ms. Rowley had this to say:

“I’ve been mesmerized by surf videos and the way you can watch basically the same action over and over and it’s still riveting. So thinking about a runway show, girl after girl after girl, I wanted my collection to be photographed with the same excitement.  Using sports photography was a natural. We contacted DJI in China, inventors of the phantom drone, to see if they would bring their most advanced technology to shoot our collection. They were equally stoked.”

Watch the full video here:


See the Future: South London Rapper Conrad Kira Premiere’s New Video for ‘Baka (Up In The Ear Remix)’

Conrad Kira

South London rapper and producer Conrad Kira’s personal brand of Grime music is overflowing with industrial beats and futuristic trappings, culminating in a body of work that feels a few years ahead of anything else. As a citizen of the world who splits his time between the streets of London and the ultramodern, cosmopolitan realm of Tokyo, Kira’s upcoming EP Rictus (September 4th) draws an international influences and genres, all cohesively orchestrated under the artist’s swift and sophisticated wordplay.

Today, BlackBook is premiering a video directed by Greg Pond for the Up In The Ear Remix of “Baka,” the lead single off of the forthcoming extended play. The track’s beat is a lively and persistent, propelling the song forward as the deep grime bassline plays under lyrical goodies like, “I don’t give a damn—I’m going Green Eggs and Ham.” Check out the premiere below, as well as more on Conrad Kira here.

How to Sneak a Manicure at Your Desk Without Getting Caught

Chanel-inspired manicure by Julie Kandalec. Hand modeling by yours truly (contact me directly for bookings. JK. But maybe).

Ooh girl, you’re goin’ out tonight! Even if you’re not, take a look at your hands. How are those nails doing? Healthy? Polished? Soft? Not exactly? Not a big deal.

There’s a short window between the work day ending and the salon closing for the night, especially when you have yoga/305/core fusion. And yes, it’s way too tight to sneak out at lunch for a mani and make it back for the conference call. You’re busy, I get it, me too!—we still deserve shiny, healthy, happy nails (and cuticles).

As for technique, Deborah Lippmann, manicure and nail care guru, weighed in on the sneaky desk manicure:

“To execute this quick, no-fuss manicure, try my special DIY trick: Start by laying your opposite hand flat on a table (or desk!) and angle it so your arm is parallel to your body. When you’re polishing, once you put the brush down, just pull it straight. Don’t try to curve it. To get into the nooks, crannies, and curves of your nails, put a little more pressure on the brush so that it widens, creating a curve. There’s enough bristles on the brush for it to do the job for you.”

Even with a hawk-like boss, you can still sneak in a manicure during work hours. The other trick is bringing everything you need with you, no hooky required. Here’s what’s what.



Nail health is gonna make this process so much easier and prettier, so get in the habit of moisturizing (all the time) with a rich hand cream. Go the extra mile with some cuticle oil. I’m a big fan of Byredo‘s hand cream (which is luscious and smells like you fell into a field in Holland, if you go the La Tulipe route), and I keep a cuticle oil pen in every handbag I own. The pen part makes it easy and completely mess free. You live and you learn and you become addicted to cuticle oil. Get it here and here.



In the moment and feeling ready to go for it? Take it all off and keep the mess contained with this wonderful invention from Deborah Lippmann, the Stripper To Go lacquer remover. These little textured mitts “come in a travel-friendly packet and removes all 10 nails of polish with one mitt, making it discrete and mess-free,” says Lippmann. They are perfectly sized and shaped to take off any remaining polish from previous manicures, sans spills and noxious fumes—these babies are lavender scented. Get them here.





When it’s time to file, reach for the Deborah Lippmann Smooth Operator 4-Way Nail Buffer, which also offers everything you need for a polish-free mani. It’s “the ultimate multi-tasker since you’re able to shape, smooth, buff and shine your nails all in one,” says Lippmann. Get it here.



After applying your favorite base coat (Deborah Lippman All About That Base is good, like a CC cream for your nails. Also great, Deborah Lippmann Hard Rock, which works as a strengthening base coat and topcoat in one), choose something quick drying. You do have to get back to typing, you know. But did you also know that Marc Jacobs Beauty makes the fastest drying nail polish of all time? … is what I’ve discovered doing my own research. I’ve painted my nails with it and promptly forgotten, proceeding to wash my hair 15 minutes later and emerging NAILS INTACT. Manicure miracles do happen. Get it here.



Go for the quick dry. Marc Jacobs Beauty in Shiny works in a pinch, and you can get it here. OR, go crazy, and try out something like Pacifica’s just launched Rainbow Gloss 7-Free Top Coat. This swirling, shining sealer isn’t quite glitter, but it adds enough oomph that you can skip out on multiple coats of color (thereby saving time). For all the animal lovers out there, the brush is 100% vegan. Get it here.


Trying to look younger pretty much instantly? We made a guide for that.

Jesse Eisenberg Doesn’t Watch Movies But He’s Damn Good at Making Us Want To

At only 31, Jesse Eisenberg has cultivated one of the most interesting careers in Hollywood. Between taking on the role of super villain Lex Luthor in Batman v. Superman, starring in Joachim Trier‘s Cannes favorite Louder Than Bombs, appearing on stage six nights a week in his latest acclaimed play, and acting opposite Kristen Stewart in the upcoming stoner thriller American Ultra, Eisenberg may not have the time or interest to watch movies but he’s certainly blowing us away with them. And his latest role as writer David Lipsky in James Ponsoldt’s The End of the Tour, a nostalgic examination of a brief chapter in David Foster Wallace’s life, is no exception. 

As we’ve previously noted, starring “Jason Segel as Wallace alongside Eisenberg as Lipsky, The End of the Tour was adapted by playwright Donald Margulies from Lipsky’s book of the same title. The End of the Tour picks up in the winter of 1997 when Lipsky convinced Rolling Stone magazine to send him on assignment to profile Wallace on the last leg of his Infinite Jest book tour. More road movie than biopic, The End of the Tour is filled with intimate conversations between the two men as they eat candy, chain smoke, and debate everything from their fierce mutual commitment to maintaining artistic integrity and the harrowing pain of loneliness to Wallace’s much-rumored past and his (now iconic) bandana-wearing sartorial choices. Ponsoldt delivers a compelling and elegiac portrait of one of the literary world’s most celebrated artists and his internal struggle with success, providing a glimpse into the mind of a genius.”

After The End of the Tour’s New York premiere at BAMcinemaFest, we sat down with Eisenberg to find out more about his relationship to Wallace’s work, finding himself on the opposite end of an interview, and the pleasure of working with an intimate cast.

As a Wallace fan yourself, what attracted you to being a part of this movie and James’ vision for it?

Usually when movies are about people they’re not as good as fictional movies because a lot of times they’re getting made because the person is interesting and not because the story is good. That was not the case with this one. I knew the writer Donald Margulies because he writes plays and I write plays, and few months before they sent me the script he had moderated a discussion after one of my shows, so we knew each other. They sent me this script and I liked the script and I like James Segal and James Ponsoldt I met with and he he told me he really wanted me to play the role like a sniper, like somebody going into a situation and trying to take out the opposing party. He said he didn’t want me to play the role like a kid brother. He wanted me to play it with some real gravity, and that’s what appealed to me about doing it. 

Had you seen The Spectacular Now or Smashed

I don’t watch movies, but I asked my agent and he and everybody else said he’s wonderful.

You’re playing a real person, but a real person at a very specific point in his life. So how did you go about preparing for the role and getting to know David Lipsky now?

I met with David Lipsky and asked if I could interview him and if he could teach me how to interview people. I asked him about the emotional experience for him at this time—was it just a conversation and a casual interview or were you questioning yourself, having questions of identity, and questioning your own creativity as it relates to somebody who is receiving a lot more attention for doing the same thing. So he talked to me about that and I realized very quickly that this can be an emotional part, it doesn’t have to just be a conversation, it can be real examination of everything he knows. He’s part of this New York world that feels like the only important place on earth where all important decisions are made, and then he goes to the Midwest where seemingly no important decisions are made—as far as publishing is concerned—and actually the most important person in literature is living out there. So he starts to  question what he values. 


Could you relate to both Davids, as a writer yourself, but also as someone quite young who has had a lot of success?

Yeah, because in the movie my character writes a book and gets some modest acclaim for it, and then he goes into a much bigger pond and realizes that he is a tiny fish. I’m doing a play right now in New York everyday and one day the play goes really well and you feel good about yourself and the next day it doesn’t go well and you feel completely worthless. It’s the nature of investing your emotions in a job and the job occasionally not working out the way you want it to. I imagine other people in other professions have that experience and that phenomenon, but I think there’s something particularly potent about using your emotional inner life. It’s also very it public so it adds another strange element to it.

Was it eye opening to spend so much time on the opposite end of an interview?

That’s precisely it, and it was surprising because I realized that my character has as much of an agenda as the other character. The other character wants to protect himself and maybe come off in a positive light, but my character has an agenda to get something that no one else has, which means pushing the boundaries of what the interviewee is comfortable with. But my character is also competitive with him, so maybe he’s trying to take him down in some subtle or subversive way.

Right, and they’re both performing for one another, which complicates it further. But you can see that your character wants something from him but might not even be able to say what that is.

Exactly, and it’s hard to articulate exactly what I want from him. I guess I want some advice, but at the same time I don’t want him to give me any advice because I feel like he’s some sort of paternal figure.

It’s interesting because Lipsky wants Wallace’s success, fame, and talent but then meets Wallace and sees how much he rejects it and is still struggling with all of this internally. So then it becomes about—well if that’s what I’m working my whole life to achieve and if I get it I still might be miserable, what’s the point of it all. 

That’s exactly it. Jason and I discussed this a lot, in so far as this movie is concerned, You know, achieving the thing that you think will allow you to relax and bring you the kind of peace you ultimately strive for. It never does, the mind just doesn’t work that way, it doesn’t allow you to have that kind of inner peace.

What I found interesting about your performance was that it was so reactive. Even when you were just listening to Wallace there was always something very distinct happening behind your eyes. The scene where he approaches you in the kitchen and tells you to be a good person, you weren’t saying anything but there was a sadness in your expression that translated and carried through a lot of the movie.

Yeah, because throughout every scene he’s feeling inadequate and it comes across in all these ways. He has to put up a front as being a responsible journalist but really he’s spending his time around this guy who does his job better than him.

Had you met Jason before to working on this? 

No, but I liked the idea of doing the movie with him because I think we’re probably similar in a lot of ways. Probably because we’re both writers and write funny things, but I imagine we both of us share an affinity for this kind of story and this kind of movie and I knew that we would both work hard at it.

How was the experience of working opposite him?

Good, it was all that it should be. It was entertaining, threatening, fun, but also aloof. It’s all those things, so I was feeling all those things as well, which is like what you were saying about the scene in the kitchen. It’s really terrifying to be told off by somebody who you think is your friend and then you think you weren’t doing anything wrong but maybe you were. So then you’re questioning your own moral compass if you were doing something that you thought was fine and it’s not. It’s terrifying and it keeps you off balance.

Jesse Eisenberg and Isabelle Hupert in Louder Than Bombs

You go from doing big budget movies like Batman v. Superman to films like Louder Than Bombs and The Double to this, so I’m curious how you go about choosing the projects you work on because you seem to make really good decision each time. 

I’m the recipient of all that in a lucky way, not in any planned way. I know how to do both of those movies. I know how to do a good job in those different kinds of movie. The smaller movies I know the kind of discipline it takes to be there when you only have one take, and in the bigger movies I know how to pace myself so I guess I can do both. But the jobs don’t seem that different, frankly. Ultimately you’re trying to present a character in an honest way and then layering it with whatever the tone of the piece is—if it’s supposed to be funny or something. So I feel very comfortable doing all that. 

Do you like being in films like this, where it’s a more intimate experience with a smaller cast and it’s shot over a more condensed period of time opposed to bigger Hollywood projects?

This is the best way to do it because there’s a real momentum that comes from not having much time to question things. On a big budget movie you’re in your trailer for several hours a day just waiting around, so you end up questioning everything and you over think in a way that’s not helpful. Then with a movie like this it’s all visceral, it’s all emotional. You’re running on adrenaline after not sleeping and it’s better. This is how it should be done, but if you do a movie like this for six months it’s exhausting.

What are you working on after the play? 

I’m working on a Woody Allen movie.

Are you constantly in the process of writing new things or do you take things as they come? 

When I have time, but I haven’t had any time in a while. I have a book coming out in September but that was finished six months ago. Otherwise I don’t really have anything at the moment.

Would you ever want to focus more on your writing and slow down from your acting? 

I do, but only by virtue of not getting hired for a period of time, you end up getting six months off. Even very successful actors has long periods of time off.

Orlando Bloom’s Girlfriend Stars in New Brazilian Jewelry Campaign

Fernando Jorgo “Stream” collection campaign photographed by Alessio Boni. Images courtesy of Fernando Jorge

Brazilian actress (and Orlando Bloom love interest) Luisa Moraes stars in the latest Fernando Jorge jewelry collection campaign, photographed by Alessio Boni, with art direction by Framework. Ketevan Gvaramadze styled the Brazilian beauty in a sensual selection of knits to accompany the jewels, which were inspired by the curving paths of “liquid streams finding their way over smooth surfaces,” according to the brand. Sexy.

The “Stream” collection, likewise, is totally relaxed, corporeal and languid, bringing together a mix of metals and stones for a fall jewelry collection we can’t get out of our heads.

Moraes might look familiar—aside from her mega star dating record, you might’ve seen her covering L’Officiel, in a selection of Brazilian films, or in the thriller Solace, also starring Colin Farrell and Anthony Hopkins.

Into the jewelry designs you see in the collection campaign below? You can shop Fernando Jorge here.


Want more fall inspiration? Check out the Ellery campaign photos featuring the gorgeous Malgosia Bela here.


Photography: Alessio Boni
Talent: Luisa Moraes
Styling: Ketevan Gvaramadze
Art Direction: Framework
Hair: Tetsuya Yamaka
Make Up: Asami Matsuda

Collection photos courtesy of Fernando Jorge

How to Look Like Gigi Hadid in 3 Steps

Gigi Hadid, goddess and model, has just been announced as the face of Topshop AND MaxMara. She’s stunning pretty much always, but it’s the super’s ’90s-perfect look from the Topshop ad that we’re gunning for. Easy hair, simple black liner, and that particular shade of lipstick which is so very Bobbi Brown Rum Raisin… makes me wanna score a vintage tube real bad. Fortunately, there’s no ebay scouring required. This is how to get Gigi Hadid’s Topshop look.

Step 1

First, grow out your roots. Then, wash your hair, and let it air dry after turning upside down and spritzing in some surf spray. We’re really into David Mallett’s Australian Salt Spray, which incorporates gourmet-worthy Murray River Salt from South Wales, Australia (yes, it’s fancy). Scrunch like you did in the ’90s and shake it out. Rest assured that your hair will dry sans stickiness or crunch (’90s textures we’ll gladly leave in the dust). This style gets better with a few days worth of wear.


Step 2

Ladies of the ’90s, you remember Bobbi Brown’s cult shade of lipstick. For those of you who aren’t already intimately acquainted with Black Honey, consider this your formal introduction. Did the makeup artist on Gigi’s Topshop shoot swipe Black Honey on? We’re inclined to believe yes, but either way, it’s pretty exact.


Step 3

Grab yourself some liquid eyeliner — we like Stila Stay All Day Waterproof Liquid Eye Liner in Jet Black. Subtle cat eye optional.


Now go land yourself an ad campaign or two, girl!

Photos of Gigi Hadid in the Topshop fall 2015 campaign courtesy of Topshop