dir. Edward Sedgwick & Buster Keaton / 1928 / 1hr 18min
Buster buys a movie camera to impress Sally (Marceline Day), a pretty young secretary working for MGM Newsreels; and he fearlessly attempts to become a news cameraman. One of Keaton’s own favorites, and a wonderful show for his passion for the film medium, it was largely shot in New York, on locations which include Midtown Manhattan, Coney Island, and an empty Yankee Stadium. Considered one the best Keaton’s comedies, it was his first film for Metro-Goldwyn-Mayer, a studio he joined in 1928, under legendary producer Irving Thalberg. His relationship with the studio went sour one year after he signed his deal (in his words: “the worst mistake in my career”) and lost creative control over the work. According to silent film historian David Robinson, The Cameraman stands as a summation of Keaton’s career up to this point. It was a leading box-office success of 1928.
Mary Harron made her debut as a writer and director of a feature film in 1996 with I Shot Andy Warhol. This was followed by American Psycho in 2000, The Notorious Bettie Page in 2006 and The Moth Diaries Her most recent film Charlie Says debuted at the Venice Film Festival in 2018. Harron was born in Ontario and grew up in Canada, the US, Italy and England. She studied at Oxford University. Before working in film, Harron was a rock journalist. In the late 1970's, she helped start Punk Magazine and was the first to interview the Ramones and Talking Heads and was the first writer from an American publication to interview the Sex Pistols.
She began directing shorts and documentaries in the UK in the late 1980' . In the US, she has directed many episodes of acclaimed television series including Homicide, Life on the Street, Oz, The L Word, Six Feet Under, Big Love as well as the TV movie Anna Nicole. In 2017, she directed all 6 episodes of the award-winning Netflix series Alias Grace adapted by Sarah Polley from the Margaret Atwood novel. Harron's next project is a film on the late years of Salvador Dali written with her husband, the writer and director John C. Walsh.