Theatre is “limited” in a certain way - you’re on a stage and you have to watch it at that moment. Film is particularly exciting because of the combination of things you can do, but it’s also utterly unexciting because of the box that all these genres have put themselves into, and what you’re supposed to do in order to fit into that box. ![]() There are these theatrical elements in it that are theatre-based, and there are also cinematic elements, visual and musical that are fun and exciting. One of the things I tried to do with Avivathat was so exciting and liberating, was I tried to open it up and explore. It’s so expensive and you have to get so many people to watch it that it’s very confining. Over all, in terms of what you can do in a narrative film and how it’s expressed, it’s quite straightjacketed at this point, even though film is this wonderful combination of all of these art forms. It’s not to say certain filmmakers haven’t broken those conventions here and there, from Godard to whoever, and on. There have become a series of straightjacketing conventions in narrative film. How do you see the relationship between cinema and the other creative mediums? Speaking with filmmakers, one of the common expressions is the appeal of cinema because it’s an amalgamation of the other art forms. He also speaks about the liberating feeling of forsaking tone, and the impossibility for an indigenous form of art to now have the time to develop and assert itself. ![]() In conversation with PopMatters, Yakin discusses the struggles of American cinema to experiment and risk failing in a capitalist and corporate culture. The filmmaker’s previous credits include the experimental self-funded or partially self-funded films, Death in Love (2008) and Boarding School (2018), as well as commercial films, Remember the Titans (2000), starring Denzel Washington, Uptown Girls (2003), and the Jason Statham action film, Safe (2012). ![]() The two lead characters of Aviva and Eden are each played by both a male and female actor, transitions occurring between the genders as we watch the restless highs and lows of their relationship play out. The cast, made up entirely of dancers, tells a story through choreographed dance sequences of a conflict for supremacy between masculine and feminine energies. Boaz Yakin’s Aviva (2020), a sexually frank romantic drama, is funded solely by the filmmaker.
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