"Nathan Silver's short documentary Carol and Joy radiantly builds upon this lineage, extending his recent first-time work with Carol Kane on Between the Temples -whose warmth and wit anchor the film-into the realm of nonfiction, while reuniting with regular collaborator Sean Price Williams, whose kinetic camerawork mirrors its unruly vitality. Filmed over two afternoons in the New York apartment that Kane shares with her 98-year-old mother, Joy, the film captures a cascade of memory, music and confession."
"Friends and family drift in and out, a piano rumbles, stories of abuse and resilience flow without filter. The camera tracks this buoyant energy with feral immediacy, Williams' lens wild and responsive, inhaling the atmosphere. Silver's style doesn't seek to tame or polish. It disarms through its looseness, its willingness to let things generously spill over. There is nothing sanitized here, only life in its unruly fullness. In its non-judgemental presence, the film celebrates the magnanimity of Joy, who has lived nearly a century"
Jean Eustache's Numéro Zéro presents a nearly fixed frame in which an elderly woman’s unvarnished speech animates the image, turning domestic minutiae into monumental testimony. Nathan Silver's Carol and Joy records two afternoons in Carol Kane’s New York apartment with her 98-year-old mother, Joy, producing a cascade of memory, music and confession. Friends arrive, a piano rumbles, and stories of abuse and resilience surface without filter. Sean Price Williams’ kinetic camerawork matches the film’s feral immediacy. Silver’s approach privileges looseness and unpolished presence, celebrating Joy’s magnanimity and Carol’s sustaining companionship. 16mm reels shaped the film’s rhythm.
Read at Filmmaker Magazine
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