Joe Stankus
Historia
Joe Stankus is a Brooklyn based writer/director. He enjoys working in both narrative and documentary filmmaking but is especially fond of the blurry area in between.
Director
A documentary filmmaker talks us through the steps of his latest project — a wooden stool.
Writer
When an ex-cop's deathbed confession hints at a terrible crime, a dutiful daughter is forced to confront the differences between the stories we tell ourselves and the truth.
Director
When an ex-cop's deathbed confession hints at a terrible crime, a dutiful daughter is forced to confront the differences between the stories we tell ourselves and the truth.
Director
Novelist Evan is excited to share the news that he’s been accepted to a prestigious summer writers’ colony with his husband and their friends over an intimate dinner party. But the big reveal doesn’t go as planned in this finely calibrated domestic-drama-in-miniature.
Editor
Helen, a lonely and isolated woman, is given the opportunity to connect with people from her past using a new augmented reality device.
Director
Street photographer Jay Giampietro details his clandestine process of capturing the odd fringes of New York City on Instagram, in this short documentary piece by Joe Stankus. Not content with showing how Giampietro sneaks his snaps, Stankus also delves into the ethics of photographing strangers − sometimes during intimate moments − in a time of mass surveillance.
Director
Ashley Connor and Joe Stankus’s latest quotidian miniature follows two brothers going grocery shopping together, musing on the products they come across, reminiscing about the past, and, finally, comparing notes on snickerdoodle recipes. - NYFF
Writer
The Backseat was made using a combination of documentary and fiction filmmaking techniques. We enlisted our own family members to portray versions of themselves and constructed a fictional situation in hopes of evoking very real conflicts and relationship dynamics. The performers, all of which are non-actors, were never given scripts or made aware of the full story-arc that we, as the directors, had pre-planned. Drawing inspiration from the direct cinema of the Maysles and fiction films like The Blair Witch Project, it is our intention to blur the viewer’s concept of reality and invite them into a world that feels real and honest while still providing the emotional beats and traditional plot elements of a conventional narrative.
Editor
The Backseat was made using a combination of documentary and fiction filmmaking techniques. We enlisted our own family members to portray versions of themselves and constructed a fictional situation in hopes of evoking very real conflicts and relationship dynamics. The performers, all of which are non-actors, were never given scripts or made aware of the full story-arc that we, as the directors, had pre-planned. Drawing inspiration from the direct cinema of the Maysles and fiction films like The Blair Witch Project, it is our intention to blur the viewer’s concept of reality and invite them into a world that feels real and honest while still providing the emotional beats and traditional plot elements of a conventional narrative.
Director
The Backseat was made using a combination of documentary and fiction filmmaking techniques. We enlisted our own family members to portray versions of themselves and constructed a fictional situation in hopes of evoking very real conflicts and relationship dynamics. The performers, all of which are non-actors, were never given scripts or made aware of the full story-arc that we, as the directors, had pre-planned. Drawing inspiration from the direct cinema of the Maysles and fiction films like The Blair Witch Project, it is our intention to blur the viewer’s concept of reality and invite them into a world that feels real and honest while still providing the emotional beats and traditional plot elements of a conventional narrative.
Director
After being delayed a day, a flight attendant hurries home to commemorate a meaningful anniversary.
Director
Joe Stankus’s MARQUEE (2012) is a lyrical black-and-white visit with now-retired longtime IFC Center usher Larry Alaimo as he changes the letters on the theater’s iconic marquee and reminisces about a life at the movies.
Editor
Joe Stankus’s MARQUEE (2012) is a lyrical black-and-white visit with now-retired longtime IFC Center usher Larry Alaimo as he changes the letters on the theater’s iconic marquee and reminisces about a life at the movies.
