Gregg Araki revisits the adolescent wasteland that defined his career in the mid 90s with his newest feature White Bird in a Blizzard. On the surface – the film feels at piece with Araki’s oeuvre (The Doom Generation, Nowhere, Totally F***ed Up) in that all focus on a dissatisfied youth (here played by Shailene Woodley) coming to terms with their place in a seemingly chaotic and meaningless world. But there’s something darker and a bit more melancholy at play with Araki’s latest. The rebellious anarchic spirit of those earlier films has been replaced with a forlorn world-weary outlook. Woodley as Kat Connors isn’t the unruly ‘F’-the-world protagonist of Araki’s earlier features. Instead Kat’s a character desperately trying to regain any semblance of normalcy after her mother disappears one fateful morning. It’s a character intent on NOT rebelling, living in a self-imposed ignorance to the truth that is plainly in front of her. Many of Araki’s films end with some cataclysmic event occurring; yet White Bird in A Blizzard opens with such an event, the inherent tragedy of the picture contingent on each character’s refusal to address what’s just happened.
In the following interview with Gregg Araki and Shailene Woodley, the duo discuss the process of adapting Laura Kasischke’s novel to the big-screen, working together to create many of White Bird in a Blizzard’s emotionally raw scenes and the movie’s place within Araki’s filmography. For the full interview, hit the jump.