David Marks

David Marks, man, what a wild résumé. You’ve probably seen his work even if you didn't realize it. “The Last Black Man in San Francisco” (2019)? Yeah, that film’s a whole vibe—aching beauty, gentrification, friendship, all mixed into this soulful swirl. Marks’s fingerprints are all over it, weaving together the city’s heartbeat and the struggles of two friends hanging onto a home that’s slipping away. It’s not flashy, but it stings in the right places. Then you’ve got “Don’t Worry, He Won’t Get Far on Foot” (2018). Weird title, right? But the story punches you right in the gut. Joaquin Phoenix rolls through as John Callahan, a cartoonist with a dark sense of humor, trying to piece his life together after a crash. Marks helps steer that thing with a steady hand, guiding the chaos, letting the dark comedy breathe, but never letting the heaviness drown it out. It’s messy, raw, sometimes even awkward—kind of like real life. And, oh, “Spider-Man: Homecoming” (2017)? Total gear shift. Suddenly you’re in the Marvel universe, zipping through Queens with Tom Holland’s Spidey. Marks doesn’t try to reinvent the superhero wheel, but he does keep things nimble and fun. The stakes feel real—even when it’s just a kid juggling homework and high-flying action. That’s the thing with Marks: he’s not about loud statements, but you can feel his touch. His films sneak up on you. He slips between genres like it’s nothing, but each time, it’s his steady, almost invisible hand guiding the story’s heartbeat.