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Any doubts as to whether Sienna Miller is a gifted actress should be laid to rest by Interview.

The back-and-forth between the performers is tensely choreographed, and Buscemi does a good job opening up the action, which mostly takes place in a Manhattan loft.

The first of three planned remakes of Dutch films by the late Theo van Gogh, Steve Buscemi's Interview takes the most unnatural act in human intercourse - the celebrity interview - and makes an explosively funny two-character psychodrama out of it.

Some bits are too stagy, but for the most part this long night feels like an interview that could have actually happened. Miller is so good - dumb, smart, wounded, wounding, a lollipop of sweet poison that you'd buy every day until it killed you - that you feel you not only understand her but all actresses.

Afforded a comparatively rare chance to stretch out in a complex lead role, Buscemi is excellent.

For a film that unfolds mostly in a single location, Interview manages not to feel like a stage piece. But the premise, which may have worked in Holland, gets a little lost in the American translation.

Vaporous and chilled to freezing, Interview lacks a single honest moment, but it does have plenty of diverting ones.

To their credit, Miller and Buscemi engage the audience’s interest in what is essentially an extended conversation for an extraordinarily long time.

The result, though anchored mostly to a single set cleverly sectioned by hammocks, curtains, and a kitchen bar, is the least concrete and most artificial of Buscemi's films.

Whatever we may make of van Gogh's life and death, Buscemi's talky, stagey Interview -- the first of three van Gogh adaptations planned by American actor-directors -- doesn't make much of a case for him as an important or original artist.