“The Where of Storytelling: Creating the Location Based Experience” is a class series conceived by the Made in NY Media Center by IFP exploring site-specific storytelling – from interactive film to experiential design for commercial clients, location adds a new level of experience to media projects. The program consists of a Case Study and overview of locative storytelling featuring interactive filmmaker Lance Weiler and Jake Barton, founder of award-winning museum experience designers Local Projects (June 9); a Writing Workshop: draft a location-based story & refine your project through inspiring design exercises and peer critiques (June 13, 14 & 27); and a Beacon Tech Workshop: install a location-specific experience & work with developers to learn to use beacon technology, led by Aaryn Anderson of Vectorform, a leading multiplatform interactive design company (July 11-12 & 25-26). Advances in technology have expanded… Read more
Such a rare thrill to see films with seniors who have credible back stories and channel a lifetime of experience toward the resolution of whatever issues they currently face. The lead characters in The Farewell Party, a delightfully dark Israeli comedy (perhaps adorable tragicomedy is more on point), are full-blooded humans, not vampiric nasties or one-dimensional goody two shoes. They converse with delight and share their joys, but they also threaten, backbite, and blackmail. Each has attachments, with ups and downs — not so different from young people, as it turns out. At about the halfway point, a group of long-time friends in their mid- to upper-seventies are driving back from the suburbs to the modern Jerusalem retirement home where… Read more
Quick, try to describe Irreversible and Enter the Void writer-director Gaspar Noé without relying on the words “controversial,” “provocateur,” “bad boy” (or, more Gallically put, “enfant terrible“) or “transgressive.” Noé’s latest potential scandal-maker, Love — hotly anticipated after smutty publicity materials teased it as a 3D art-house porno, complete with semen-sticky title treatment — was surprisingly softer and less shocking than anyone expected from last night’s midnight premiere. It’s also callow, shallow and numbingly insipid, despite its explicit mélange of blowjobs, threesomes and orgies. (Seriously, how does one make hardcore fucking more vanilla than Fifty Shades of Grey?) In a two-hour-plus scrapbook of flashbacks and time jumps forward, a self-involved American jerk in Paris (Karl Glusman) chronicles, through broodingly sentimental voiceovers, his memories and doomed fantasies of the brunette… Read more
You’ve probably heard about the latest push to finally produce a finished, edited version of Orson Welles’ uncompleted final film, The Other Side of the Wind. In support of an Indiegogo campaign to raise funds, Wes Anderson and Noah Baumbach have taped a video message urging you to just contribute already. Unusually for the famously controlling Anderson, he appears to have shot the video handheld selfie style.
IFP has announced a partnership with Film London to bring two UK-based producers to Independent Film Week to partake in the No-Borders International Co-Production Market. Each year during Film Week, 35 producers with projects that have at least 20% funding in place participate in the No-Borders section to network with buyers, sales agents and financiers, in order to get their films off the ground. No-Borders has previously partnered with the likes of the Berlinale, Venice Biennale, and TorinoFilmLab, to allow international producers to partake in the US-based market. This is Film London’s first US partnership designed to benefit and foster UK producers. The deadline to apply is this Friday, May 22.
Bianca Giaever is a radio producer, filmmaker and our youngest guest to date. You may have heard her on RadioLab or This American Life or seen her short films on NPR, The New York Times or featured as Vimeo Staff Picks. She recently won a Webby for Videos 4 U, a new series she’s heading for This American Life. In this episode, Bianca talks about her inherited curiosity and inclination to talk to strangers as well as how her personal life, questions and struggles influence the themes of her work. We talk about the paralyzing effect of your first successful project, the fogginess of the sophomore slump and how to be patient instead of forcing an idea. She’s a delight… Read more
Given the overwhelming surplus of articles about David Letterman’s retirement, career and final show tonight, there barely needs to be anything said here. Bill Murray was the guest on last night’s penultimate show, which is fitting, as he was the first guest on Letterman’s first NBC show in 1982. They antagonized each other, watched a panda video and then Murray performed Olivia Newton-John’s “Physical,” which is basically everything you need for good television.
Following her recent Crime: the Animated Series, director Alix Lambert continues her focus on illegal acts and their culture by embracing a new animation style — stop-motion claymation — and a more fantastic metaphorical premise. In this premiere pilot episode for a new web series, Lambert — both a filmmaker and frequent Filmmaker contributor — partners with animator Tim Grant and actor and writer Damian Baldet to create a humorously melancholic tale of a fennec fox and sloth stuck in a place you don’t want to be: Prison Zoo. Prison Zoo is currently part of Lambert’s exhibition of the same name at the McColl Center for Art + Innovation in Charlotte, North Carolina. It runs through August 14. Below, I… Read more
Have you heard? The United Nations designated 2015 the “International Year of Light and Light-based Technologies,” and cinematography made the cut. But is IYL 2015 finally the year in which the dam burst of innovation subsides, and new digital cameras and techniques no longer threaten to drown us? Surveying the… Read more
I spent months complaining about the drug dealers on my doorstep. I didn’t like dodging their transactions or how they’d hover or call after me. But when one of them offered to help adjust my bike seat, witness to my prolonged and embarrassing struggle, an… Read more
Could it be, six features deep at the most exalted film festival in the world, that this writer’s favorite film isn’t some scrappy Critics’ Week indie or an ennui-driven Eastern European drama of profound sociopolitical relevance — but rather, the $150-million studio juggernaut Mad Max: Fury… Read more
A period piece best appreciated less for its historical relevance than its microscopic adoration of a forgotten pop zeitgeist, Lev Kalman and Whitney Horn’s L for Leisure is equal part class critique and deadpan laugh riot. Having previously directed the fantastical faux-’80s short Blondes in the Jungle, L… Read more