Activist, hacker and computer security researcher Jacob Appelbaum, a subject in Laura Poitras’s riveting and important CITIZENFOUR, shot Filmmaker‘s Fall issue cover — an eerie portrait of Poitras at home in Berlin, filmed on discontinued Kodak Color Infrared (EIR) film. Here, via email, is Appelbaum on the photograph: I have been shooting with Kodak Color Infrared (EIR) film for the better part of a decade thanks to a kind introduction to the medium by Canadian artist Kate Young. Sadly shortly after discovery of the film, I learned that it was discontinued by Kodak. The film was given an extra lease on life by Dean Bennici. Dean bought a large supply and recut the film for people keen on shooting 35mm,… Read more
Scott previously wrote about and interviewed Bond/360’s CEO Marc Schiller on his decision to bundle and sell their movies via a pay-what-you-wish “Radiohead-esque” model. What began with the “Creativity Bundle,” the packaging of four titles that all dealt with making and creation, now looks to be a recurring initiative, with the company’s introduction of Cinepacks. Through October 23, you can purchase the Sports Docs pack, which allows you to own Medora, Desert Runners, Stephanie in the Water and Doubletime for no less than $1. While this may be a financial gamble, Schiller is certainly capitalizing on the notion of fan engagement, with each collection catering to a specific interest and audience. To incentive buyers to spend more than a buck, the bundles include bonus material that becomes available at… Read more
It’s March 2012. I’m standing outside a warehouse with 18 people. We’re about to watch a pig die. Three cameras are ready to roll: two for the movie and one for legal purposes. My actors have the morning off; because of my agreement with SAG, they’re not allowed to be on set for this particular scene. Rory Royston, the operator of an independent slaughterhouse, as well as his assistant, stand in for my lead actors, dressed in their wardrobe; they will make sure the slaughter about to be performed is both safe and humane. Rory looks to me; it’s time. A single thought pings through my head: What the fuck was I thinking? I take a deep breath, then call… Read more
“An iPad app for explorers,” the just-launched Humanity dubs itself as a “new kind of travel show that places authenticity and storytelling above all else.” Notably, Humanity avoids star ratings, food porn and shopping tips in favor of immersive looks into the landscape and the people of a particular place of interest. From the press release: Humanity is an app that allows you to choose your own path. We don’t want you to check-off a country, we want you to live and breathe it, to explore its many offerings and expand your horizons. While quality storytelling will always be our main objective, we want the process of exploring a country to be exciting, interactive, and fun – just like real… Read more
How precisely does one go about building an entire beach on a soundstage? That’s one of the many challenges posed by master Swedish director Roy Andersson’s regular working method, which involves constructing meticulous sets to stage his mordant tableaux and droll takes on despair and death. This brief video shows his crew building a beach from the ground up — not a photo-realistic set, but pretty close, complete with meticulous arrangement of sand and one friendly dog roaming around. A Pigeon Sat on a Branch Reflecting on Existence will be released here next year by Magnolia Pictures.
Noir is a “challenge to dominant values,” according to critic Peter Labuza in this concise visual essay on one of cinephiles’ favorite “modes.” Bridging The Classical Hollywood Cinema with the writings of Linda Williams, Labuza considers film noir as a method of subverting the building blocks of melodrama, thus imbuing its viewers with a “feeling of displacement.” Perhaps most disorienting is that in everything from Mildred Pierce to My Name is Julia Ross, there is no weepy sense of satisfaction for the taking.
Its title threatens a sudden loud blast, but Two Shots Fired wrongfoots viewers when its first sound isn’t from a gun but the jolting bass in a club where young Mariano (Rafael Federman) is dancing. He leaves, goes home, mows the lawn, finds a gun in the shed and fires twice — once at his head, once at his stomach, an action taken with the same blankfaced lack of passion as all the ones preceding it. “It was an impulse,” he non-explains. “It was very hot.” Mother Susana (Susana Pampin) removes all knives and other potential implements of self-harm from the house and has Mariano move in with his brother Ezequiel (Benjamin Coehlo), who can’t quite bring himself to flirt with Ana (Camila Fabbri), the fast-food worker who… Read more
“The most important task is to make great movies,” said Sundance Institute Executive Director Keri Putnam at the start of Thursday’s Artist Services Workshop at IFP’s Filmmaker Conference. “All this talk about audiences is meaningless unless you have something in your heart you want to… Read more
In the second part of this interview with cinematographer Shane Hurlbut, we cover his upcoming “Illumination Experience Educational Tour“; why he’s undertaken this project, and the format and objective of the classes. Hurlbut also reveals what he calls “the keys to the city”: how he conducts… Read more
Can we permanently delete the term “home stretch” in a festival context? All right then. In the NYFF’s final week, the best fiction in the Main Slate is stronger (arguably) and more obscure (undoubtedly) than just about everything that has come before. Products of exceptional… Read more
The latest animated feature from Laika, the Portland-based studio that delivered Coraline and ParaNorman, is a surprisingly idiosyncratic blend of children’s adventure and political satire. Based on Alan Snow’s novel, Here Be Monsters, Anthony Stacchi and Graham Annable’s The Boxtrolls is set in the steampunk-inspired… Read more