Several 25 New Faces — directors Andrea Sisson and Pete Ohs as well as star Julia Garner — grace the Los Angeles Film Festival premiere, Everything Beautiful is Far Away, which screens tonight at 9:10 PM. Here’s the festival capsule:… Read more
Andreas Halskov — whose useful overview of David Lynch’s visual references we posted a while ago — has also gone deep on the director’s much-discussed use of noise and interference, examining it as a stylistic device, recurring motif and general theme.
As part of a series of lens tests, Matt Porwoll delves into the Fujinon MK 18-55mm Zoom. As he writes as part of a thorough technical breakdown: The Fuji MK 18-55 is an extremely lightweight lens, but solidly built. Weighing… Read more
With his new Twin Peaks: The Return scrambling our minds every Sunday, we at Filmmaker are experiencing a collective case of the feels for David Lynch these days. Giving us our fix until Episode Six streams this weekend is this… Read more
Here’s a great video from Criterion in which documentary filmmaker Steve James (The Keeper, Stevie, Hoop Dreams) discusses how he was influenced by Robert Altman’s Nashville. He begins by noting that your most influential films are the ones you see when you’re young and falling in love with cinema, and he then goes on to say that he wasn’t interested in documentary filmmaking when he encountered Altman’s work. But there were aspects of Nashville that impressed him — including, yes, the zooms! — as well as notions of structure that wound up rippling into films like The Interruptors.
David Fincher is famously a technical wizard, but most of his special effects use is designed not to be perceived. Kristian Williams dives into some of his most inconspicuous applications of VFX.
Newlyweeds writer/director Shaka King, who last appeared on the site with his excellent Sundance short Mulligans, is back with another imaginatively executed, of-the-moment short. LaZercism is his riff on “racial glauccoma,” a disease affecting white people that prevents them from seeing the contributions of — or just seeing at all — people of color. The comedy short, which stars Keith Stanfield (Short Term 12, Atlanta) and Robert Longstreet (I Don’t Feel at Home in this World Anymore), proposes an easy, outpatient procedure to correct the affliction.
A few weeks ago, AbelCine launched a video series hosted by DP Matt Porwoll that’ll examine 11 common lenses used in documentary filmmaking. First up: the Zeiss LWZ.3 21-100mm Zoom, whose sharpness, chromatic aberration and other properties are exhaustively broken down. To read through the tech info, click here.
The latest in a trilogy of video essays from Vugar Efendi, this one speaks for itself: painting on the left, clip from a movie modeled on it on the right.
One of my most anticipated films of the summer is Josh and Benny Safdie’s Good Time, which premieres in a few days in the Main Competition of the Cannes Film Festival. The first trailer has just dropped from A24, and it shows Robert Pattinson as a bank robber trying to get his accomplice — his brother, played by Benny Safdie — sprung from Rikers Island. Jennifer Jason Leigh appears as well as Buddy Duress, who co-starred in the Safdies’ previous Heaven Knows What. It’s a heartbreaker of a trailer scored to an original song by Oneohtrix Point Never and Iggy […]