Big Data — the term is everywhere right now. Sometimes used as a shorthand for the companies that are in the business of collecting, aggregating and sifting through large data sets (often comprised of personal info), it more properly refers to the data sets themselves — collections of information so gigantic they require advanced technologies to interpret. There’s much creepy potential in Big Data, but it is here to stay. The question, then, is whether the technologies of Big Data can be marshaled for progressive and creative goals. At Arts Fwd, Erinn Roos-Brown argues that arts organizations can learn from …

Sumptuous and evocative, Jared Moshe’s Dead Man’s Burden is the rarest of species in specialty film, a Western. More importantly, it is a fine addition to the genre, a complex meditation on the wages of sin and the burdens of family, a chamber drama with more than a hint of noir. Set during the years after the Civil War in and around a rural New Mexican ranch, the film initially focuses on a young couple, Martha (Clare Bowen) and Heck (David Call). They plan to sell the ranch after the death of her father, a struggling farmer, and use the money …

Screenwriter George Richards wrote Case Sensitive as “an American thriller with American actors for an American audience.” Director Gil Kofman (The Memory Thief) brought the script to producer Seth Scher, who had connections to a Chinese investor who was making films for the Chinese market. The film was greenlit and Kofman, who does not speak Chinese, traveled to Xiamen, China, to direct his second narrative feature. Soon afterward his friend, documentary filmmaker Tanner King Barklow, joined him and began documenting Kofman’s travails as he tried to navigate a colossal language barrier, bureaucracy, corruption, and cultural differences. Early in the documentary …

Independent films get made, often miraculously, and we cover those films here at Filmmaker. But what about all those other projects that never, despite the best of intentions, make it through production, much less hit theaters? In this new series, “Letters from Blocked Filmmakers,” we’ll be hearing from directors who have struggled for years to realize their films only to come up short. Is the system to blame? Bad luck? Themselves? I’ll let the filmmakers answer these questions in their own words. I’m happy to be opening this series with this letter from Drew Whitmire, who has been attempting to …

An Oversimplification of Her Beauty is such a fine, rare bird: Terence Nance’s Gotham Award-winning debut film is, regardless of its aesthetic pyrotechnics and self-reflexivity (it consists of a series of short experimental films that radically deconstruct Nance’s romantic foibles), wholly, fully, truly accessible to everyone. If Hollis Frampton and Nina Paley had somehow, through the force of magic realism, had a black love child, it would have grown up to direct something like this. It’s altogether unusual strategy for detailing Nance’s obsessive courtship of a young woman named Namik Minter — using reenactments, direct address, doc interviews, stop-motion and traditional animation to …

Even in the heart of the Midwest, where driving past rural pastures dotted with cows is not uncommon, I rarely thought of where my food came from. How often as a child or young adult, chomping on a spicy chicken sandwich from Wendy’s or slurping up Cincinnati-style chili at my mother’s dining room table, was I confronted intellectually with the fragility and inhumanity of our modern food production system, especially when it comes to the most popular proteins in the American diet, beef and chicken? I doubt a meal went by that wouldn’t cause my older self anxiety. It’s almost shameful …