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
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
Charmingly crude and equipped with the gift of gab, filmmaker and painter Onur Tukel’s Summer of Blood is a Brooklyn-set vampire comedy with a love for witty banter. The film’s writer, director, and editor, Tukel also stars as the pugnacious Erik, a fast-talking pessimist who shoots down a marriage proposal from his longtime girlfriend. Now a solitary bachelor with a dead-end job, Erik takes to the streets to contemplate life and has an unfortunate encounter with an ominous vampire. A thirst for blood, a higher sex drive and fear of sunlight soon follow. Watching Summer of Blood, you observe a lead at constant odds with himself, his mind furiously racing to impress, intimidate, and tear down all who dare to strike up… Read more
Filmmaker Adam Bhala Lough is in the final days of an Indiegogo campaign for his skater doc, The Motivation 2.0: The Chris Cole Story, currently featured on our partner page. Below, he writes about his use of GoPro cameras for his independent films. Visit the Indiegogo page for more information on his project and please consider donating. GoPro cameras have long been popular in the action sports market and reality television, but have been completely ignored by the indie film community. This should change and here’s why: Recently I needed to film a car scene, where two characters were driving and talking. I got a GoPro suction cup mount and slapped it on the windshield, recorded dialog to a Zoom H6. I filmed… Read more
The following is a sponsored editorial post from LG. For editors looking to limit the number of screens they’re looking at, LG’s 21:9 ratio 34UC97 monitor is an exciting new option. At 34 inches wide with QHD resolution of 3440×1440, the 34UC97 provides 2.4 times more pixel power than a 16:9 monitor with full HD resolution. Editors worried about the color shift that can occur on the edges of ultrawide monitors won’t have that problem with the 34UC97, whose IPS panel is specifically designed to prevent color inconsistencies at the corners caused by VA monitors. That means you don’t have to trade in color fidelity for width; now you can have both. The 34UC97’s sRGB is set to over 99%,… Read more
For many years one of the public faces of Los Angeles’ New Beverly Cinema, today Julia Marchese posted an unnerving account of her experience since Quentin Tarantino became the theater’s owner and programmer. It’s worth reading in full, but the gist is that Tarantino’s team put inexplicably tight social media muzzles on all staff and effectively fired (“demoted”) Marchese less than two weeks after her promotion to a managerial role. In short: her hopes dashed for a New Beverly 35mm premiere of her documentary Out of Print — about the importance of 35mm repertory cinema in general and the theater in particular — Marchese has posted her labor of love on Vimeo.
“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