Featured

Why I Spent Months Making An Archival Documentary about The Slenderman

A Self-Induced Hallucination

When I was thirteen years old I spent a good deal of my free time posting on an online message board dedicated to Wes Craven’s Scream film series. I was a nerdy, creative kid stuck in suburbia, and I’d stay up late on my parents’ basement desktop computer writing long, elaborate, I’m-sure-illegible fan fiction stories to post on the message board. This was a subculture on the forum: users would regularly post their own fictional horror stories (some inspired by the Scream movies, some original). The stories would often feature the characters from Scream mixed with new characters inspired by (and named after) members of the forum itself. This meant that I was a character in several people’s stories, and…  Read more

By

Back to One: Actor Glen Powell on Developing His Process and Starring in the Netflix Comedy, Set it Up

Glen Powell gives me hope for the future of the movie industry. He crushed the role of legendary astronaut John Glenn in Hidden Figures and donned some ’80s duds in Richard Linklater’s Everybody Wants Some, but he really grabbed my attention in the brand new Netflix rom-com Set It Up, where, in my humble opinion, he has crafted a classic, for-all-time, romantic lead performance opposite the incomparable Zoey Deutch. We talk about his process in general and do a deep dive into his work in Set It Up in particular. And by the end, I come closer to understanding why this movie works so well. Hint number one: Glen Powell. This episode can be listened to on all your favorite…  Read more

By

Unresolved Pain and the Spanish “Pact of Forgetting”: Almudena Carracedo and Robert Bahar Discuss The Silence of Others

The Silence of Others

Executive produced by the Almodóvars, and nabbing the Panorama Audience Award for Best Documentary and Peace Film Prize at this year’s Berlinale (not to mention, most recently, the Grand Jury Award at Sheffield Doc/Fest), Almudena Carracedo and Robert Bahar’s The Silence of Others was one of the most compelling films I caught at Hot Docs back in April. It was also unnervingly revelatory, as the Spotlight on Documentaries at IFP Week project — which will be co-presented by IFP tonight at New York’s Human Rights Watch Film Festival — deals with a disturbing piece of buried history I knew nearly nothing about. Indeed, I’d never even heard of the “Argentine Lawsuit,” an attempt by the victims of the Franco regime’s…  Read more

By

Diversity, Immersion and the Rise of Short-Form Content: A Report from the 2018 Sheffield Doc/Fest

Face to Face

As it does every year, the 25th edition of Sheffield Doc/Fest offered more than just a stand-out mix of documentaries. Yes, there were many feature highlights — among them opening night film A Northern Soul, about one man’s desire to create and tour a musical bus post-Brexit in the U.K. working-class town of Hull; part archive/part testimonial fashion doc McQueen; the Sundance and Full Frame-winning Of Fathers and Sons, which masterfully depicts a father who loves his sons yet is teaching them to be jihadi fighters; and Under The Wire, which uses interviews and re-enactments to tearfully tell the story of Sunday Times journalist Marie Colvin and her ill-fated trip to Syria in 2012. Simon Lereng Wilmot’s The Distant Barking…  Read more

By

Jim McKay on His Return to Feature Filmmaking, the Soccer-Themed Drama, En el Séptimo Día

En el Septimo Dia

The following interview with director Jim McKay was published during last year’s BAMcinemafest and is being rerun today as his feature En el Séptimo Día is in release from Cinema Guild. The film can currently be seen at the IFC Center in New York and the Laemmle Music Hall in L.A. Many other cities are scheduled over the next two months, including, on Friday, the Roxie in San Francisco. Jim McKay, whose early, mid ’90s/early-aughts features (Girls Town, Our Song, Everyday People and Angel) were empathetic and involving New York dramas suffused with a love of neighborhood and feeling for community, makes a welcome return to feature filmmaking with the Brooklyn-set En el Séptimo Día (“On the Seventh Day”), which…  Read more

By

The Truth About Hollywood: On Ben Fritz’s The Big Picture: The Fight for the Future of Movies

Avengers: Infinity War

Hollywood has been transformed. The six major studios — Disney, Warner Bros., Universal, Fox, Sony, and Paramount — have all changed significantly. Few filmmakers understand how profound these changes have been and how they have altered their opportunities.

  

 What follows is my review of a recently published book, The Big Picture: The Fight for the Future of Movies, that opened my eyes to the new configuration of studio filmmaking. It was written by Ben Fritz, who has been covering the entertainment industry since 2004 for Variety, the Los Angeles Times and currently the Wall Street Journal.
  
The goal of my Distribution Bulletins is to empower independent filmmakers. I’m highlighting this book because I believe reading it will provide a revealing…  Read more

By

Filmmaking

Andrew Gillis in Werewolf (courtesy of La Distributrice de Films)

Why I Am Hopeful: Programmer Eric Allen Hatch on the Future of Arthouse Programming

As a film programmer who recently made the painful but necessary decision to quit the organization at which I’d worked for 11 years, you might expect me to have a dim view of contemporary film culture. I don’t. Quite the contrary: I feel strongly that…  Read more

By
Jun 11, 2018

@FilmmakerMag

Subscribe
© 2018 Filmmaker Magazine
All Rights Reserved
A Publication of IPF