Festivals & Events
Festivals & Events
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Baby Reindeer, Colin from Accounts and Mr. and Mrs. Smith Win at Inaugural Gotham TV Awards
Baby Reindeer, Colin from Accounts and Mr. and Mrs. Smith were among the big winners tonight at the inaugural Gotham TV Awards, held in New York City at Cipriani 25. A new awards event mounted by The Gotham Film & Media Institute, Filmmaker‘s publisher, The Gotham TV Awards were announced just this past April and honor creators of episodic TV, limited series, and non-theatrical streaming movies. Going forward, the Gotham TV awards will continue in this early June slot, before the Emmy voting window, while the organization’s long-standing Gotham Awards will remain the first Monday after Thanksgiving. This year’s Gotham […]
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“Cannes Makes You Believe You Can Just Cosplay Who You Want To Be in the Industry”: Producer Stephanie Roush’s Cannes Producer Diary #2
Read Part One of producer Stephanie Roush’s Cannes 2024 Producer Diary here. I think I have finally recovered from my week at Cannes. I have chosen water over rosé, and no longer feel the need to arbitrarily dress up to take a meeting, as if geographical proximity to a black-tie event somehow necessitates “proper attire,” or tenue correcte, as the French call it. And while I’m glad to have a reliable sleep schedule again, I miss micro-dosing espresso in-between meetings, seeing a movie at a moment’s notice, and running into New York friends more than I do when I’m actually […]
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Quinnipiac Students On Their Trip to the 2024 Cannes Film Festival
Through a partnership with The Gotham, Filmmaker‘s publisher, students from Qunnipiac University attended the 2024 Cannes Film Festival, where they participated in breakfast workshops, interned for sales companies, watched movies and soaked up knowledge on how the international film business operates. Three of the students — Willona Amoakoh, Chris Bavaro and Julia Schnarr — recount their experiences below. — Editor Willona Amoakoh I believe the most helpful things for young film workers going to Cannes to know or do are completing a few film business courses ahead of time, establishing an internship placement or assignment, factoring in some excursion time […]
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Cannes 2024: Awards, Anora, Emilia Pérez, The Substance, The Seed of the Sacred Fig
In my awards-wrap piece for last year’s Cannes, I complimented jury president Ruben Östlund and his deliberators on a deliberation well done. They chose to award mostly the films Vadim Rizov and I had already covered in prior dispatches, granting me the freedom to go longer on my thoughts about The State of the Festival, as well as highlights from the Quinzaine des cinéastes sidebar (a.k.a. The Directors’ Fortnight), which had just finished unveiling new artistic director Julien Rejl’s inaugural edition. No such luck this year—not because Greta Gerwig gave ungreat prizes (au contraire, her jury’s picks were about as […]
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Cannes 2024: Caught by the Tides, Misericordie, Grand Tour
Like Jia Zhangke’s Ash is Purest White, Caught by the Tides is a multi-decade triptych beginning in the early aughts and ending in the present, its past emerging from a sort of video diary practice he maintained up through 2006’s Still Life. As he explains, “I got my first digital video camera in 2001. I took it to Datong in Shanxi back then and shot tons of material. It was all completely hit-and-miss. I shot people I saw in factories, bus stations, on buses, in ballrooms, saunas, karaoke bars, all kinds of places.” There are numerous other similarities with 2018’s […]
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Watch: Sean Baker’s Palme d’Or Acceptance Speech for Anora
American independent filmmaker Sean Baker was, for us at Filmmaker, the thrilling winner of the 2024 Cannes Film Festival Palme d’Or for his forthcoming NEON release, Anora, a comedy about a sex worker, played by Mickey Madison, and her relationship with a Russian oligarch’s son. “This literally has been my singular goal as a filmmaker for the past 30 years,” Baker said on accepting the award from the Greta Gerwig-led jury, “so I’m not really sure what I’m going to do with the rest of my life. But I do know that I will continue to fight for cinema because right […]
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Cannes 2024: Oh, Canada and The Shrouds
For decades, Paul Schrader’s taste in cinema has been widely known, particularly the Bressonian proclivities he’s repeatedly worked over—and, especially since becoming a Facebook poster, he’s provided an open invitation to make his problems ours as well. Watching Oh, Canada knowing of his recent health scares, my guess was that the topical draw of Russell Banks’s source novel Foregone was death; indeed, after several hospitalizations for long COVID, Schrader told himself, “If I’m going to make a film about death, I’d better hurry up.” Thus Oh, Canada, which reteams Schrader with his American Gigolo star Richard Gere (the writer-director jokes […]
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Cannes 2024: Furiosa, Bird, Kinds of Kindness, Universal Language
The deficiencies of George Miller’s Fury Road prequel, Furiosa: A Mad Max Saga—many of which have, unsurprisingly, been given a pass—echo my broader sentiments towards this year’s Cannes, at least from where we sit just past the halfway point. In Furiosa’s opening minutes, we’re informed via voiceover of the great struggles facing its world: pandemics, famine, climate catastrophe. Offering a supplementary narrative of broader relevance, it’s a table setting of topicality that’s wholly unnecessary to the film’s primary, surface pleasures. Many of this year’s Palme d’Or contenders, too, have felt like showcases for Contemporary Issue X rather than works of […]
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Cannes 2024: The Damned, The Invasion
Introducing The Damned at its world premiere, Roberto Minervini stated that the film began from a desire to “deconstruct the precepts in war cinema,” e.g. good versus evil, “hyper-masculinity” and heroism. In the press kit interview, Minervini goes further, stating that there’s never been a war movie “that I would call humane […] Even films that depict tragedy and self-destruction emphasize martyrdom and sacrifice.” Has there really never been a true anti-war film? The existence of Come and See seems to contradict that, and noting that “good versus evil” isn’t real isn’t a breakthrough either, which may be why The […]
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Sartorial Losses and Nervous Excitement: Producer Stephanie Roush’s’ Cannes Diary #1
I somehow lost my Sundance 2024 hat before arriving in Cannes. I was forced to take it off for the automated passport control in Paris, as it would’ve obscured my face too much for the fancy camera technology that only worked for about every third person in line. Walking to my next terminal with my luggage, it started raining and I went to put my hat on only to realize it was no longer poking out from the top of my purse. How is it that I managed to lose my one token of legitimacy immediately upon arriving in France? […]
