Festivals & Events
Festivals & Events
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“Chaotic Comedy and Intense Action”: Editor Zach Passero on First Date
Hearkening back to coming-of-age movies like Superbad, Manuel Crosby and Darren Knapp’s First Date feels comfortingly familiar as both a thriller and a comedy. After buying a questionable ’65 Chrysler, Mike’s (Tyson Brown) first date with Kelsey (Shelby Duclos) snowballs into an epic night of cop chases, criminals, and cat ladies. Editor Zach Passero explains how they snipped a nearly three hour cut down while preserving the movie’s irrepressible personality. Filmmaker: How and why did you wind up being the editor of your film? Passero: I came onboard after Darren and Manuel had edited a 2 hour 45 minute cut. They were […]
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“The Longer Schedule Forced Us to Think More Deeply”: Directors Madeleine Sims-Fewer and Dusty Mancinelli | Violation
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? COVID-19 nearly derailed us in post-production, but the longer schedule forced us to think more deeply about the story we were telling and the way we told it. A film is shaped many times—on the page, by the actors in rehearsals, during production, and then again in the edit room. The extra time gave us space to breathe and see new ways of telling our story that we might have rushed past were it […]
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“Create the Spell and Then Not Break It”: Editor Jenn Ruff on Superior
Erin Vassilopoulos’ Superior isn’t your classic film about twins. While on the run, Marian (Alessandra Mesa) returns to her childhood home where her housewife sister Vivian (Ani Mesa) lives. Marian’s past begins to catch up with her, endangering both her and her sister’s life tremendously. Editor Jenn Ruff shares what it was like to collaborate with one of her students and the brilliant madness that came from working during COVID. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Ruff: How? […]
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Sundance 2021 Critic’s Notebook 2 (Abby Sun): I Was a Simple Man, Strawberry Mansion, Cryptozoo
The Sundance Institute has been running producer and director labs since 1981, even before taking over and renaming the former US/Utah Film Festival in 1985. In that sense, the projects coming out of the Feature Film Program (whose founding director, Michelle Satter, is still in charge), Indigenous Program and Documentary Film Program are just as important a marker of Sundance’s effect on the US film ecosystem as the platform provided by the festival. When I programmed film festivals, I tracked their press releases as closely as official lineup announcements. This year, 16 projects in the festival were officially supported by […]
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“The Colors and Textures of Being a Teenage Girl”: Director/Cinematographers Parker Hill and Isabel Bethencourt on Cusp
Parker Hill and Isabel Bethencourt’s Cusp embeds itself with a trio of teenage girls, all sustaining best friends, over the course of a long, alcohol-sodden rural Texas summer. Relationships come and go, but cycles of systemic sexual abuse and misogyny structure the lives of its indefatigable protagonists. As photographers, Hill and Bethencourt speak to acting as their own cinematographers, lighting from the Texas sun and capturing the textures of teen girl life. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Hill and Bethencourt: We […]
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“I Think I was Just Hip to Loneliness Before Everyone Else Was”: Writer/Director Jane Schoenbrun and Composer Alex G on the Sundance-Premiering We’re All Going to the World’s Fair
She’s turning into plastic. He feels like his body is being taken over by an indescribable entity. Another discovers grotesque clusters of gray pustules suddenly colonizing the terrain of their body. These individuals are documenting themselves in the throes of The World’s Fair Challenge, an online role-playing game that dares those bold enough to participate to draw blood, watch a neon-soaked strobing video and record the ensuing horror that eventually consumes their corporeal vessels. Casey (played by Anna Cobb in her debut role), a nondescript yet quietly rebellious teenager living in a perfectly captured amalgamation of American suburbia, becomes the […]
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Sundance 2021 Critic’s Notebook 3 (Vadim Rizov): El Planeta, Luzzu, Taming the Garden
I generally strive to be a well-informed viewer; in the case of Amalia Ulman’s El Planeta, however, I was perhaps better served by going in uncharacteristically ignorant. I didn’t really know anything about Ulman besides the fact that she’s a performance/video/web-artist, so I wasn’t picking up on any of her debut feature’s connections to the personas developed on Instagram, galleries et al.. Instead, Ulman’s debut feature, shot in the town of Gijón, where she grew up, registered as exactly the type of movie I like, a droll comedy formally descended from Éric Rohmer. Rohmer’s legacy doesn’t just lie in delicately shaded […]
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“The Subjects in Our Film Brought a Lot of Life Back to My World”: Editor Hannah Buck on Searchers
Dating’s complicated arc during the pandemic has been lovingly captured in Pacho Velez’s documentary Searchers. Whether on Grindr, Tinder, or any other app, the question “what are you looking for?” varies from person to person amid the chaos of mid-COVID New York City. Editor Hannah Buck addresses the challenge of introducing the director as a subject of the film and the value of mediated experiences. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Buck: In 2019 I was the consulting […]
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“You Can Feel the Operator Behind the Camera”: DP Corey Hughes on All Light, Everywhere
In the era of surveillance, what does it mean to be on camera? Theo Anthony’s All Light, Everywhere investigates the nature of objectivity, physics, and policing from a scientific and sociological perspective, questioning much the way an essay might. DP Corey Hughes shares what he brought to the film from his experience with music videos and the physicality of image capturing devices. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Hughes: I met Theo in Baltimore in 2017. At that […]
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“There Were so Many Parallels and Contrasts”: Editor Jeppe Bødskov on President
Camilla Nielsson’s President tells the tumultuous story of Zimbabwe’s 2018 general election, the first since the country attained independence that Robert Mugabe was not a candidate. It is in many ways a follow-up to Nielsson’s 2014 film Democrats. Editor Jeppe Bødskov discusses his ongoing collaboration with Nielssoni. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Bødskov: I worked with Camilla Nielsson on her previous documentary Democrats. So, I knew her already. I know quite a lot about Zimbabwe and about […]
