Since I’ve already compiled a shot-on-35mm dossier for each previous year’s US theatrical releases five times, it’s not super-surprising that as soon as the internet learned Detective Pikachu was shot on 35mm, a number of people eagerly tweeted at me to let me know/make sure it wasn’t missed in this year’s edition. Irony poisoning aside, that turns out to be a surprisingly productive place to begin. The official tally of films shot, in whole or part, on 35mm for calendar year 2019 is 27, the total shot solely on 35mm is 18; Pikachu intersects with a number of common refrains. One concerns […]

When the Village Voice abruptly had its plug pulled by its final, Forbes-ranked owner two years ago, its annual film poll, which had been around since 1999, expired along with it. That needn’t necessarily have been the case—somehow, we still got a Pazz & Jop music survey last February, published on the paper’s semi-defunct website (which otherwise merely cycles through articles from the archives). The film poll was run by less obsessive and/or masochistically dedicated folks, apparently, which means that the task of insisting that it should continue, whether or not some tycoon chooses to bankroll it, has fallen to […]

The script for my time-travel second feature, Speed of Life, is set in 2016: a time that a lot of people point to as pivotal, when American society felt fractured. It follows a couple from the night David Bowie dies — and they are separated — until 24 years in the future, when they are reunited. Our version of 2040 follows 2016 to its logical conclusion: that David Bowie’s death may or may not have fractured the fabric of the universe. Our version of 2040 is dark and dreary all because our hero David Bowie is absent.  I was actually […]

Josh and Benny Safdie’s Uncut Gems could lazily be classified as a “basketball movie,” which raises the stakes in the third act via a tense and deciding Game 7 in the NBA Playoffs—numerous critics cite the nail-biting play-by-play action as the film’s tensest sequence. Yet Uncut Gems isn’t just driven by the attributes afforded a fast-paced sport: the narrative’s “house of cards” doesn’t come down to a single three-pointer or clutch free-throw that rolls around the rim before dropping in as the game clock strikes zero, Teen Wolf be damned. The Safdies pull off something trickier, interlocking their film with both on-the-record, […]

This article was originally published in our Fall, 1995 issue. It may look easy but sometimes it’s pretty hard to keep coming up with the inspirational success stories we usually pack into Filmmaker. Credit card-financed movies leading to three-picture deals; Sundance hits transformed to Fox sitcoms; domestic box-office failures rescued by ticket-buying Parisian cineastes – there are only so many of these tales to go around. That’s why we welcomed this opinionated piece by producer Ted Hope lamenting the downside of today’s indie film scene. Hope is co-president of New York’s production company Good Machine and, along with his partner […]

In Filmmaker‘s Fall, 1995 issue, producer Ted Hope penned a provocative essay, “Indie Film is Dead,” that critiqued multiple elements of the independent film financing, distribution and marketing system. James Schamus — producer, screenwriter and Hope’s partner at the New York production company Good Machine — responded in the same issue with this equally provocative piece, “Don’t Worry, Be Happy,” published online for the first time. — Editor Dear Ted, sure it’s the end of the world as we know it, but before the lights go out, I thought I’d respond to a couple of your points. “Acquisitions are driven by […]

At the end of 2008, the Wall Street-generated economic collapse blew a deflating hole in the Film Indie cash cow. 2009 saw the consequent slashing of staff at the mini-majors, the closing of many companies and a pullback by the content-clueless hedge funders. The result was a low output of indies in 2009, although what films were made were made for the right reasons rather than simply a desire to make another faux-indie TV movie to satisfy desperate distributors.  So the decade started there, at a solemn  hushed, funeral-like Sundance 2010, one that was also a refreshing, offbeat event for […]

Bouncing around the doc fest circuit this past year, I saw more nonfiction films than could possibly be considered mentally advisable, from sneak-out-of-the-theater duds to unheralded gems I couldn’t wait to rave about. And counterintuitively, it’s those in the latter category, the vast majority international cinematic nonfiction, that always leave me most frustrated. While I can talk (and write) about those films, I can’t bring them to a US theater (or streaming service) near you. What I can do is compile a list of the few films that managed to stick in my brain all the way through to the […]

“I can’t commit to a movie.” In the era of limitless streaming “content,” no phrase has more irrevocably warped our viewing habits. If a single film now represents a commitment, then a double feature might as well be a back-to-back life-sentence. Why trudge through all that first-act boredom, after all, when you’re already so behind on The Good Place? Despite the siren song of bingeable TV, the dual bill holds strong as a way to burn a night at the movies. Art-house theaters, digital programmers, and genre festivals still love them, as does any cinephile looking to hunker down with […]

I wasn’t going to do this list this year. I naively thought the dawn of a post-woke film world was upon us. Even though not so long ago I had to explain to a male film programmer editing my program blurbs that woke is a word, and even though an NDA keeps me from naming that male film programmer, I still thought maybe, just maybe, there was progress being made somewhere out there. Then, the Golden Globe nominations were announced and not a single woman was nominated for Best Director. As I struggled to winnow down to ten films this […]