The Toronto International Film Festival, where mainstream critics stick to premieres, freelance writers look for discoveries, programmers tend to their demographic and harried acquisition agents run from theater to theater. For all, time is key: getting to the show on time, standing in long lines for the latest indie blockbuster, rushing to grab something resembling food and sitting through mediocre films because there’s nothing else playing. Appropriately, several of this year’s films mirrored this emphasis on time and the demands it makes on the viewer. Many of the festival’s most daring films were in the Wavelengths section, which last year […]
With 288 films unfolding over 11 days, the Toronto International Film Festival offers just about every type of viewing experience imaginable, with every viewer becoming their own curator, cherry-picking from within their favorite sections. Business types congregate around the big acquisition titles. Cineastes check out the greats of world cinema, arriving in Toronto after Cannes. Discoverers peruse the Vanguard section searching for new talent. But what’s less often commented upon are the viewing experiences a large festival like Toronto produces for viewers intending to sample from it all. Entering a theater involves, before the lights dim, a mental recalibration, an […]
At the 2013 Screenwriting Research Network International Conference, Larry Gross discusses narrative, knowledge and Kurosawa’s Ikiru. I want to begin by expressing my sense of unworthiness at being offered the chance to give this keynote address, given the stature of some of those who proceeded me in performing the task, and I want to express briefly my personal admiration for three of these predecessors. Here in Madison, Wisconsin, I don’t have to explain the importance of David Bordwell as one of the world’s greatest film scholars. I only want to mention that I first became aware of his work in […]
Digital cinema has afforded independent filmmakers many benefits, one of which is the ability to achieve something previously only the province of big-budget films: very high shooting ratios. However, the resulting mass of footage can overrun the typical understaffed, underfunded, low-budget edit room. “You’re shooting more footage, and usually with two cameras,” says Paul Frank, editor of the recent Maggie Carey comedy The To Do List. While he notes that there are many pros to this way of shooting — it benefits performance, it allows for more improvisation and, ultimately, more options in the edit room — he also notes […]
Hard to believe, but FCP X is well over two years old and already into its ninth iteration. Its popular multicam tool arrived with version three in January of last year. In the past 12 months alone, no less than four new versions have been released, bringing dual viewers, a unified import window, support for native REDCODE RAW, MXF, Sony XAVC (up to 4K) and optional Rec. 709 display of ARRI ALEXA ProRes captured in Log C. Recent improvements also include a handy freeze-frame tool, chapter markers for QuickTimes and DVDs, better audio channel editing tools, and FCPXML 1.2 to […]
When Adèle eats spaghetti, it’s a sensual affair. The camera studies every move of her mouth, every lick of her fingers and knife. Her eyes are saucers. Her full lips pout. Unlike the slurpy absurdity of noodle-eating in Juzo Itami’s Tampopo, in Blue is the Warmest Color, spaghetti is no laughing matter; it’s a matter of love. And, since it’s directed by Abdellatif Kechiche, it’s also a matter of class: Adèle’s comfort food indexes a working-class background that cannot be left behind. “That is a theme that one could say is central across all my films,” Kechiche said to me […]
A first feature by Omar Mullick and Bassam Tariq (chosen for Filmmaker’s 2012 25 New Faces of Independent Film), These Birds Walk is an observational documentary following the hopes of a young Karachi runaway named Omar. The boy, no more than 10-years-old, escapes his rural village and, as the film begins, is ready to run away from his city youth home. Omar is befriended by Asad, a young ambulance driver who works near the orphanage, which is maintained by one of Pakistan’s great philanthropists, elderly Abdul Sattar Edhi. Two questions resound through Omar’s days, through ups and downs: Where is […]
Of all the transformations cinema has undergone since the rise of affordable home viewing in the 1970s, perhaps the most ephemeral, difficult to quantify is this strange result: the difficulty of falsely remembering movies. Whether it was mixing up and remembering out of order a series of shots, or conflating scenes from different movies that happened to star the same actor, or simply forgetting portions of a film, it was difficult to recall a film correctly, accurately. Which isn’t the same thing as not recalling a film truthfully. This became apparent after watching Only God Forgives recently on the big […]
Click here to see Filmmaker‘s 25 New Faces of Independent Film 2013.
E3 is the big videogame industry show, where all the console makers and big publishers show their wares for the year to come. The big news this year was the next-generation consoles from Microsoft and Sony. It was a week of epilepsy-inducing noise and lights and people shouting at each other about AMD chips, Radeon graphics processors, dualshock controllers and how the latest versions of Warfare this or that will blow your mind. The news that caught my eye, however, happened in a parking lot across the street from E3. But let’s start at the beginning. In 1977, Atari set […]