“Long live the new flesh.” The most famous line in any Cronenberg picture, uttered by Videodrome’s Max Renn (James Woods), is also something of a mission statement for much of the Canadian master’s work. The technological and corporeal fuse across his filmography, resulting in new sensations, desires and ways of being in the world. In Videodrome, unusual orifices form, as stomachs become insertion points for violent VHS tapes. Real and virtual worlds blur in eXistenZ as videogame controllers jack directly into spinal cords; more recently, in Crimes of the Future, the surgical removal of surreal organs is the latest form of performance art.
But in The Shrouds, the flesh is not new or even living. Six feet under, the bodies in… Read more
In approaching The Wedding Banquet, director Andrew Ahn knew his reimagining of the 1993 romantic comedy directed by Ang Lee had to navigate nuances of queer and cultural identity that he still wrestles with today. So, in updating the original story—about a bisexual Taiwanese immigrant who tries to convince his traditionally-minded parents that he’s straight—Ahn chose to expand it, focusing on a foursome of queer friends who live together in Seattle and become unlikely co-conspirators in a similarly elaborate ruse. Involving not one but two same-sex couples navigating milestone moments, this version of the story (in theaters April 18) goes beyond since-legalized gay marriage to contemplate queer family frameworks and the complex nature of belonging in queer communities of color.
Faced with… Read more
The inaugural Henry Awards for Public Interest Documentary, awarded by the Documentary Film in the Public Interest Initiative at the Harvard Kennedy School’s Shorenstein Center on Media, Politics and Public Policy, have been announced, including a grand prize of $100,000 for While We Watched, whose director Vinay Shukla contributed an essay to our fall 2023 issue about his creation of the best-selling board game Shasn. The awards were decided by a jury consisting of Ra’anan Alexandrowicz, Mandy Chang, Petra Costa, Ron Nixon and Michèle Stephenson.
From the press release:
The Documentary Film in the Public Interest Initiative at the Harvard Kennedy School’s Shorenstein Center on Media, Politics and Public Policy is delighted to announce the Grand Prize Winner, Finalists, and Honorable Mentions for the… Read more
The Tribeca Festival, which runs from June 4 to 15 in 2025, has announced the feature film lineup for this year's edition, including the debut feature from 25 New Face of Independent Film 2022 Walter Thompson-Hernández. From the press release:
The final selections were chosen from a record-breaking number of submissions (13,541). This year’s program includes 118 feature films representing 95 world premieres, 135 filmmakers and 36 countries. 48 (40%) of the features are directed by women and 42 (36%) are directed by BIPOC filmmakers. 44 filmmakers are making their feature debut at this year’s Tribeca Festival and 32 directors are returning with their latest projects.
The lineup:
OPENING NIGHT GALA
Billy Joel: And So It Goes (United States) - World Premiere. A sweeping portrait… Read more
The ACID section of Cannes has announced its lineup for this year's edition. From the press release:
ACID (Association du Cinéma Indépendant pour sa Diffusion) is a collective of filmmakers who support independent films by giving them greater exposure. Their goal? To help original, daring films reach their audience, both in France and abroad. [...] ACID stands out for its unique selection process: filmmakers choose the films they support. Each year, 14 filmmakers see over 600 feature films for the Cannes Film Festival and select 9 of them, to receive invaluable support for their release in theaters and at festivals, both in France and abroad. [...] In 2024, ACID screened its films at some 30 festivals in 20 countries, enabling emerging… Read more
The Woman in the Yard is the latest production from horror factory Blumhouse, but tones down the jump scares in favor of visualizing the dark imaginary of a woman battling depression. It’s not what audiences have come to expect from the studio, and it has garnered wildly divisive reactions from audiences and critics alike. Woman follows single mother Ramona (Danielle Deadwyler), grieving her husband’s death, who is haunted by a female specter in the backyard that is pushing her to self-annihilation. It was a very personal project for first-time screenwriter Sam Stefanak, who was channeling his own demons during the writing process and then had to adapt his words to the specific vision of director Jaume Collet-Serra (returning to horror… Read more
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The shroud in The Shrouds
