Winter Kept Us Warm
"Winter kept us warm," reads an early line in T.S. Eliot’s landmark poem The Waste Land, “covering Earth in forgetful snow.” This season, often associated with loneliness and despair, heralds quite the opposite both in Eliot’s masterwork and in Canadian filmmaker David Secter’s. The latter’s 1965 feature debut, Winter Kept Us Warm, centers on the blossoming relationship between Doug (John Labow) and Peter (Henry Tarvainen), two University of Toronto college students. An upperclassman, the popular Doug spends more time socializing with his fraternity brothers than studying; conversely, freshman Peter feels awkward in his new surroundings, and as such greatly prefers the company of books (and Finnish folk music) to people.
An unlikely friendship forms between the young men, whose first real… Read more
By Natalia Keogan
8 Above’s June webinar, co-sponsored by Filmmaker Magazine, profiles four new adventurous and innovative distributors that have emerged on the US independent film scene.
Join Scott Macaulay (Filmmaker) and Jon Reiss for a conversation with Elizabeth Woodward (Willa), Munir Atalla (Watermelon Pictures), Elizabeth Purchell (Muscle Distribution), and Theodore Schaefer & James Belfer (Cartuna x Dweck).
🎤 What The Webinar Will Cover
How each company approaches curation, audience building, and community engagement
What makes these new distribution models unique—and replicable
How filmmakers can find the right fit for their work in a shifting ecosystem
Whether you’re prepping for a release, scouting new partners, or just invested in the future of independent film—this is a conversation not to miss.
Date: June 25th 11amPT/ 2pm ET
Registration Link
The… Read more
By Scott Macaulay
Kathleen Chalfant in Familiar Touch
Sarah Friedland’s Familiar Touch follows Ruth, an octogenarian woman experiencing memory loss as she transitions into assisted living. Played with luminous restraint by Kathleen Chalfant, Ruth is not someone we observe from a distance—we move with her. Told entirely from her perspective, the film unfolds through a sensory experience of time and memory. Through light, texture, sound and gesture, we come to understand what it means to live inside a body—and a mind—that is transforming.
Ruth is looked after by Vanessa (Carolyn Michelle Smith), a personal support worker, and Brian (Andy McQueen), the home’s doctor. Over time, she begins to interpret Brian’s gentleness and curiosity during her checkups as a kind of mutual affection. At a Valentine’s Day speed-dating event, Ruth… Read more
By Sofia Bohdanowicz
Every Friday I write a free newsletter that's a riff on various topics — filmmaker sustainability, the health of our ecosystem, new players and ideas, the plight of the producer, the rise of AI and more are frequent subjects. This week, I used the newsletter to announce two upcoming events, our new issue, and my news that after the next issue in September I'll be stepping down as Editor-in-Chief after 33 years. Read all of this below, and if you'd like to sign up to the newsletter, which I'll be writing for almost three more months, you can do so here. — Scott Macaulay, Editor-in-Chief
I’m starting the newsletter this week with notice of a couple of free events for Filmmaker… Read more
By Scott Macaulay
Amy Goodman in Steal This Story, Please!
"Well, we really needed that,” the woman in front of me said to her companion as we all left the opening night screening, Steal This Story, Please! at DC/DOX Film Festival. Co-founders Sky Sitney and Jamie Shor in fact seem to have offered up a timely slate, designed to inspire us in dark times and to provide examples of democratic action. And Washington, D.C. audiences embraced it. Their timing couldn’t have been better—the festival, in downtown D.C., occurred around the “No Kings” demonstrations accompanying Pres. Trump’s military parade.
Steal This Story, Please!, by longtime Michael Moore collaborators Tia Lessen and Carl Deal, featured the lifelong struggle of Amy Goodman and her program Democracy Now! to tell the story of grassroots opposition… Read more
By Patricia Aufderheide
Vengeance is Mine
Each year, the Play-Doc International Film Festival brings a modest but well-curated selection of classic and contemporary films to Tui, Galicia, a historic border town that sits on the banks of the Miño River separating Spain and Portugal. As its name implies, Play-Doc is ostensibly dedicated to nonfiction cinema, though like other festivals with a similar remit (True/False, Visions du Réel, etc), it takes a liberal approach to what constitutes a documentary. The festival’s 21st edition, which ran from May 7 to 11, went further in this regard than ever before. Alongside two competitive programs, one for new and recent international films, and a second focused on Galician productions, there was a trio of retrospectives dedicated to Elaine May, Monte Hellman,… Read more
By Jordan Cronk
