We see a childhood photograph nearly centered in the frame on a black backdrop. In the photograph, a boy of three or four years of age smiles inside the bathtub with his two dogs. A few seconds later, the black screen around the photograph becomes part of the photograph; the image expands and the rest of the room is revealed. Everything looks familiar and slightly off at the same time. The tiles are slightly skewed, as if the wall has melted. The shape of the bathtub looks normal but perhaps larger than usual. There are suddenly three more dogs in […]
Remember “Peak TV”? It was a good run, starting more than a decade ago with the launch of filmmaker-driven shows such as Lena Dunham’s Girls on HBO, David Fincher’s House of Cards on Netflix and Jane Campion’s Top of the Lake on Sundance Channel, not to mention episodic heavyweights like Breaking Bad, Game of Thrones, Mad Men and The Walking Dead, all of which supplied steady work for a plethora of indie writers and directors. But that party is over—or at least taking a break. If the corporate mergers and media layoffs of the past year weren’t enough of a […]
“She plans to continue working with ‘first-time performers in live settings’ and is developing a feature she hopes will be in production in the next year,” is how the profile of writer/director Hannah Peterson concluded for our 25 New Faces of Independent Film list in 2018. The Graduates, about a group of students returning to their high school one year after a mass shooting, is that feature, having just made its world premiere at the Tribeca Festival, winning Best Cinematography in a U.S. Narrative Feature for director of photography Carolina Costa. Co-starring John Cho, Maria Dizzia and Mina Sundwall, The […]
In the new Netflix series Beef, a struggling contractor (Steven Yeun) and an affluent entrepreneur (Ali Wong) become embroiled in an escalating feud following a road rage incident. The series fits snuggly into a very specific quadrant of cinematographer Larkin Seiple’s wheelhouse— hard-to-classify A24 projects. Though his filmography includes sports biopics (Bleed for This), thrillers (Cop Car) and prestige dramas (To Leslie and Emmy-nominated work on Gaslit), Seiple’s most distinct work has come in A24’s Swiss Army Man, Everything Everywhere All at Once and now the studio’s Beef. With the full series streaming on Netflix, Seiple spoke to Filmmaker about Incubus clinching […]
With Antiviral, Possessor and Infinity Pool, filmmaker Brandon Cronenberg has expeditiously carved out a distinct, experimental aesthetic for his work. However, he has followed in the footsteps of his legendary father David in one respect—forging a lasting alliance with his cinematographer. All but three of the elder Cronenberg’s 20 features films were shot by either Mark Irwin or Peter Suschitzky. All of Brandon’s efforts thus far bear the name of Canadian DP Karim Hussain. Hussain begin writing, directing and shooting low budget genre films while still a teenager, before eventually opting to focus solely on the latter of those roles. He […]
Maïwenn’s Jeanne du Barry, the opening film of this year’s Official Selection, is at least the eighth feature-length biopic to center around Louis XV’s final maîtresse-en-titre, and the first significant film to feature her as a prominent character since Sofia Coppola’s famously booed 2006 Palme d’Or contender, Marie Antoinette (portrayed therein by Asia Argento). As with most Cannes openers, Maïwenn’s film is most notable for its cast: Johnny Depp, stunt-cast as Louis XV; Melvil Poupaud as the Count du Barry; and Maïwenn herself as the titular titillator. The film screened amidst ongoing national protests over pension reform, which almost certainly […]
From uploading to the cloud to editing in the cloud to collaborating across the cloud, there was no shortage of new tools and workflow ideas at NAB to help shoot and edit quicker regardless of where your team is located across the globe. Let’s dive into a few of the most interesting updates, from remotely collaborating to remotely working. Camera to Cloud First up, let’s talk about camera-to-cloud workflows. The biggest update from Frame.io was the extension of the C2C workflow to still photos. Now, unlike video where you can use an external device from Atomos or Teradek to add […]
The two big product updates from Adobe at NAB were text-based editing in Premiere and still photo support in Camera to Cloud (you can read our coverage on Frame.io updates here). But in chatting with Michael Cioni, Adobe’s Senior Director of Global Innovation, things took a fascinating turn when discussing Firefly, Adobe’s generative AI model, and the future of AI in media production. Our conversation explored the integration of AI tools in Adobe’s products, as well as the broader implications of AI-driven technologies on the creative process. Michael shared his insights on how the shift towards generative AI solutions could significantly […]
The last official day of Overlook arrived, and I was pleased to spend it watching a double feature of Joe Dante’s Matinee (a special 30th anniversary screening) and William Castle’s 1959 film The Tingler. The double header was programmed by Dante himself, and after the screening I was scheduled to conduct a 20-minute interview with the director. I’d seen Matinee before, and upon re-watch was struck again by how lush and detailed each aspect of the film’s production is. The set decoration only creeps up on ‘60s-era pastiche, managing to evoke nostalgic memory more than hokey over-stylization. Even the wardrobe […]
The air became almost oppressively heavy with humidity on my second proper morning of Overlook. Walking to a relatively cheap brunch outpost called Toast, my boyfriend and I became drenched in sweat from the weight of cotton pants and button-up shirts after a 10-minute walk in 9 AM sunlight. The news of a 20-minute wait for a table didn’t bother us: it meant we had exactly enough time to head back to the hotel and change into full-blown summer garments before being seated. The sudden immersion into a solstice-temperate climate didn’t trouble me (or my skin, which cleared considerably from […]