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Sundance Institute Announces the 2022 Documentary Fund Grantees
Today, the nonprofit Sundance Institute announced the 35 projects that will receive a total of $1,396,500 in unrestricted grant support through this year’s Sundance Institute Documentary Fund. The grantees are in various stages of production: Five in development, 15 in production, 10 in post-production and 5 actively pursuing audience engagement and social impact campaigns. The Open Society Foundations, the John D. and Catherine T. MacArthur Foundation Gucci, the Kendeda Fund and Luminate came together to make this year’s grants possible. 2022 marks the 20th anniversary of the Documentary Film Program (DFP), and the grantees receiving funding this year prove how […]
by Filmmaker Staff on Oct 4, 2022 -
Anxiety of the Outspoken: Director Kathryn Ferguson and the Example of Sinéad O’Connor
It would be nearly impossible to name another musical performer deserving of a deep dive into her formative years than Sinéad O’Connor. Every step of her life — shuffled between an array of parochial schools, a childhood subject to her mother’s chaotic transference of her own abusive childhood onto her daughter — would in retrospect seem to have been an accretive stage in O’Connor’s becoming. A popular culture firebrand, demonized, her message mischaracterized to the point of parody, met with a withering disdain in the highest corners of western media, O’Connor’s own words have always spoken for themselves. Her message […]
by Evan Louison on Oct 4, 2022 -
“It’s Like Clouds Passing in the Sky”: Isabelle Huppert on her Elusive Acting Process (Back to One, Episode 223)
If Isabelle Huppert is not your favorite actor, she’s the favorite actor of someone you know. Guaranteed. There’s something about her that is unlike any other actor that has ever been on film. But it’s really hard to talk about what that “something” is. In each performance, in every film she’s made, she has such a command of the character, the text, the frame, that we place her in equal authorship with the directors she’s worked with, who happen to be some of most interesting and important in the last half-century—Jean Luc-Godard, Michael Haneke, Claude Chabrol, Michael Cimino, Claire Denis, […]
by Peter Rinaldi on Oct 4, 2022 -
Trailer Watch: Antoine Fuqua’s Will Smith-Starring Emancipation
After much speculation over the release date of Antoine Fuqua’s Will Smith-starring Emancipation, Apple TV+ is making something of an awards season play and has dated the film for December 2 in theaters and December 9 on the streaming service. By point of comparison, last year’s Best Picture-winning Coda was released day-and-date in theaters and on the service. From the press release: Apple Original Films’ “Emancipation,” directed and executive produced by Antoine Fuqua (“Training Day,” “The Equalizer”) and starring and produced by Will Smith (“King Richard,” “The Pursuit of Happyness,” “Ali”), will premiere in theaters on December 2, 2022, and […]
by Scott Macaulay on Oct 3, 2022 -
Crafting a Life as a Filmmaker: Ashley McKenzie on Queens of the Qing Dynasty
Queens of the Qing Dynasty, the second feature from Nova Scotia’s Ashley McKenzie, is a unique work of independently produced Canadian cinema. Both a stark about-face from the hardscrabble realism of her 2016 debut Werewolf—about a pair of strung-out young lovers living hand-to-mouth on the margins of Cape Breton—and a decisive break from the docufiction trends of art cinema at large, Queens is rigorously composed and austerely dramatized, an artful fable pitched somewhere between comedy and tragedy. Starring newcomer Sarah Walker as Star, a neurodivergent teen who develops a deep connection with her caregiver An (Ziyin Zheng, also making their […]
by Jordan Cronk on Sep 30, 2022 -
Trailer Debut: Cinque Northern’s Angola Do You Hear Us? Voices From A Plantation Prison
Filmmaker is pleased to share the trailer debut of Cinque Northern’s short film Angola Do You Hear Us? Voices From A Plantation Prison, distributed by MTV Documentary Films. The documentary follows playwright Liza Jessie Peterson’s journey to bring her one-woman show The Peculiar Patriot to the Louisiana State Penitentiary at Angola. Peterson’s interest in this prison, specifically, comes from its history as a pre-Civil War plantation (originally named “Angola” after the African country that many of its enslaved inhabitants were violently taken from) before it was bought by the Louisiana Department of Public Safety & Corrections in 1901. It is […]
by Filmmaker Staff on Sep 30, 2022 -
14 Films (and Other Recommendations) at the 60th New York Film Festival
With the opening night of the 60th New York Film Festival upon us, Filmmaker would like to recommend 14 titles to catch during the 17-day engagement, which runs from September 30 through October 16 in-person at Film at Lincoln Center. Over the course of our previous festival coverage from this year—including Sundance, Cannes, Venice and TIFF—many of these films have been featured on our site in critical dispatches and reviews. Below, we share links and excerpts from these director interviews and festival dispatches, highlighting Jerzy Skolimowski’s Eo, Véréna Paravel and Lucien Castaing-Taylor’s De Humani Corporis Fabrica, Kelly Reichardt’s Showing Up […]
by Scott Macaulay on Sep 30, 2022 -
NYFF 2022: White Noise
Can product placement ever transcend advertising? Pepsi’s vintage logo—a comically over-present staple of ’80s and ’90s commercial Hollywood filmmaking—is continuously conspicuous in Noah Baumbach’s adaptation of Don DeLillo’s White Noise. As a period marker, this makes sense: the novel was published in 1985 and the film’s production design places it in the early ’80s. Thematically, it’s obviously relevant: DeLillo’s first-person narrator, J.A.K. Gladney (Adam Driver), regularly has his thoughts interrupted by lines that simply list corporate names or interpolate overheard advertising chatter. DeLillo originally thought of naming the book Panasonic, writing to his editor that “The word ‘panasonic,’ split into its component […]
by Vadim Rizov on Sep 30, 2022 -
Chayse Irvin on Shooting Blonde in Digital Black and White and God’s Creatures in 35mm Color
This week, Netflix’s Blonde and A24’s God’s Creatures head to streaming and theaters, respectively. The digitally-shot Blonde is a highly stylized look at the life of Marilyn Monroe, shifting aspect ratios and alternating between color and monochrome while employing extreme wide angle lenses, body cam mounts, infrared and more to expressionistically convey Monroe’s perspective. God’s Creatures is the antithesis—austere and somber, captured on 35mm, with an observational point of view distanced from the main characters, a mother in a small Irish fishing village whose life crumbles after providing a false alibi for her son. The films do share one thing in common—cinematographer […]
by Matt Mulcahey on Sep 29, 2022 -
“We Often Speak of the Film as a ‘Making-of-a-Ghost’ Story”: Saela Davis and Anna Rose Holmer on God’s Creatures
The brackish waves of the Atlantic are a source of livelihood and peril for the inhabitants of a coastal Irish fishing village in God’s Creatures, the directorial work of Saela Davis and Anna Rose Holmer. Aileen O’Hara (Emily Watson) is the manager of a local fishing plant, tasked with sifting through daily catches of oysters and haddock on a whirring conveyor belt and preparing them for market. She is diligent yet warm, providing a maternal presence for many of her employees, namely young Sarah (Aisling Franciosi, The Nightingale). During an ordinary shift, Aileen and a handful of other employees witness […]
by Natalia Keogan on Sep 29, 2022
