The French writer and film director Alain Robbe-Grillet died on Monday in Normandy at the age of 85. GreenCine has a round-up of various news reports and commentary here. Robbe-Grillet was best known for his literary manifesto “For a New Novel,” his screenplay for Alain Resnais’ Last Year at Marienbad, and his various novels — The Erasers, Jealousy, The Voyeur — that formed part of the Nouveau Roman movement. As a director, his films include L’Immortelle and Trans-Europe Express. La Belle Captive was recently released in the States by Koch Lorber. When I was in college, Robbe-Grillet’s early novels and […]
With more eye-catching docs coming out of Sundance in 2007 (Manda Bala (Send A Bullet), Crazy Love, My Kid Could Paint That, No End In Sight, War Dance, Zoo, ect.), Daniel Karslake‘s For The Bible Tells Me So was lost in the flurry, but this interesting look at how decades of religious anti-gay bias is based almost solely upon the misinterpretation of the Bible, the film should certainly be in the conversation as one of the best docs that came out of Sundance ’07. Hailed at festivals around the country and getting an impressive release through First Run Features, this […]
Over at his Cinema Echo Chamber, Brandon Harris has a go at Richard Corliss’s list for Time Magazine of the “25 Most Important Films about Race.” From Corliss’s intro: To celebrate Black History Month, we’ve chosen 25 movies to honor the artistry, appeal and determination of African Americans on and behind the screen. The films span nine decades, and reveal a legacy that was tragic before it was triumphant. At first, blacks were invisible; when they were allowed to be seen, it was mostly as derisive comic relief. The 1950s ushered in the age of the noble Negro, in the […]
With the passing yesterday of legendary horror auteur George Romero, we’re reposting Nick Dawson’s 2008 interview with the director on the release of the penultimate chapter of his zombie series, Diary of the Dead. R.I.P. George Romero. No matter how you look at it, George A. Romero will always be remembered as the godfather of the zombie movie. Born in 1940 in New York City, Romero graduated from Carnegie Mellon in the early 60s and stayed in Pittsburgh to set up a commercial production company. In 1968, he segued into features with his seminal debut, Night of the Living Dead, […]
Anne Thompson writes in Variety this week about the marketing challenge facing indies hoping to distribute their films online. In a piece headlined “Frustrated indies seek we distribution,” Thompson looks at all the unsold films out of Sundance this year and then talks with some of the current players in the online distribution space and wonders whether the needs of the former can be met by the current powers of the latter. A passage: The key question is, when will an alternative distribution outlet for indie films emerge — an outlet that can interest enough viewers to bring in meaningful […]
Since this seems to have been a blog day of embeds and videos, I’ll add one more: this link to Kate Stables’ piece in The Guardian providing links to six online videos all themed for Valentine’s Day. There’s work by Duane Hopkins, Anastasia Kirillova and others, and you’ll find the sweet and romantic as well as the brooding and unexpected. (Hat tip: GreenCine.)
Here’s the new red-band trailer for David Gordon Green’s Judd-Apatow-produced comedy Pineapple Express.
Sent “in the spirit of Valentine’s Day,” Filmmaker 2007 25 New Face filmmakers Brian Cassidy and Melanie Shatzky passed along this excerpt from The Patron Saints, their doc-in-progress about “faith, uncertainty and sainthood.” For more about their work and their project, visit their blog, Pigeon Droppings and their company website, Pigeon Projects.
Here’s “Flashing Lights,” a strange and violent video for the Kanye West song directed by West and Spike Jonze.
Ninety-nine percent of interviews with directors and cast members about working on a film fall into the “everyone was so wonderful, it was like a family, I had such a great time” mold. But the opposite can sometimes be a better sell, or, at least, can more effectively cut through marketplace noise. And sometimes filmmakers don’t have a choice — if they want to promote a film that seems like it’s in trouble, they’ve got to spill the beans about what went wrong. A case in point is this article by Missy Schwartz in Entertainment Weekly about the straight-to-video release […]