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Adventures in Festival Babysitting: The Need for Day Care at Film Festivals
Being a parent and working in the film industry is tough. Being a parent at a film festival, with your child in tow, is another matter. Thanks to a fully supported day care facility in Cannes called The Red Balloon, or Le Ballon Rouge, after Albert Lamorisse’s popular children’s film, I just about conducted “business as usual” on the Croisette. I’m still reeling from this opportunity, as are the other participating parents who continue to converse in a long “parents in Cannes” WhatsApp group chat. Some variation of “I couldn’t have attended Cannes without this service” is the most common […]
by Tiffany Pritchard on Jun 6, 2022 -
HBO Documentary Films and the Gotham Film & Media Institute Announce New Documentary Development Initiative for Filmmakers from Underrepresented Communities
HBO Documentary Films and The Gotham Film & Media Institute’s Expanding Communities program have announced the Documentary Development Initiative, created for storytellers who identify as BIPOC, LGBTQ+, and/or storytellers with disabilities with the intent of providing resources to develop thought-provoking, character-driven contemporary ideas for documentary films and limited series. Through this initiative, up to ten selected filmmakers will be given grants of $50,000 for research and creative development at an early stage. HBO and The Gotham (Filmmaker‘s parent organization) will provide resources and mentorship to support the development of documentary projects and select grantees will have the opportunity to receive […]
by Filmmaker Staff on Jun 6, 2022 -
Shotlisting at the Underwear Party: Andrew Ahn on Fire Island
Opening with a cast rendition of the 20th Century Fox (now known as Searchlight Pictures) theme that accompanies its logo, Andrew Ahn’s Fire Island finds inspiration in group dynamics. Comedians Joel Kim Booster (Model Minority), Margaret Cho (All-American Girl), and Bowen Yang (Saturday Night Live) lead an ensemble of queer friends on a weekend escape to the titular gay enclave. Although their financial prospects are dim, the tightknit group has lucked out these past few summers, crashing at the pad of their older lesbian friend, Erin (Cho). Something of a den mother, Erin greets her houseguests with “Bitch, I knew […]
by Erik Luers on Jun 3, 2022 -
“We Try Not to Think”: Véréna Paravel and Lucien Castaing-Taylor on De Humani Corporis Fabrica
It was only a matter of time before Sensory Ethnography Lab explorers Véréna Paravel and Lucien Castaing-Taylor went inside—deep inside. Shot at eight different French hospitals, De Humani Corporis Fabrica intermingles imagery from within and without the human body, observing patients and listening in on surgeons during operations with special cameras and medical equipment. Immersive in different ways from their masterpiece Leviathan, and even more hypnotic than Caniba in aligning the screen’s surface with the textures of tissue, Paravel and Castaing-Taylor’s latest film takes its title from Vesalius’s groundbreaking 16th-century anatomy text, de- and re-familiarizing us with the interiors and […]
by Nicolas Rapold on Jun 3, 2022 -
Looking Back: Double Play: James Benning and Richard Linklater Director Gabe Klinger on the Six-Year Journey to a New Feature
Gabe Klinger previously wrote at Filmmaker about the making of his Double Play: James Benning and Richard Linklater (2013), which is now available on the Criterion Channel. Here, he recounts the last nine years of what he describes as “his sometimes uneasy path as a feature filmmaker” and discusses his latest project. — Editor It’s approaching a decade since I shared some anecdotes in these pages about directing my debut feature, Double Play: James Benning and Richard Linklater. Conceived with support from Ciné+ — a French pay TV channel where one of our producers, André S. Labarthe, had a pipeline deal […]
by Gabe Klinger on Jun 2, 2022 -
Cannes 2022: Metronom, Showing Up
For two weeks I lived within a Cannes-imposed schedule, with every day structured by the bookending options of a new Directors Fortnight title each morning and a new Competition film at night. More importantly, there was the 7 am roll call, when tickets were unlocked online for screenings four days out. This became a relatively smooth process once the functionally unusable press URL initially given for this purpose was changed, but those tickets still went fast. Every day (before the last four days of the festival, when this unloved ritual ceased), my roommates and I would wake up at 6:59, log […]
by Vadim Rizov on Jun 1, 2022 -
Back to One, Episode 205: David Morse
David Morse is one of the most respected veteran actors working in the business. St. Elsewhere, The Indian Runner, The Crossing Guard, Dancer In The Dark, House, Hack, The Green Mile, to name just a few of his past credits, and now a Tony nomination for his incredibly powerful performance in How I Learned To Drive, which he has reprised with Mary-Louise Parker 25 years after they first did it off-Broadway. I talk to him about the differences in these two incarnations, particularly one important and significant moment he arrives at toward the end of the play. He explains how […]
by Peter Rinaldi on May 31, 2022 -
“I Had No Fear of Making it Too Much”: Ruben Östlund on His Cannes Palme d’Or-Winning Triangle of Sadness
Critics at Cannes were divided over Triangle of Sadness, some happily going along with its soak-the-rich ride on a yacht, others unmoved by a comic setpiece with wealthy passengers throwing up their oysters. The Competition jury, however, was crystal clear on the matter: director Ruben Östlund joined a select group of two-time Palme d’Or winners, adding this laurel to his previous one for The Square. As he did at the 2017 Cannes closing ceremony, after receiving his award, Östlund lead the audience in a primal scream. This time for the 48-year-old Swede it must felt like a relief as much […]
by Nicolas Rapold on May 31, 2022 -
“Maybe Life is Just Killing Time Between Festivals”: Sarah Winshall’s Cannes Diary #3
Producer Sarah Winshall (We’re All Going to the World’s Fair) has been posting diary entries from her trip to the 2022 Cannes Film Festival. Read her previous reports here. Don’t worry guys, I’ve gotten some rest and I’m feeling much better. In fact, I’ve been back home in Los Angeles two nights and both nights I dreamed I was still in Cannes. They were pleasant dreams in which my subconscious invented new films that everyone was excited to see, I bumped into new friends and was whisked off to various parties. In these dreams I’m rushing around but I’m not […]
by Sarah Winshall on May 29, 2022 -
Cannes 2022: The Awards, Close, Broker and Boy from Heaven
Only a couple of months after the Academy of Motion Picture Arts and Science’s completion of their decades-long endeavor to totally delegitimize the Oscars, Cannes provided another argument for doing away with all cinema awards entirely. The Vincent Lindon-led jury of nine couldn’t manage to make admirable choices even as they lauded virtually half the contenders in the field. Then again, at least one member of said jury admitted to not knowing who or how old Jerzy Skolimowski is until after the screening of his radiant EO—ex aequo winner, nevertheless, of the Jury Prize (something like third or fourth or […]
by Blake Williams on May 29, 2022
