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“If There are Esoteric Titles in the List, the Unfortunate Thing is That They are Esoteric at All”: Sean Price Williams on 1000 Movies
The debut release from Metrograph Editions, Sean Price Williams‘s 1000 Movies is just that — a list of 1,000 movies seen and appreciated in some way by the director/cinematographer, listed chronologically across its 6″ x 4.25″ pages. There is much white space. Not included is any kind of foreword, such as a personal essay explaining the project’s genesis. (For that, you’ll have to look to interviews such as this one, or Matt Folden’s on the Metrograph site.) There are no Letterboxd-style ratings, no film stills, and not even an author bio; there’s just Lizzie Harper’s drawing up front of an […]
by Scott Macaulay on Mar 21, 2024 -
Critic’s Notebook: The 2024 Berlin International Film Festival
Off-screen at least, Berlinale was a political mess this year. The final edition of director Carlo Chatrian, who came from Locarno six years ago and brought his adventurous taste with him, was marred by conflict. The festival began with prominent and necessary protests against genocide in Gaza and controversy over the invitation (later revoked) of leaders from Germany’s far-right AfD party. And it ended ugly, when No Other Land co-director Yuval Abraham, who made his film with a Palestinian-Israeli collective of filmmakers and activists, received death threats and had his family in Israel menaced after his acceptance speech for its […]
by Steve Dollar on Mar 21, 2024 -
Watch Now: Short Films from the 2024 Filmfort Film Festival
Filmmaker is proud to continue our annual partnership with the Filmfort Film Festival by exclusively hosting six short films from this year’s lineup, which will be available to view on our site through Saturday. The three day festival—which occurs during the Treefort Music Fest in Boise, Idaho—highlights an array of emerging independent cinema. Alongside robust film programming, Filmfort also features DIY panels and filmmaker Q&As in the heart of the city’s downtown area. Check out this year’s selection of films below. Broken Flight dir. Erika Valenciana, Mitchell Wenkus 2023, USA, 18 mins Synopsis: At the Willowbrook Wildlife Rehabilitation Center, Annette […]
by Scott Macaulay on Mar 21, 2024 -
True/False Film Fest 2024: Creative Subjects
“Are you getting what you want, bitch?” Philly Abe, the focus of Elizabeth Nichols’s Flying Lessons, repeatedly offers similarly styled examples of “director-subject negotiations,” in which the latter grumbles before giving the former what they want, now with the added gift of self-reflexive dramatic tension. Director-subject relations are currently an especially fashionable topic (cf. the recent, clearly-titled film Subject); at this year’s True/False Film Fest, Flying Lessons provided its most interesting treatment. Abe is presented first as a representative of a vibrant and unprofessionalized ’80s downtown NYC arts scene but has an equally important relationship to the filmmaker, whose presence […]
by Vadim Rizov on Mar 20, 2024 -
Critic’s Notebook: The 2023 Red Sea International Film Festival
A series of miles-long empty dirt lots lie wedged between the Ritz Carlton and the Red Sea Mall, the two primary venues of the Red Sea Film Festival in Jeddah, Saudi Arabia. Barren, with all signs of previous inhabitation fully erased, the site of the future Jeddah central district is a curious sight in the middle of a city of four million. When completed in 2027, it will be the cultural, industrial and touristic center of the city; for now, as endless empty space, it’s such a vertigo-inducing sight of rapid construction and development that it’s impossible to imagine anything […]
by Joshua Bogatin on Mar 19, 2024 -
Trailer Watch: Furiosa: A Max Max Saga (Trailer #2)
After the mixed reception given to the first trailer for George Miller’s forthcoming, Cannes-anticipated Furiosa: A Mad Max Saga, where Anya Taylor-Joy plays a younger version of Charlize Theron’s Furiosa from Max Max: Fury Road, Warner Bros. has dropped a new trailer today that reveals a lot more of the film’s action, chronological sweep (different actors play Furiosa here) and overall look. Scored, to my ears at least, to an orchestral version of David Bowie’s “The Man Who Sold the World,” the trailer is found above.
by Scott Macaulay on Mar 19, 2024 -
“There Is an Acceptance that Is Happening with Me Right Now Where I Just Only Care About Doing the Work”: Lukas Gage, Back To One, Episode 283
Lukas Gage is on a roll. In shows like The White Lotus, Euphoria, You, and the latest season of Fargo, films like How to Blow Up a Pipeline, Down Low (which he also co-wrote), and now the eagerly anticipated Road House reboot, he’s been able to display his immense talent and range. He’s even played himself in Gossip Girl and The Other Two. On this episode, he explains how sometimes doing the opposite of what’s described is beneficial in an audition, why over-directing doesn’t work for him, the importance of creativity for the actor, how he arrived at his current […]
by Peter Rinaldi on Mar 19, 2024 -
Spring 2024
by Vadim Rizov on Mar 18, 2024 -
How to Ace a Film School Admissions Interview
I turned in this column way late this quarter. My excuse? Admissions. Like film faculty across the country, my colleagues and I in the School of Cinematic Arts at the University of Southern California are reading dozens of applications for a wide variety of undergraduate and graduate filmmaking, screenwriting and media arts programs, and sorting through personal statements, work samples, grades, letters of recommendation and more, trying to sense who might be best for our program and how our program might best suit potential applicants. There are more applications than ever, even though recent analyses suggest that students consider the […]
by Holly Willis on Mar 18, 2024 -
Credits Where Credits Are Due
Tyler Perry believes that generative AI could soon drastically reduce location filmmaking. He recently announced plans to pause an $800 million expansion of his Atlanta-based studio complex, telling The Hollywood Reporter, “I no longer would have to travel to locations. If I wanted to be in the snow in Colorado, it’s text…. If I wanted to have two people in the living room in the mountains, I don’t have to build a set in the mountains.” But state legislatures and film offices haven’t gotten that memo. As we take our annual look at film tax incentives around the country, the […]
by Scott Macaulay on Mar 18, 2024
