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Passing, The Lost Daughter, Test Pattern, El Planeta, and Red Rocket Among 2021 Gotham Award Multiple Nominees
The Gotham Film & Media Institute, Filmmaker‘s publisher, announced today the nominees for its upcoming 2021 Gotham Awards. Selected by committees of film and television critics and programmers, Gotham Award nominees have usually included a mix of higher-profile awards season frontrunners as well as critically acclaimed lower-budgeted films from smaller distributors, and this year that’s even more the case. Amazon’s Passing, directed by Rebecca Hall, and Netflix’s The Lost Daughter, directed by Maggie Gyllenhaal, both received multiple nominees, including Best Picture. But also in the Best Picture category, along with an additional Breakthrough Director nomination, is Shatara Michelle Ford’s Test […]
by Scott Macaulay on Oct 21, 2021 -
Jane Campion to Receive Director’s Tribute at the 2021 Gotham Awards
Jane Campion, whose The Power of the Dog is one of the major fall releases, will receive the Director’s Tribute at the 2021 Gotham Awards, The Gotham Film & Media Institute announced today. The first female director to win a Palme d’Or, for her third feature, The Piano, Campion’s films include Sweetie, An Angel at My Table, The Portrait of a Lady, Holy Smoke, In the Cut and Bright Star. She also co-wrote, co-directed and executive produced the two season television mini-series Top of the Lake. Jeffrey Sharp, Executive Director of The Gotham Film & Media Institute, said in a […]
by Filmmaker Staff on Oct 20, 2021 -
Back to One, Episode 174: Vicky Krieps
Phantom Thread solidified Vicky Krieps as an acting force to be reckoned with. Her incredible performance in that film felt new, like a beginning of sorts. Her latest is Mia Hansen-Løve’s Bergman Island. She talks about figuring out ways to turn the difficulties of that production into opportunities to create something magical. Plus she gives us a glimpse inside her process-less process, made up of deconstruction, openness, acceptance, listening, embracing chaos, exploding the method, living with failure, holding space for the unknown, and letting intuition lead the way. Back To One can be found wherever you get your podcasts, including […]
by Peter Rinaldi on Oct 19, 2021 -
Cinematographer Michael Fimognari on Shooting the Netflix Series Midnight Mass and Stripping Away Departmental Hierarchy with Red, Green and Blue Camera Teams
In Midnight Mass, the arrival of a new priest upends the small, isolated fishing community of Crockett Island. It’s an original idea from writer/director Mike Flanagan, who made his name in the horror genre adapting Shirley Jackson, Henry James and multiple Stephen King opuses. Flanagan has been excavating the bones of Midnight Mass for years and at various stages it morphed from novel to film to series. The characters’ inner demons and struggles with addiction and faith mirror his own, with details taken from Flanagan’s youth as an altar boy on New York’s Governors Island. With the personal nature of […]
by Matt Mulcahey on Oct 15, 2021 -
“Sending Your Script to Someone is Like Asking Them to Never Speak to You Again”: Fran Kranz on the Making of His Grief and Reconciliation Drama, Mass
Two sets of parents enter a plain, drab room located down the hallway of an unassuming Episcopalian church. Their reason for meeting pertains to their respective sons, both of whom have died. One set of parents have lost their son to a mass shooter at his high school, the other set’s son was himself the mass shooter. That is the basis for Fran Kranz’s emotionally raw debut feature, Mass, a film that is necessarily an actors’ showcase but also an exercise in pared-down filmmaking that finds tension and release in the subtlest of camera gestures. As the parents debate everything […]
by Erik Luers on Oct 15, 2021 -
Death Ride to Osaka, The Equalizer and Escape Room: Tournament of Champions: Jim Hemphill’s Home Video Recommendations
Among graduates of the “Roger Corman film school,” Jonathan Kaplan doesn’t have the same level of name recognition as Martin Scorsese, Jonathan Demme, or Francis Coppola, but he clearly learned the same lessons they did while plying his trade directing exploitation flicks for Corman’s New World Pictures. Although it might seem like the only thing Kaplan’s films have in common is that they have nothing in common – his filmography includes blaxploitation (Truck Turner), Oscar winning and nominated dramas (The Accused, Heart Like a Wheel), science fiction (Project X), Westerns (Bad Girls), and one of the greatest teen movies ever […]
by Jim Hemphill on Oct 15, 2021 -
NYFF Critic’s Notebook: The Velvet Underground and The Girl and the Spider
Peter Buck, the guitarist for R.E.M., is often quoted as saying, “The first Velvet Underground album only sold 10,000 copies, but everyone who bought one formed a band.” Now it seems, all those bands are the subjects of documentaries. Finally, even the Velvet Underground. The eponymous film is one that Todd Haynes appeared destined to make. Popular music, rock’n’roll mythology and the vagaries of self-invented personas are a core of the director’s filmography, going back to the Super-8 transgression of Superstar: The Karen Carpenter Story, a melodramatic biopic of the ‘70s pop singer cast with Barbie dolls. Velvet Goldmine (1998) […]
by Steve Dollar on Oct 14, 2021 -
Critic’s Notebook: The 2021 Camden International Film Festival
Nothing quite conjures good storytelling like a campfire (and maybe a bottle of whiskey to pass around). This knowledge is not lost on the Camden International Film Festival. Among its many strengths, which have carried the autumnal non-fiction showcase into its 17th year, is its homegrown conviviality and collegial informality. The vibe of “just a bunch of doc people sittin’ around talkin’” survives even a second year of pandemic-necessitated precautions and mixed “real life” and virtual screenings. At the end of Penny Lane’s stimulating and slyly hilarious Listening to Kenny G., the online screening of the movie segues into just […]
by Steve Dollar on Oct 14, 2021 -
Socks, Scope and 35mm Projection: Mia Hansen-Løve on Bergman Island
Filmmaking couple Chris (Vicky Krieps) and Tony (Tim Roth) arrive at Fårö Island to begin a real-life residency for artists who wish to work in Ingmar Bergman’s former home. “All this calm and perfection, I find it oppressive,” she says; “soothing,” he counters. Mia Hansen-Løve’s seventh feature, Bergman Island, sets up a number of binaries, most directly in the film’s bifurcated structure: the first half is a third-person POV of Chris and Tony’s time on the island, the second a film-within-a-film of the project Chris is writing and recapitulating for Tony. (For schedule availability reasons, the second half was shot first, while […]
by Vadim Rizov on Oct 13, 2021 -
The Year of the Hybrid: 9 Ways to Make the Most of a Hybrid Festival Premiere
This is a very weird time for film festivals and filmmakers. During the first year of the pandemic, it was fairly simple: Almost every festival around the world became online only. There were a few exceptions, of course: The Göteborg Film Festival in Sweden stranded one person on a tiny island for a week to watch every film. The Oldenburg Film Festival in Germany had living room premieres. And many festivals pivoted to drive-in and other outside venues (especially where the climate allowed for that). By summer of 2021, the feeling among festival organizers was that now that we have […]
by Dan Mirvish on Oct 13, 2021
