6300 Results for “Open ”
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“In Each Location I Knew How and When the Sun Would Hit”: Gerardo Guerra on Dos Estaciones
Red dirt, blue sky and green agave mark the landscape of Jalisco’s highlands, and they also form the basis of Juan Pablo González’s Dos Estaciones, which follows the heir to a struggling tequila factory as she attempts to reinvigorate the business in the face of plagues and floods. The film was shot by Gerardo Guerra, who discusses executing complicated setups with limited personnel, learning the finest details of the shooting locations and walking the line between documentary and fiction. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led […]
by Filmmaker Staff on Jan 24, 2022 -
“Who Does Visibility Serve and Who Does it Harm?”: Chase Joynt and Morgan M. Page on Their Sundance Doc Framing Agnes
Framing Agnes, the title of Chase Joynt’s (No Ordinary Man) latest genre-queering film – world premiering in the Next section at this year’s Sundance – refers to a controversial trans woman who, in the 1960s, participated in a groundbreaking gender health research study at UCLA. It also refers to the fact that, historically, trans people have never been allowed to leave the frame. Or, paradoxically, enter the frame (if not a blond beauty like Agnes or Christine Jorgensen). So how does Joynt place Agnes in his cinematic frame without framing her? The answer is with an abundance of artistic ingenuity […]
by Lauren Wissot on Jan 24, 2022 -
“We Wanted to Avoid the Cold and Automated Artifice of Fiction Filmmaking”: DP Jarmo Kiuru on Girl Picture
Alli Haapasalo’s Girl Picture follows two teen girls who work together after school at a food court smoothie kiosk. As the best friends swap stories about love, sex and life, the film emerges as both a coming-of-age story and a depiction of unrestricted feminine vitality. Director of photography Jarmo Kiuru describes how she concocted the film’s look and the difficulties of shooting with a reduced budget and amid Finland’s second wave of COVID infections. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? […]
by Filmmaker Staff on Jan 24, 2022 -
I Wanted To Go Deeper Than Just a Portrait of a Band”: Rita Baghdadi on her Sundance-Premiering doc Sirens
Trying to make it as a twenty-something in a band is hard enough. But when that band is Slave to Sirens, the Middle East’s first all-female metal group, the stakes and the obstacles can seem off the charts. Which is exactly what makes Moroccan-American director and cinematographer Rita Baghdadi’s Sirens, world-premiering in the World Cinema Documentary Competition at this year’s Sundance, so engrossing. The film focuses on the band’s co-founders and guitarists Lilas and Shery, who over the course of a brisk 78 minutes navigate friendship and sexuality, artistic vision and international fame – all within the explosive confines of […]
by Lauren Wissot on Jan 23, 2022 -
“Being Overwhelmed Doesn’t Have to Lead to Cynicism”: Rachel Lears on Her Climate Change Sundance Doc, To The End
Cynicism is the dramatic foil in To the End, Rachel Lears’s Sundance Documentary Competition follow-up to her 2020 Sundance picture Knock Down the House. In that film she followed four women — political newcomers hailing from diverse walks of life, all motivated to action by the Trump presidency — as they mounted underdog campaigns to win House seats. That one of the women was New York candidate Alexandria Ocasio-Cortez gave the film a rousingly satisfying ending, even as other women’s losses made clear the forces opposing progressive generational change. Employing a similar structure, To the End follows three young activists […]
by Scott Macaulay on Jan 23, 2022 -
“Style Is the Choices That Are Made When Placing the Camera”: DP Andrew Wheeler on God’s Country
In God’s Country, a professor navigating discrimination in the workplace whose patience is tested by a pair of hunters who trespass on her property. Anchored by the performance of Thandiwe Newton, Julian Higgins’ feature debut is an understated examination of the human spirit and a woman who refuses to surrender to expectation and stereotype. Andrew Wheeler discusses the importance of camera placement in he film and how his landscape photography prepared him to serve as DP. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being […]
by Filmmaker Staff on Jan 23, 2022 -
“We Viewed Every Opportunity to Film in Person as a Fleeting Gift” | Paula Eiselt, Aftershock
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? This new way of living over the past two years forced me to reinvent both production and post production processes for Aftershock. The limits inherent in this […]
by Filmmaker Staff on Jan 23, 2022 -
“He Knew Exactly What Movie He Wanted to Make”: Editor Henry Hayes on Cha Cha Real Smooth
Cooper Raiff’s follow-up to his 2020 SXSW winner Shithouse follows a recent alum who, unable to find a career path, moves back home and begins to work as a party-starter for his younger brother’s classmates. When he befriends a local’s mom, he begins to imagine a different future for himself. Editor Henry Hayes balancing humor and pathos and how working with friends and on small projects gave him space to experiment. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Hayes: […]
by Filmmaker Staff on Jan 23, 2022 -
“The Camera Movements Were Almost Choreographed to Amplify the Ensemble Feeling, the Dances and the Musicality of That Universe”: DP Anisia Uzeyman on Neptune Frost
Neptune Frost is an Afrofuturist musical that tells the story of a group of African miners digging for the material that sustains a digital network, as well as an emergent connection between a miner and an intersex runaway. Co-director and cinematographer Anisia Uzeyman discusses how she captured the film’s distinctive and colorful aesthetic. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Uzeyman: Saul and I worked side by side on the creation of this project from the beginning. We developed […]
by Filmmaker Staff on Jan 23, 2022 -
“If They Are Not Progressive Leaders in What They Gate-Keep, Green Light and Support, Then They Fall Short” | Saul Williams & Anisia Uzeyman, Neptune Frost
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? We wrapped principal photography in Rwanda on March 4th, 2020, only a few days before the world shut down, and began editing back in the U.S. […]
by Filmmaker Staff on Jan 23, 2022
