6300 Results for “Open ”
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Revision Mode: Co-creator Leslye Headland on Russian Doll
You start with a character, or a situation, perhaps, and then…what? You work out the next step, get through maybe a scene, or an episode, or a first act, and larger themes and ideas emerge. And then, realizing that what you’ve done is all wrong, you rip it all up and start over. When the eight episodes of Russian Doll—the New York East Village–set fantastical time-loop drama starring Natasha Lyonne and created by Lyonne, Amy Poehler and Leslye Headland—dropped on Netflix earlier this year, my social media feeds all exploded. Everyone seemed to be watching this show, its storyline connecting […]
by Scott Macaulay on Jun 19, 2019 -
Ungentrified: Production Designer Scott Dougan and Visual Effects Supervisor Jim Rider on The Deuce
David Simon’s latest HBO series, The Deuce (co-created with George Pelecanos), represents another entry in a career-spanning investigation of institutional corruption and decay, this time focusing on the sex and pornography industry in New York City during the 1970s. Primarily viewed through the eyes of bartender and club owner Vincent Martino (James Franco) and sex worker-turned-pornographer Eileen “Candy” Merrell (Maggie Gyllenhaal), The Deuce uses the sex trade as a microcosm for various developments in late-stage capitalism, including gentrification and urban renewal. As the series shifts periods over the course of its three-season run—1971–1972 in the first season, 1978 in the […]
by Vikram Murthi on Jun 19, 2019 -
Day For Night on The Dead Don’t Die: Director Of Photography Frederick Elmes Shoots Jarmusch’s Zombies
Fred Elmes invited me to a DI Theater at Harbor Picture Company, a post-house bustling around the corner from Film Forum, to talk about his work on Jim Jarmusch’s The Dead Don’t Die. There was just an hour left of the allotted time to finish the HDR version of the film when I arrived at the DI suite, but Fred retained his cool as he lulled us to the finish line. In my time there, he liked to vignette the edges more or less, and bring faces up or down a level or two. Usually down. Our meeting there was […]
by A.E. Hunt on Jun 17, 2019 -
I Will Always Love You: Amy Dotson’s BAMcinemafest Speech
Amy Dotson, who recently departed her position as Deputy Director and Head of Programming at IFP, Filmmaker‘s publisher, is headed this fall to Portland, where she will step into the role of Director of the Northwest Film Center and Film and New Media Curator at the Portland Art Museum. Today she gave a speech at the day of industry talks at BAMcinemafest and kindly offered the text to Filmmaker to publish below. Lotta change in the air, ya’ll. So much has happened of late. As some of you may know, I’m on the precipice of new adventures. That said, I’m […]
by Amy Dotson on Jun 15, 2019 -
What to See at the 2019 BAMcinemafest
Following its very good opening night film — Lulu Wang’s The Farewell (also Filmmaker’s forthcoming Summer issue cover) — BAMcinemafest the Brooklyn Academy of Music’s essential early summer fest, is underway. This year’s edition is typical of the fest: a well-curated and relatively compact mix of recent festival standouts, a world premiere or two, and assorted other programs, including tomorrow’s day-long (and free) program of industry panels presented in collaboration with IFP. The festival runs until June 22, and for those in or headed to Brooklyn, here are some recommendations from us at Filmmaker. So Pretty. Jessie Jeffrey Dunn Rovinelli’s […]
by Scott Macaulay on Jun 14, 2019 -
An On-Set Education: Graham Swon on The World is Full of Secrets
When The World is Full of Secrets showed earlier this year at a festival for debut films in remote Khanty-Mansiysk, Siberia, its director, Graham Swon (a 25 New Face of Film in 2016), briefly became almost as much of interest to the public audience and critics there as did his hypnotic cinematic spectacular. That I was there as the only international journalist in attendance to witness Swon fielding eager questions from this newfound audience of intrigued Siberian spectators strikes me now as a fluke of wondrous good fortune. The movie’s long, discursive monologues, in which 15- and 16-year-old girls narrate […]
by Christopher Small on Jun 14, 2019 -
Le Cinéma Club Relaunches With Claire Denis’s Very Rare Keep It for Yourself
Founded in 2015 by Marie-Louise Khondji, the streaming site Le Cinéma Club relaunches today with an exciting offering: Claire Denis’s long-lost 1991 40-minute short Keep It for Yourself. The only film she’s ever made in the states, it stars Vincent Gallo and Sara Driver, has a John Lurie score and was shot in New York City. After years of unavailability, a copy was found on a Japanese VHS being sold on Australian eBay. (For more on that story, click here.) From the official press release: The opening weeks of programming are completed with other streaming premieres, rarities and films by new […]
by Filmmaker Staff on Jun 14, 2019 -
A Sneak Peek at the 30th Human Rights Watch Film Festival
The 30th anniversary edition of the Human Rights Watch Film Festival (running June 13-20, and co-presented by Film at Lincoln Center and the IFC Center) has much more to boast than its smartly slimmed-down lineup of 13 feature-length films (11 docs and two narrative works). In addition to the requisite post-screening panel discussions with filmmakers, subjects and special guests, there’s this year’s added bonus of actual behind-the-lens parity. With half the films directed or co-directed by women, the majority directed by filmmakers of color and, perhaps most importantly, half helmed by filmmakers with actual roots in the places they’re documenting, […]
by Lauren Wissot on Jun 13, 2019 -
“I Just Saw People Falling Out of the Sky”: Andrew Hevia on Leave the Bus Through the Broken Window
A stranger in a foreign land, with a camera and a penchant for cheap beer: Andrew Hevia’s hyperdigital documentary Leave the Bus Through the Broken Window follows the Miami-bred filmmaker as he visits Hong Kong for the Chinese edition of Art Basel. At first determined to make a traditional documentary accessible for public television audiences, Hevia’s plans are quickly thwarted once he discovers the elusive intricacies of the region. He’s a Cuban-American who can’t understand the language of his new surroundings. Rather than view that as a hindrance, he takes to meeting artists and art collectors, attending art shows, wooing […]
by Erik Luers on Jun 12, 2019 -
“A Movie Where Nobody Wears Clothes and It’s PG-Rated”: Jessie Jeffrey Dunn Rovinelli on So Pretty
Before Jessie Jeffrey Dunn Rovinelli began the bulk of production on her second feature So Pretty, she wrote an essay for this site outlining some of the goals and background behind the production: The film is an adaptation of a 1980s German gay novel [Ronald M. Schernikau’s So Schön] that I am transposing and translating to a cast of feminine people of many genders in 2018, New York City. […] Given the explicit gender-trouble and queer elements of So Pretty, as well as the fact that it takes seriously the novella’s paraphrased subtitle “a utopian film,” my film must create an image […]
by Vadim Rizov on Jun 12, 2019
