6300 Results for “Open ”
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“Arrogance and Confidence Comes with Film School and That Age”: Joanna Hogg on The Souvenir, Shooting 16mm and Film School
There are many movies about making movies, far fewer about film school. Joanna Hogg’s The Souvenir (the first in a diptych—part two is supposed to shoot this summer) grounds itself in the early ’80s at the UK’s National Film and Television School (NFTS), where Hogg herself went to school. It was there that she experienced a tumultuous relationship, dramatized here as the story of clean-living Julie (Honor Swinton Byrne), a student who falls for Anthony (Tom Burke) after they meet at a party. All well and good, but what Julie doesn’t clock is that Anthony is a heroin addict. A real-life […]
by Vadim Rizov on May 15, 2019 -
Cannes 2019 Dispatch 1: The Dead Don’t Die, Deerskin
Cannes opened its 72nd edition last night with Jim Jarmusch’s self-reflexive and divisive zomedy The Dead Don’t Die, a movie that reunites the American filmmaker with the horror genre he flirted with in 2013’s Only Lovers Left Alive, and serves to further clarify his late digital style. Though reportedly not the festival’s first choice for the slot, it’s easy to see why Cannes was content to offer it this year’s first red carpet; Jarmusch stacked his cast with A-listers—Bill Murray, Adam Driver, Danny Glover, Tilda Swinton, Chloë Sevigny, Selena Gomez, and I really could just keep on going—while the title […]
by Blake Williams on May 15, 2019 -
Put It In Writing: Living Through the Films of Abel Ferrara, Part Three
Evan Louison last wrote about Abel Ferrara for Filmmaker‘s 25th anniversary issue in his report, “Letter from Rome.” Given the assignment to interview Ferrara in conjunction with his month-long MoMA retrospective, Louison responded with a five-part personal memoir that tracks the impact of the director and his work on his own life. Check back each day this week for the next in the series, and read Part One and Part Two. III. Alive and WELL “The nature of evil is that it’s seductive. If evil presented itself to us as it really is… no one would be lured. No one […]
by Evan Louison on May 15, 2019 -
Streaming, Theatrical and Film School: Barry Jenkins, Boots Riley and Aaron Stewart-Ahn at the Miami International Film Festival
Three of current American independent cinema’s most prominent filmmakers recently came together at the Miami International Film Festival to impart some of the hard-earned knowledge they’ve acquired. Barry Jenkins (Moonlight, If Beale Street Could Talk), musician, activist, and storyteller Boots Riley (Sorry to Bother You), and journalist-turned-screenwriter Aaron Stewart-Ahn (Mandy) were honored at the festival as the first trio of guests to be part of the inaugural Knight Heroes masterclass and symposium. Ahead of their presentations in front of a crowded Olympia Theater in Downtown Miami, the three creators sat down with Filmmaker to discuss a wide range of topics: the […]
by Carlos Aguilar on May 14, 2019 -
Put It In Writing: Living Through the Films of Abel Ferrara, Part Two
Evan Louison last wrote about Abel Ferrara for Filmmaker‘s 25th anniversary issue in his report, “Letter from Rome.” Given the assignment to interview Ferrara in conjunction with his month-long MoMA retrospective, Louison responded with a five-part personal memoir that tracks the impact of the director and his work on his own life. Check back each day this week for the next in the series, and read Part One here. What REDEMPTION? “I’m just here to raise the flag of compassion and forgiveness, in a society that’s being overrun by hatred and violence.” Weekends in Manhattan, looking over your shoulder, anonymous […]
by Evan Louison on May 14, 2019 -
Tribeca 2019 Critic’s Notebook: Coming(s) of Age
Blood and guts in high school is a theme that never loses its appeal to filmmakers, even as its universality—from Zero for Conduct to Heathers—demands greater risk and originality from filmmakers who, arguably more often than not, are recasting episodes from their own diaristic memory banks. This year’s Tribeca Film Festival, which wrapped up last week, served up a predictable share of films that fit into the coming-of-age category, yet the most notable of those efforts proved to be anything but cookie-cutter. The best film I saw at the festival, Jennifer Reeder’s Knives and Skin, even felt like something brand […]
by Steve Dollar on May 13, 2019 -
Put It in Writing: Living Through the Films of Abel Ferrara, Part One
Evan Louison last wrote about Abel Ferrara for Filmmaker‘s 25th anniversary issue in his report, “Letter from Rome.” Given the assignment to interview Ferrara in conjunction with his month-long MoMA retrospective, Louison responded with a five-part personal memoir that tracks the impact of the director and his work on his own life. Check back each day this week for the next in the series. Nobody’s CLEAN New York became our only school and we made that trip by train or else in Nicky’s black house painted VW a 1000 times… Seeing Kazan arguing with Nicholas Ray on a street corner… […]
by Evan Louison on May 13, 2019 -
“Light a Candle for My Guardian Angel So Nothing Bad Happens”: Theodore Collatos and Carolina Monnerat on Their Portrait of Trans Lives in Struggle, Queen of Lapa
With nearly 20 credits as a director and as many as an editor, Theodore Collatos has been quietly making documentaries and narratives to critical acclaim for the last decade, often collaborating with his wife, former professional dancer Carolina Monnerat, as producer and actor. For Collatos’ sixth feature, and first with Monnerat as co-director, they returned to Monnerat’s native city of Rio for an intimate and revealing look at an underground cultural icon. Queen of Lapa, named for a district renowned for its sex trade, devotes its focus to the late Luana Muniz, a trans-rights advocate, founder of Luana’s House (a […]
by Evan Louison on May 9, 2019 -
Tribeca 2019 Critic’s Notebook: Recorder: The Marion Stokes Project, Rewind, 17 Blocks, All I Can Say
Now that every 10-year-old has a pocket-sized film studio and multiplex in their hands via the smartphone, and debates over the cinematic legitimacy of streaming platforms rage on, there’s a certain sweet nostalgia associated with dead formats of a less pixel-saturated age. VHS was perhaps the most physical—and vulnerable—of physical media: cheap plastic shells containing magnetic tape that could easily tangle in a faulty player. Yet, along with the camcorder, which likewise came into common use in the early 1980s, it has found a permanent niche in pop-culture consciousness that is, perhaps, greedy for a certain archival innocence—a throwback to […]
by Steve Dollar on May 7, 2019 -
“We’re Looking for Passionate People Who We Think Will Put in the Work and Deliver”: Dorota Lech on the 20-year-old Hot Docs Forum
As a film journo who usually prefers celebrating the fruits of cinematic labor over covering the messy business of making the product I’m often a bit squeamish when it comes to observing pitch sessions (in no small part due to the glaring abundance of older white faces dangling the purse strings). Fortunately, the folks behind the two-decade-old Hot Docs Forum, which utilizes the appropriately Harry Potter-esque, neo-Gothic Hart House student center at the University of Toronto, do an expert job of combining industry necessity with collegial fun. This is perhaps best evidenced by the Forum’s Cuban Hat Award, a prize […]
by Lauren Wissot on May 6, 2019
