6303 Results for “Open ”
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Film Schools in a Time of Disruption
At YouVisit Studios in midtown Manhattan, Ben Leonberg, Scott Riehs and Alice Shindelar, three recent graduates of the film MFA program at Columbia, bring their education to bear in rather unexpected ways. They are still, in a sense, filmmakers — Leonberg a creative director, Shindelar a writer/director and Riehs a creative producer, each aspiring to one day make a feature. But as their day job they practice filmmaking of a very different type: together they conceive, write and shoot commercial content that YouVisit calls “interactive virtual experiences.” They work in 360-degree video and with virtual-reality headsets. They experiment with new […]
by Calum Marsh on Jun 16, 2017 -
Twin Peaks, Episodes 5 & 6: Five Notes (The Number Means Nothing)
Having watched episodes 1-4 in one marathon session, what I expected is true: the new Twin Peaks is considerably less satisfying taken in one distanced hour at a time. This needs sustained duration to really breathe. I’m not fool enough to try to parse What It All Means at this time, but five stray notes: I seriously doubt David Lynch has spent more than, at most, five seconds in his life wondering if he’s doing something too “difficult” or inaccessible for a hypothetical viewer. It’s been both unsurprising and mildly annoying to read umpteen TV recappers who — unable to go about their […]
by Vadim Rizov on Jun 15, 2017 -
Explosive Memories: Five Questions for Dawson City: Frozen Time Director Bill Morrison
The poetics of decomposition are the haunting, thrilling and, in the case of his latest feature, Dawson City: Frozen Time, historically revelatory stuff of the cinema of Bill Morrison. In varying degrees and across films like The Miner’s Hymn, The Great Flood and Decasia — the latter dubbed “the best film ever made” by Errol Morris — Morrison has made the excavation of lost cinematic images both an informative and sensory-impactful experience. In the new Dawson City: Frozen Time, Morrison both dramatizes and draws upon the discovery of over 500 silent era films found iced and buried in a swimming […]
by Scott Macaulay on Jun 9, 2017 -
The American Film Theatre, Another Woman, Cheech and Chong’s Next Movie and More: Jim Hemphill’s Home Video Picks
In the early 1970s, producers Edie and Ely Landau launched the American Film Theatre, a project designed to bring filmed adaptations of great stage plays to the masses. It was a fairly bold idea at the time given the business and technology of distribution: each filmed play would play simultaneously on around 500 screens, for one showing only — something similar to what Fathom Events does today, only without the benefit of digital exhibition. The productions were financed by a combination of corporate sponsorship and subscription ticketing in which audiences bought advance tickets for an entire season of films, like […]
by Jim Hemphill on Jun 9, 2017 -
DP Henry Braham on Shooting Guardians of the Galaxy Vol. 2 with the First Weapon 8K Vista Vision Full Frame Camera
Compared to the rest of the Marvel Cinematic Universe, with its squeaky clean Captain America and solemn United Nations accords, the Guardians of the Galaxy — a rogues’ gallery of smugglers, thieves and assassins — are outliers. Yes, by the end of Guardians Vol. 2 the titular team are two-time galaxy savers. But for Rocket, the genetically enhanced trash panda voiced by Bradley Cooper, that just means they can jack up their rates. Guardians’ departure from the status quo of Marvel’s ever-bloating Avengers coalition – which they will no doubt eventually be subsumed by – extends to behind the camera as […]
by Matt Mulcahey on Jun 8, 2017 -
On Loving — and Panning — Shows in Television’s Renaissance Moment: A Report from the Split Screens Festival
A TV series is like a conversation — or, when a show turns awful, a bad relationship. That was just one observation from a spirited panel, “The Evolution of TV Criticism,” held at Split Screens, the new New York festival that celebrates and explores television in its current “renaissance moment.” Speaking were four well-read critics who represent two generations of TV writers. Matt Zoller Seitz, of New York Magazine and RogertEbert.com (and also the festival’s head programmer), began by saying that he got his start as a critic in 1991 with his first paid byline in the Dallas Olbserver. His debut piece […]
by Audrey Ewell on Jun 7, 2017 -
Oregon Doc Camp: A Weekend in the Woods with Documentary Filmmakers
What happens when 50 documentary filmmakers converge in the woods of Oregon for a long weekend? It sounds like the premise of an episode of Portlandia or a new reality TV show. But Oregon Doc Camp, featuring four days of film talks, screenings, workshops, and campfires at a Silver Fall State Park in Oregon, is something entirely different. It’s a relaxed, non-competitive environment where nonfiction filmmakers can swap war stories, share hard-earned expertise and provide support and feedback. In its fourth year, Oregon Doc Camp, presented by Women in Film Portland from May 18-21, gained momentum with a top-notch lineup of speakers, including editor Kate Amend (The Keepers, The Case […]
by Paula Bernstein on Jun 2, 2017 -
Canon Surprises With the C200
It’s been two years since Canon announced the Canon C300 Mk II and C100 Mk II, and now, with the announcement of the C200, the company has produced an interesting 4K camera that sort of fits between the two models while at the same time offering new features not currently offered on either of them. First, the price. Canon is offering two models; a body only (B) model that will cost about $5,999 and a more complete version with handle, LCD mount and LCD monitor for $7,499. This is a notable departure from the C100/C300, which are currently only sold with […]
by Michael Murie on Jun 1, 2017 -
Cannes Dispatch #4: Thoughts on Prize Winners 120 Beats Per Minute, You Were Never Really Here, The Killing of a Sacred Deer
For the third year in a row, Cannes’s Main Competition jury — this year comprised of jury president Pedro Almodóvar, German filmmaker Maren Ade, and several celebrity industry professionals whose tastes in cinema had never previously been of much concern to anyone — awarded the Palme d’Or to a movie I didn’t much like. Considered by some to be True Cinema’s answer to the Oscars, the medium’s actual most prestigious prize has suffered some blows to its reputation in the last two years after being handed to mediocre films (Dheepan in 2015 and I, Daniel Blake last year) that weren’t […]
by Blake Williams on May 30, 2017 -
DP Sean Price Williams on Shooting 2-Perf 35mm for the Cannes Competition Film Good Time
“Hey, it’s me,” said Sean Price Williams as he walked up to me at the after-party for Josh and Benny Safdie’s simply fantastic Good Time in Cannes last week. It did take me a second to recognize Williams — cleanly shaven, in a spiffy tux and strolling around a Dior-sponsored event for a film in the Main Competition of the Cannes Film Festival. If Williams seemed like a bit of a happy anomaly there, it’s because, like Good Time itself, the DP has ascended to cinema’s most revered platform with work that’s wholly of a piece with the raw, street-level […]
by Scott Macaulay on May 30, 2017
