6296 Results for “Open ”
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Cannes 2024: Furiosa, Bird, Kinds of Kindness, Universal Language
The deficiencies of George Miller’s Fury Road prequel, Furiosa: A Mad Max Saga—many of which have, unsurprisingly, been given a pass—echo my broader sentiments towards this year’s Cannes, at least from where we sit just past the halfway point. In Furiosa’s opening minutes, we’re informed via voiceover of the great struggles facing its world: pandemics, famine, climate catastrophe. Offering a supplementary narrative of broader relevance, it’s a table setting of topicality that’s wholly unnecessary to the film’s primary, surface pleasures. Many of this year’s Palme d’Or contenders, too, have felt like showcases for Contemporary Issue X rather than works of […]
by Blake Williams on May 22, 2024 -
“We’re Very Preoccupied with Making Personal Arthouse Features”: With Two Films in Cannes, Carson Lund and Tyler Discuss Production Company, Omnes Films
When Filmmaker featured the startup film collective Omnes Films in our 2021 25 New Faces list, the L.A. outfit’s first two microbudget features — Jonathan Davies’ Topology of Sirens and Tyler Taormina’s Ham on Rye — had both premiered at festivals and received U.S. releases from Factory 25, its members had produced shorts and music videos, and new features were in the works. One of the few companies or collectives to land on our list over its history, Omnes impressed us with not only the quality of the films but the ambition — and optimism — evinced by a group […]
by Scott Macaulay on May 21, 2024 -
Cannes 2024: Megalopolis
Now that Megalopolis has premiered, nothing has actually changed. The film is a self-consciously impractical act that few would care nearly as much about if it weren’t very publicly known to have cost $120 million of Francis Ford Coppola’s personal money. That’s the kind of extravagant gesture you don’t get to ever see on this scale, and hence destined to be praised for being willed into existence amidst a sea of algorithimically conceived risk-aversion—or, alternately, decried as a hubristic folly in the trades with a palpable subtext of “how dare he?” Megalopolis is praiseworthy for mostly predictable reasons: lavish eccentricity, […]
by Vadim Rizov on May 17, 2024 -
Cannes 2024: The Second Act, An Unfinished Film and Wild Diamond
“Last year, as you know, we had a few polemics,” admitted Cannes General Delegate Thierry Fremaux at the opening of the 77th edition on Tuesday. “This year we decided to host a festival without polemics to make sure that the main interest for us all to be here is cinema.” With ignorance this willful, you have to laugh. Cannes has gotten so used to sweeping its problems under the rug that no one seems to know when, how, or if the Sous les Écrans la Dèche strike–-which would affect some 200 projectionists, programmers, floor managers, and press officers working the […]
by Blake Williams on May 16, 2024 -
“We Question Together Hyper-Masculinity in Life as Well As In the War Movie Genre”: Roberto Minervini on The Damned
In The Damned, Roberto Minervini embeds us with Union Army soldiers ranging across the Western front in 1862, far from the battlegrounds in the East but no less at risk. But when you direct a Civil War movie in 2020s America, it can be hard for audiences to view it as solely a fictional matter, especially when you’ve previously directed two of the most revealing documentary cross-sections of the United States in the last decade, The Other Side (2015) and What You Gonna Do When the World’s on Fire (2018). It’s possible to watch The Damned as a rugged journey […]
by Nicolas Rapold on May 16, 2024 -
Cannes 2024: This Life of Mine, On Becoming a Guinea Fowl
At dinner my first night at this year’s Cannes, a friend asked our waiter if this was his restaurant’s busiest time of year. Not even close; that would be MIPIM, “the world’s leading real estate market event,” taking place in March and drawing 26,000+ people—a number handily dwarfing the 13,000+ market attendees, plus assorted press and filmmakers, at last year’s festival. It was a useful perspective check: if Cannes is roundly conceded the status of world’s biggest film festival when all components are accounted for, that doesn’t mean too much in the global scheme of things, where cinema, as we […]
by Vadim Rizov on May 16, 2024 -
“You Have to Make it All Personal”: Tom Pelphrey, Back To One, Episode 291
Since he was last on the podcast (Ep. 112), Tom Pelphrey has been nominated for an Emmy for his work on Ozark, he’s had juicy roles on Outer Range and David E. Kelly’s Love and Death, and now Kelly has given Pelphrey perhaps his most exciting role to date in the character of Raymond Peepgrass in Netflix’s A Man In Full. On this episode, Pelphrey takes us deep into his work on that limited series. He talks about why a good costumer designer is an actor’s best friend, what made him feel free to go “full weird” with Regina King, […]
by Peter Rinaldi on May 15, 2024 -
15 Films Not to Miss at the 2024 Cannes Film Festival
Amidst wi-fi and cellular outages, a threatened workers’ strike, and dialogue around the #MeToo movement in France, the 77th edition of the Cannes Film Festival is underway. For Filmmaker, Vadim Rizov and Blake Williams are both back with on-the-ground reports and Critics Notebooks, and we begin with this list of 15 films that might be sliding under your radar. You don’t need us to recommend Coppola’s Megalopolis, Schrader’s Oh Canada, Cronenberg’s The Shrouds or any of the other titles from the higher-profile auteurs. Instead, we’ve focused here on debuting directors, U.S. independents, and arthouse auteurs who have dazzled us with […]
by Scott Macaulay on May 15, 2024 -
Festival Report: The 2024 Maryland Film Festival
Baltimore filmmakers and audiences commingled in and around the historic Parkway Theater at the physical center and symbolic heart of the city from May 2 – 5 for the 25th anniversary edition of the Maryland Film Festival (MdFF). When MdFF announced in 2022 that they would be ceasing operations the following year, including all screening activity at the Parkway (its home since the renovations finished in 2017), I thought the fest could go the way of so many things in the city’s arts district, Station North: quiet abandonment and disrepair. It is a testament to the institutional strength of the […]
by Alex Lei on May 15, 2024 -
“You Can’t Go Into Your Hometown and Not Shoot Cinemascope”: Writer/Director Adam Rehmeier on His Early ’90s Nebraska-Set Comedy, Snack Shack
The logline for Snack Shack—two teenaged best friends spend the summer of 1991 working at a community pool food stand and get up to shenanigans—suggests a hyper-generic “one crazy summer”-type coming-of-age flick, but the film distinguishes itself with specifics almost immediately. It opens with AJ (Connor Sherry) and Moose (Gabriel LaBelle) at an off-track betting parlor intently watching the races with lit cigarettes dangling from their mouths. They exchange gambling strategies and profane insults before deciding to bet their new winnings on one more long-shot race. They hit big, but upon leaving they see someone swipe their cab, making it […]
by Vikram Murthi on May 14, 2024
