6303 Results for “Open ”
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Pintxos and Co-Production Forums: The 62nd San Sebastián International Film Festival
If ever there was a city that embraced variety, San Sebastián is surely it. From its wide boulevards and art nouveau buildings, where Spanish royalty took time off in the 19th century, to its Bay of Biscay beaches that see surfers mixing with families and the higgledy-piggledy Old Town, where every bar is groaning under the weight of creative canapes (pintxos), this is a town that celebrates its own strengths while still being open to adventure. The same could be said of its film festival, which just celebrated its 62nd year and fourth edition under the directorship of José Luis […]
by Amber Wilkinson on Oct 1, 2014 -
Watch: Don Hertzfeldt’s Fantastic The Simpsons Couch Gag
You’re hopefully familiar with animator Don Hertzfeldt’s fatalistic, sinisterly humorous, one-of-a-kind body of work. Last night The Simpsons let him take over the opening couch gag. The result is a phantasmagoric two-minute short that turns the clan into protozoa and reverses the flow of time. It’s very much of a piece with his recent work as anthologized in 2011’s It’s Such a Beautiful Day. Watch Homer chant “I AM SIMPSON!”; deriders of the show’s deathless downward spiral, you’ll be convinced that The Simpsons is still good for something. If you’re not familiar with Hertzfeldt’s work, you should follow that up […]
by Vadim Rizov on Sep 29, 2014 -
Watch: The Eyes of Hitchcock by :: kogonada
Here’s the latest from video essayist :: kogonada, who Scott Macaulay interviewed earlier this week. Beginning, as you might expect, with the zoom into red eyes from Vertigo‘s opening credits and the zoom out from Janet Leigh’s dead eyes in Psycho, :: kogonada captures Hitchcock’s characters’ eyes in states of fear, hypnosis, dawning comprehension et al. This one’s via the Criterion Collection.
by Vadim Rizov on Sep 26, 2014 -
NYFF ’14: Hill of Freedom and La Sapienza
The same trajectory through similar way stations has served Hong Sang-soo equally well from 2004’s Woman is the Future of Man onwards: ill-fated romantic and sexual encounters between men and women fueled and derailed by epic soju consumption, meetings which repeat with a disconcertingly slight degree of difference across the same locations. From such modest materials, the tone has swerved from potentially inconsequential farce (Like You Know It All, In Another Country) to the recent dourness and cyclical/purgatorial futility of The Day He Arrives, Nobody’s Daughter Haewon and Our Sunhi. For detractors, this reliance upon nearly interchangeable plots is an […]
by Vadim Rizov on Sep 26, 2014 -
Down in the Boondocs: The NYFF’s Go-To Films (I)
The expansive New York Film Festival is no longer the greatest-hits affair of three decades back when it was built around 20-25 titles, a majority of which were what had been on display at the previous Cannes. The arrangement was a gift and a curse: manageable, for both journalists and completists, but limited. I remember what a production it was when the fest dared to add a lowbrow Hong Kong movie by one Jackie Chan. Now there are lots and lots of strands, which cover a variety of genres and niche audiences — followers of the avant-garde and new technologies, […]
by Howard Feinstein on Sep 26, 2014 -
Lessons from the Cutting Edge Tour
I spent a half-day at Adam Epstein’s “The Cutting Edge Post-Production Tour” last week. Epstein, who is the editor for the Saturday Night Live Film Unit, has spent the past month and a half traveling the country presenting on how to be a better editor. Unfortunately for me, I couldn’t stay the whole day. Unfortunately for you, the tour ended this week, so you’ve missed it too. If you can come away from an event like this with an actual tip or technique that you start using and with one piece of inspiration to improve how you work, that actually […]
by Michael Murie on Sep 26, 2014 -
Of Prisons and Premieres: The Trinidad and Tobago Film Festival
Away from the top A-list festivals, film festivals generally fall into one of two categories: they either aim to be public festivals and get bums on seats, or in rare cases they try to encourage and develop local filmmakers. Sometimes, like those in the Middle East enclaves of Abu Dhabi and Doha, they have started off as a public festivals and — when the response from the international media or local audiences is not as hoped for — have changed tacks and moved their focus to developing local talent. The Trinidad and Tobago Film Festival is focused on developing Caribbean talent. […]
by Kaleem Aftab on Sep 25, 2014 -
Forever Ally: Adapting Poetry to the Screen
Currently featured on Filmmaker‘s curated Kickstarter page is Forever Ally, a short film by Iyabo Boyd. In this guest post, she writes about her process adapting a work of poetry she discovered one night at a reading. Check out her campaign and consider donating; it ends October 2. Forever Ally follows exchanges between a gay black man named Ronaldo and his recently deceased cat named Ally. Told primarily through lyrical missives between heaven, earth, and Ronaldo’s cat-scratched sofa, the story and characters are unique, offering a nuanced, complex, and genuine approach to ruminations on death, friendship, and opening oneself up […]
by Iyabo Boyd on Sep 25, 2014 -
How to Address the Gender Divide in Filmmaking
Recently, I realized that Kelly Reichardt is the only working American female filmmaker with a body of work I can wholeheartedly exalt. That’s not to say there aren’t plenty of films to admire that are directed by women in this country, but that those films so often stand on their own, as that director’s first and last achievement. There is no “late period” to debate, because these women are rarely making it on to their second or third feature. TV money and exposure factor, sure, but even the standard bearer success story that is Lena Dunham never directed another after Tiny Furniture. Instead, Judd […]
by Sarah Salovaara on Sep 25, 2014 -
Watch: John Waters Talks Female Trouble and his Career with J. Hoberman
“Improvisation is like a face lift: if you notice, it’s bad.” John Waters is typically adroit, on-point and witty in this 25-minute conversation with critic J. Hoberman, conducted at Lincoln Center earlier this month on the opening night of the adeptly titled career retrospective “Fifty Years of John Waters: How Much Can You Take?” Topics of discussion include Waters’ influences, filming Divine in prison, and what it’s like to look back at his past provocations.
by Vadim Rizov on Sep 24, 2014
