6303 Results for “Open ”
-
Cannes 2014: Diary of a Party Crasher
(Aaron Hillis’ first two festival dispatches can be read here.) The past 11 days are mighty hazy. Double that number and you’ll not only know how many features I’ve seen at Cannes, but the quantity of cocktail mixers, dance-a-thons, karaoke get-togethers, and other costly promotional soirées littering the Croisette that I came into like a wrecking ball. Only two of them actually invited me, but I don’t get shut out of parties at Cannes. Sometimes cinema can wait. “You’re burning the candle at both ends,” chided one of my Cannes flatmates just now, an industrious journalist who sees more films […]
by Aaron Hillis on May 30, 2014 -
“Why Don’t We All Go Blow Stuff Up?” Kelly Reichardt on Night Moves
In Night Moves, Jesse Eisenberg’s baleful, twitchy intensity finds another fitting incarnation. His Josh is an environmentalist visibly dissatisfied with perceived half-measures who plans to blow up a dam as an act of eco-terrorism-/-activism with the help of ex-Marine buddy Harmon (Peter Sarsgaard) and Dena (Dakota Fanning). To do this, they’ll need to purchase suspicious quantities of ammonium nitrate and buy a boat to pack it into. The middle-aged suburban guy selling his fishing vessel couldn’t be more innocuous in his personal manner, but we see his neighborhood through Josh’s angry eyes: the backyard waterfall is a clear misallocation of […]
by Vadim Rizov on May 30, 2014 -
“Cinema Needs Good Images”: An Interview with Cinematographer Vilmos Zsigmond
Vilmos Zsigmond, ASC was given the “Pierre Angénieux Excellens in Cinematography” award at this year’s Cannes Film Festival. It was a fitting tribute to the 83-year-old director of photography, who chronicled the events of the 1956 Hungarian revolution before leaving his country soon afterwards. In 1962 he became a naturalized citizen of the United States, settling in Los Angeles. During the ’70s Zsigmond established himself as one of the world’s great cinematographers, working on Robert Altman’s McCabe & Mrs. Miller and The Long Goodbye, John Boorman’s Deliverance, and Steven Spielberg’s The Sugarland Express and Close Encounters of the Third Kind, […]
by Kaleem Aftab on May 29, 2014 -
Without Frills
As a teenager going into a movie theater, I was looking for some true reflection of the absurd darkness that had come on seemingly overnight. I was looking for a place to rest my pimples from the light and to be told that others had survived similar such onslaughts. For some before me it was James Dean in Rebel Without A Cause. Molly Ringwald in all them John Hughes movies. Then it was Claire Danes on TV in My So Called Life. But for me, it was the actor Liza Weil in Whatever. I was 19, hadn’t graduated high school, […]
by Noah Buschel on May 29, 2014 -
“I Was Too Young For Punk”: Lukas Moodysson on We Are the Best!
Back in 1998, Swedish director Lukas Moodysson’s debut Show Me Love (original title: Fucking Åmål) offered up a tender story of teenage lesbian love. His follow-up Together, which depicted a troubled commune in the late ‘70s, continued in much the same vein, but starting with his third film, Lilya 4-Ever, his work grew darker and more experimental. The change in tone really didn’t suit him. Fortunately, his latest film, We Are the Best!, is a return to form. It follows three 13-year-old girls in 1982 Stockholm as they form a punk band and try to master one song (a protest […]
by Steven Erickson on May 28, 2014 -
In Trans(media)ition: the Seattle Transmedia Independent Film Festival
After ten years of being the scrappy little guy to the Seattle International Film Festival’s big kahuna, the Seattle True Independent Film Festival has run its course — which is exactly why I decided to visit the tech-addicted city (as a guest of the fest) to check out the outgoing underdog. Rather than pluck along as second fiddle for another 10 years, STIFF has done what I wish more regional festivals would do: rebrand for the future. As of this year STIFF now stands for the Seattle Transmedia Independent Film Festival, putting the focus squarely on “web series, video game […]
by Lauren Wissot on May 28, 2014 -
Clinton Dolls, Guns, and Crawfish: The Little Rock Film Festival
Lauren Wissot’s report from Little Rock last year was titled “Kicking Ass in Clintonland,” and certainly when it comes to varied programming and festival fun, this year was no different. I may have lacked the requisite dexterousness to tackle the über-fresh crawfish, and have yet to unwrap the talking action figure of Bill Clinton in my gift bag, but my schedule was quickly filled with activities from partying on one of Little Rock’s scenic bridges to popping into a workshop on the applications of Google Glass and 3D printing in film. Under the helm of brothers Brent and Craig Renaud […]
by Ela Bittencourt on May 27, 2014 -
“My Film is Not About Juggalos. It is a Juggalo”: Director Scott Cummings on Making Buffalo Juggalos
I’ve given up explaining that Buffalo Juggalos isn’t a documentary. I come from a narrative background but I should make clear that Buffalo Juggalos is not really a narrative film either. Three years ago I decided Buffalo Juggalos would be a 30-minute film, shot on video, composed of thirty shots, each one minute long. The film would be a series of scenes featuring real Juggalos. There would be no interviews or music; if there was dialogue, it would have absolutely nothing to do with being a Juggalo. Even though there are narrative elements throughout, they have been subjugated by the […]
by Scott Cummings on May 27, 2014 -
dana.io Debuts with a New, Low-Cost Crowdfunding Model for Filmmakers
Crowdfunding your film can be fraught with many potential dangers, but one of the most common issues overlooked by first-time crowdfunders is the cost of running a crowdfunding campaign. These costs are varied but can include: the production of promotional assets like campaign videos; the cost of your time for marketing the campaign and supporting your backers; the cost of fulfilling your campaign rewards; and finally the costs of using your crowdfunding platform of choice, Kickstarter, IndieGogo etc. The price of using crowdfunding platforms can be broken down into two key costs: credit card processing fees (normally something between 2-4% of […]
by Kieran Masterton on May 27, 2014 -
Director Amy Scott on Her Upcoming Doc, Once I Was: The Hal Ashby Story
You know the films — Harold and Maude, Coming Home, Shampoo, The Last Detail, and Being There – but little about the man behind them. A quarter century after his death, director Hal Ashby remains one of the more mysterious figures to emerge from the New Hollywood movement. His rise as a director coincided with the brief but glorious period in American cinema when difficult, complex films were actually supported and encouraged by studios. That era came to an end with populist hits like Jaws and Star Wars, shifting the zeitgeist towards blockbusters and making it tough for uncompromising directors […]
by Sara Kaye Larson on May 26, 2014
