6301 Results for “Open ”
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“Directors These Days Really Have to Understand the Business of Film”: Producer Christine Vachon in Wroclaw
“I’ve been around so long that I’ve seen the ‘death’ of independent film at least three times” – Christine Vachon, Producing Masterclass Widely regarded as one of the key figures in American independent cinema, Christine Vachon is now well into her fourth decade of film production. Her first feature film as a producer was Todd Haynes’ corrosive, Jean Genet-inspired Poison (1991), which set the tone for the host of fearlessly confrontational films that followed, including Tom Kalin’s Swoon (1992) and Larry Clark’s Kids (1995). In 1996, alongside Pamela Koffler, Vachon co-founded the NYC-based production company Killer Films, which has been […]
by Ashley Clark on Nov 21, 2013 -
“It Found Its Way to Me Exclusively Because of the Title”: Alexander Payne on Nebraska
If Bob Nelson’s screenplay had been called Iowa, Alexander Payne would have never made Nebraska. “It found its way exclusively to me, because of the title,” said the Omaha-born director before a recent sold-out audience at the TIFF Bell Lightbox in Toronto. Indeed, Nebraska could be mistaken for one of Payne’s scripts, since it shares common story elements with The Descendants, Sideways and About Schmidt: a man hits the road to find himself accompanied by a buddy, uncovers painful yet funny revelations about his past, and arrives at peace with his imperfect life. “Who am I really?” asks his heroes. In Nebraska, Bruce Dern […]
by Allan Tong on Nov 20, 2013 -
Filmmaker Grace Lee and Activist Grace Lee Boggs on American Revolutionary: The Evolution of Grace Lee Boggs
“I feel so sorry for people who are not living in Detroit,” says activist icon Grace Lee Boggs, as she stands before a dilapidated cityscape in the opening sequence of American Revolutionary: The Evolution of Grace Lee Boggs. A Marxist and lifelong Hegel disciple, the Chinese-American Lee Boggs gained notoriety in the Civil Rights and Black Power movements, alongside her husband Jimmy Boggs, in the mid-20th Century. Today, she is still ardently devoted to her adopted hometown of more than half a century, galvanizing the local communities in her effort to revive the industrial wasteland that has become of Detroit. […]
by Sarah Salovaara on Nov 19, 2013 -
Brides and Bankruptcy: Making an Independent Feature in Cyprus
The following is a guest post by writer/director Stelana Kiliris, who previously wrote about the pre-production stages on her film Committed. Picture it: a smooth beige 1958 Mercedes convertible parked in the dust; its plush red interior enveloped by layers and layers of white tulle attached to a bride, sitting next to a man in a dark blue suit. Look closer and you’ll see the sun beating down and ice packs tucked in every crevice while a make-up artist furiously dabs at the couple’s faces. The crew swirls around the car as they prepare for the final shot of the […]
by Stelana Kliris on Nov 19, 2013 -
Comic Striptease: Joel Allen Schroeder on Dear Mr. Watterson
In Dear Mr. Watterson, fellow comic-strip artists, eerily adoring fans and apparently serious comic-strip critics pay tribute to Bill Watterson, an enigmatic man whose sly, dexterous mind and remarkably precise hand are responsible for “Calvin and Hobbes,” a brilliant, widely-read syndicated newspaper strip that haunted the pages of America’s most hallowed dailies from the early 1980s through the mid-to-late ’90s. The film, Joel Allen Schroeder’s first, attempts to earnestly and without irony portray the ostensibly profound impact the “Calvin and Hobbes” strip has had on the lives of peculiar subset of American youth. In an era in which the form truly reached a […]
by Brandon Harris on Nov 15, 2013 -
All in the Family: Shawney Cohen on The Manor
The following interview was initially published at the time of the film’s world premiere at Hot Docs 2013. This week, The Manor plays as part of DOC NYC. The titular subject referred to in Shawney Cohen’s debut feature has nothing to do with ladies and lords, but with the Cohen family business – a combo strip club/motel in a small Canadian town. And The Manor has nothing to do with in the ins and outs of the sex industry, so to speak, but with the inner workings of the Cohen family, which includes Shawney’s 400-pound father (who bought the place when […]
by Lauren Wissot on Nov 15, 2013 -
“Magical and Terrifying:” Jeremy Xido on Death Metal Angola
The following is a guest post from Jeremy Xido, the director of Death Metal Angola, which screens at DOC NYC on November 16. A few years ago, I was traveling through Angola researching a film about a railway when I stopped at the only cafe in Huambo, the country’s bombed-out second city, that served a decent cup of coffee. A young man with tiny dreadlocks in a blue button-down Oxford shirt waved me over. I sat with him for a while and chatted. We talked about what I was doing there and I asked him about himself. He said he […]
by Jeremy Xido on Nov 15, 2013 -
10 Picks for the DOC NYC Film Festival
In only its fourth year, DOC NYC feels like an institution. Nestled in the calendar alongside the concluding CPH:DOX (where I’m writing this from Copenhagen) and Amsterdam’s mammoth IDFA, this edition of DOC NYC, under the usual steady hand of artistic director Thom Powers, boasts an even more impressive blend of world and New York-premieres, Gotham-centric special events and panels for both audience and industry. Here are 10 picks, some films I’m excited about seeing along with one I have seen and can highly recommend. Is the Man Who is Tall Happy? In the former category is the world-premiering collaboration […]
by Scott Macaulay on Nov 14, 2013 -
Nebraska — A Hammer to Nail Review
(Nebraska world premiered in competition at the 2013 Cannes Film Festival, where Bruce Dern took home the Best Actor prize. Distributed by Paramount Vantage, it opens theatrically on Friday, November 15th. Visit the film’s official website to learn more.) After seeing Nebraska at this year’s New York Film Festival, I struggled to articulate what about it I found so moving. For days after the screening I could picture it in my mind’s eye: those hard, bright Midwestern landscapes in silver and black. With previous Alexander Payne films what I remembered was dialogue, barbed explorations of character. Literary stuff. But with Nebraska, […]
by Susanna Locascio on Nov 14, 2013 -
Functional Art: Joe Angio on Revenge of The Mekons
The Mekons are the ultimate cult band. They may not have a huge audience, but their hardy host of admirers takes the British-born band and its three-and-a-half-decade history very seriously. The Mekons emerged as U.K. post-punk’s art-school pranksters in the late ’70s, and after major shifts in personnel and approach, eventually evolved into a sort of sonic polyglot encompassing folk, country, world music, and more. Throughout their rough-and-tumble career they’ve maintained a doggedly DIY modus operandi, eschewing complacency and creating more and more fodder for the intensity of their underground acclaim. At the start of 2008, another impassioned admirer, documentarian […]
by Jim Allen on Nov 14, 2013
