6294 Results for “Open ”
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“I’ve Never Had a Director Give Me a GIF as a Reference Before”: DP Cristina Dunlap on American Fiction
Music videos have been good to Cristina Dunlap. As a photography-obsessed high schooler, a chance meeting landed the L.A. native a gig shooting stills on a music video. It happened to be for Death Cab for Cutie, leading to a run of jobs with influential directors like Hiro Murai and Ace Norton. After working her way up to the role of cinematographer, a Coldplay video collaboration with Dakota Johnson led to Dunlap shooting a pair of features starring the actress, Am I OK? and Cha Cha Real Smooth, both of which premiered at the 2022 Sundance Film Festival. A music […]
by Matt Mulcahey on Jan 18, 2024 -
Eugene Hernandez and Kim Yutani Talk Sundance 2024 Along with 20 Films We’re Anticipating at the Festival
With its 2024 edition kicking off today, Sundance turns 40. In the words of festival director Eugene Hernandez and director of programming Kim Yutani, this anniversary edition will be a mixture of the old and new—with the heaviest emphasis, of course, on the new. “We sincerely thought it would best honor and celebrate the history and the legacy of the festival by nodding to it and certainly digging into it in a few key spots, but really it’s the looking ahead and discovery that is what Sundance is all about,” said Sundance Festival Director Eugene Hernandez to Filmmaker in an […]
by Scott Macaulay on Jan 18, 2024 -
“We Realized During the Edit That There Were Several Options for the Ending”: Editor Sofi Marshall on I Saw the TV Glow
Suburban teen loner Owen (Justice Smith) is introduced to a late-night TV show shrouded in mystery by a fellow classmate (Brigette Lundy-Paine) in I Saw the TV Glow, the latest genre offering from writer-director Jane Schoenbrun. Dubbed an “emo horror” flick by Sundance programmers, Schoenbrun’s sophomore feature is having its world premiere in Park City this year, where the filmmaker’s buzzy feature debut, We’re All Going to the World’s Fair, similarly premiered in 2021. Editor Sofi Marshall discusses how she became involved in Schoenbrun’s latest project, how the “independent” section of her local Blockbuster catalyzed her filmic career path and […]
by Filmmaker Staff on Jan 18, 2024 -
“Anyone That Watched the Early Cuts Had the Same Reaction”: Editors Dashya Broadway and Jon Higgins on Your Monster
In Caroline Lindy’s debut feature, an actress’s life quickly bottoms out, only to be rebuilt with the help of a monster living in her closet. Premiering in Sundance’s Midnight section, Your Monster, an adaptation of Lindy’s own 2020 short, nevertheless finds itself frequently in the vein of a rom-com. Below, editors Dashya Broadway and Jon Higgins talk about finding the right tone for a story that has a little bit of everything and making sure they didn’t leave the audience waiting for too long. See all responses to our annual Sundance editor questionnaire here. Filmmaker: How and why did you wind up […]
by Filmmaker Staff on Jan 18, 2024 -
“Each Day Was a White-Knuckle Ride”: DP Ryan Kernaghan on Kneecap
In Kneecap, Rich Peppiatt depicts the rise of the eponymous Belfast-based rap trio, who have become unlikely leaders of a movement to save the Irish language. The 2024 Sundance premiere is the festival’s first ever Irish language film, as well as the first film from outside the United States to screen in the NEXT section. Below, cinematographer Rich Kernaghan explains how he found a visual language for the film and how the crew managed such an ambitious location shoot on such a tight schedule. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind […]
by Filmmaker Staff on Jan 18, 2024 -
“We’d Have These Practical Conversations About How Sex Would Be Achieved in These Costumes”: Costume Designer Holly Waddington On the Historical Rule-Breaking of Her Work in Poor Things
A feminine coming-of-age film by way of Frankenstein, Yorgos Lanthimos’ gorgeously designed Poor Things follows Bella Baxter (Emma Stone), an unhappy and suicidal woman brought back to life by the enigmatic scientist Baxter (Willem Dafoe), and then embarking on a feminist journey of equality and sexual liberation. Bella’s voracious appetite for all the colors of life and sex (as well as Lanthimos’ signature maximalist touches) infuses Poor Things with boundless exuberance, matched by costume designer Holly Waddington’s extraordinary work—both late-19th-century, and fiercely modern and rule-breaking. “I realized that I would need the clothes to really move with her, not just […]
by Tomris Laffly on Jan 15, 2024 -
“David Initially Said, ‘What if We Do the Whole Movie Handheld?'”: DP Erik Messerschmidt on The Killer
The Killer begins with an assassin (Michael Fassbender) in a half-completed WeWork office awaiting the arrival of his latest target. As he waits, he details his vocational mantras for the audience in voiceover: stick to the plan. Don’t improvise. Never yield an advantage. Forbid empathy. Fassbender proceeds to miss his shot and spends the rest of the film breaking each and every one of those tenets in the chaotic aftermath. Many of the pieces written about the film have pointed out perceived similarities between the film’s methodical, detail-oriented titular character and the perfectionist reputation of its director, David Fincher. However, […]
by Matt Mulcahey on Jan 11, 2024 -
“Victim Cinema is for People that are Convinced”: Felipe Gálvez on The Settlers
The Settlers simulates several different types of Westerns without committing to one mode. The set-up of Felipe Gálvez’s first feature is classic: Scottish soldier MacLennan (Mark Stanley), American mercenary Bill (Benjamin Westfall) and their Chilean mestizo guide Segundo (Camilo Arancibia), who’s been pressed into service from a chain gang, are sent on a mission by landowner José Menéndez (Alfredo Castro). Making their way on horseback across the Chilean landscape, the three are captured in long zooms and accompanied by the booming tympani of Harry Allouche’s orchestral score. If that music places The Settlers somewhere in the realm of ’50s westerns, […]
by Filmmaker Staff on Jan 11, 2024 -
2023 in Review: 5 Quick Tech Takeaways from September’s New York Film Festival
Those of us who live in New York are treated each fall to a Whitman’s Sampler of world cinema, a curated selection of highlights from some of the year’s most prestigious international festivals. It’s hardly a large sample size, given the annual output of theatrical films worldwide, but it’s a weathervane nonetheless. Which way were the winds blowing this year? Take what I say below with a grain of salt. I saw 27 feature films at NYFF 61, out of the 44 selections programmed in the Main Slate and Spotlight sections. A modest sample within a modest sample, in other […]
by David Leitner on Dec 31, 2023 -
Filmmaker‘s 20 Most Read Articles of 2023
My annual exercise in what our audience — as well as our “audiences,” the latter term used to refer to the concoction of first and possibly last-time readers driven to our site by algorithmic determinism and SEO “best practices” — is always a mixture of the predictable and the unexpected. Regular features like our 25 New Faces series and Vadim Rizov’s survey of 35mm production always show up, as do articles by our excellent columnist Matt Mulcahey and podcaster Peter Rinaldi. I was particularly happy to see this year on the list two pieces that were especially deeply researched and […]
by Scott Macaulay on Dec 28, 2023
