6300 Results for “Open ”
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Week One at the Edit Center
Over the next six weeks director and Filmmaker contributor Alix Lambert is taking The Edit Center’s course in feature film editing. This is the first of her weekly blogs on her experience. — Editor As a director, I have sat in the editing room for the better part of two decades. My long-time friend and brilliant editor, Hannah Neufeld has talked my off the ledge, dissuaded me from many bad ideas, and brought her own keen eye and internal rhythm to projects that we have worked on together over the years. Other editors (notably David Ritsher) have done the same […]
by Alix Lambert on Sep 26, 2011 -
IFW: BELARUS COMES TO FILM WEEK
My name is Madeleine Sackler, and I’ll be blogging on my first time bringing a film to IFW’s Spotlight on Documentaries. I’m looking forward to seeing how the week goes! For now, a little on the film. Unstable Elements is my second feature, and it’s been an entirely different experience than any film I’ve worked on in the past. Of course, every documentary is different, which is one of the reasons I love what I do, but this has been a particularly challenging process. Unstable Elements tracks an underground resistance group called the Belarus Free Theater, which exposes problems with the […]
by Madeleine Sackler on Sep 22, 2011 -
“WEEKEND” — A HAMMER TO NAIL PICK
(After world premiering at the 2011 South By Southwest Film Festival where it won an Audience Award, Weekend was picked up for distribution by Sundance Selects. It opens theatrically in New York City on Friday, September 23, 2011, before expanding to more cities in the coming weeks. It’s also available through cable VOD for three months beginning on September 30th. Visit the film’s official website to learn more.) It is Independent Film Week in New York City. As this is the first time that I’ve personally been involved in IFP’s annual program to the extent that I have (I’m pitching […]
by Michael Tully on Sep 22, 2011 -
An Interview with Shit Year‘s Cam Archer
This post was originally published when Shit Year premiered at the Cannes Film Festival in 2010. The film opens today at the IFC Center. It is both accurate and reductive to call Cam Archer’s Shit Year, which premiered at this year’s Cannes Film Festival in the Director’s Fortnight section, the story of a retiring actress grappling with the emotions produced by her move away from the Hollywood spotlight. Of course, on narrative terms, that is what it’s about. Ellen Barkin plays the actress, who has just given her final talk-show interview, moved to a cabin in the woods, and now […]
by Scott Macaulay on Sep 21, 2011 -
PLATFORMS, PMD’S & PERPETUATING OBSCURITY
Our innovation is stagnant. Stagnant and boring. Really. Boring. The movies themselves are one thing having long been locked into a race to the bottom with their Hollywood counterparts in an often times futile effort to just be noticed, but most stagnant and boring is the proliferation of new ‘platforms’ on which filmmakers can ‘launch’ their careers. Everywhere I look there is some new upstart looking to get into the digital distribution realm touting how their platform puts the power in your hands and provides a direct gateway for your film to reach an audience. A claim which, of course, […]
by Gregorybayne on Sep 19, 2011 -
IFW: “OUR NIXON”
Next week, my husband Brian and I will take our first documentary feature (Our Nixon) to Independent Film Week. I’ve never been to this event before, or to anything remotely like it, so I would describe my state of mind as Excited Anticipation, tinged with a slightly lesser amount of Bemused Bafflement. For the uninitiated, here is the little that I know about Independent Film Week (I should say more specifically the Project Forum): if you are selected by IFP to participate, you upload information about your film to a top secret server run by elves, and then various species […]
by Penny Lane on Sep 19, 2011 -
The Blue Velvet Project, #19
Second #893, 14:53 In the early days of silent cinema, text and image coexisted, as intertitles directed viewers how to read a film, literally. In the best of these films, intertitles not only conveyed narrative information, but suggested possibilities of reading that allowed for the viewer to construct her own meaning from the relationship between text and image. In Blue Velvet, the LINCOLN street sign, which functions almost like an insert shot, is its own form of postmodern intertitle. [Christian Metz: “When approaching cinema from the linguistic point of view, it is difficult to avoid shuttling back and forth between […]
by Nicholas Rombes on Sep 19, 2011 -
IFW: “PAVILION” DIRECTOR TIM SUTTON #1
My film needs a tag line. Well, that’s not all it needs. It needs an audience. No, too daunting, stick with the tag. Independent Film Week opens today and the wandering tribes of indie film will break bread. I bring with me a newly minted cut of Pavilion, an ethereal narrative feature film about the mystery of youth, and a fistful of cautious optimism. After processing the first leg of the IFP Narrative Lab in June, some editing tweaks, a couple of living-room screenings and a sweetened score by my collaborator Sam Prekop, the film is ready. Version Industries is […]
by Tim Sutton on Sep 17, 2011 -
TORONTO PHOTOS AND NOTES, #2
For several people I talked to, my favorite film at Cannes became their favorite film at Toronto. Oslo, August 31 is Joachim Trier’s follow-up to his inspiring hit film, Reprise. That movie, a tale of youth and best friends and literature and longing and rock and roll, was smart, sophisticated and with an emotional arc like a great mix tape. It was also somewhat dazzling in its montage, using split-screen, freeze frames and a European post-punk soundtrack to make its story of young Norwegian literati one that felt like young adulthood everywhere. After several years working on a larger-scale American […]
by Scott Macaulay on Sep 17, 2011 -
TIFF 2011: THE YEAR OF THE DOC?
The buzz word at this year’s TIFF is “doc.” For the first time in its 35-year history, the Toronto International Film Festival opened with a documentary: Davis Guggenheim‘s From The Sky Down, which profiles the world’s most popular rock band, U2. Filmgoers and critics are also buzzing over Crazy Horse, by verite legend Frederick Wiseman; Samsara (by Baraka‘s Ron Fricke); Tony Krawitz‘s The Tall Man,; and Girl Model by Ashley Sabin and David Redmon. The doc vibe was in the air on Monday morning at a breakfast launch for Focus Foward. Sponsored by Cinelan and GE, Focus Forward invites big-name documentarians such as Morgan […]
by Allan Tong on Sep 17, 2011
