6294 Results for “Open ”
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Warhol v. Goldsmith: a Narrow Decision Preserves Fair Use As We Know It for Filmmakers
Fair use, a crucial right. Since 2005, when documentary filmmakers created their Documentary Filmmakers Statement of Best Practices in Fair Use, fair use has become settled industry practice. Fair use is what lets people quote from their culture for free, in the right circumstances. Ring tone in the scene? Paintings in the background? Want to use news clips to highlight the importance of events in the film or a stanza of a song you’re talking about? Check first to see if fair use applies; it very well might. Insurers cover fair uses, too, because they know the risk is low. Fair […]
by Patricia Aufderheide, Brandon Butler and Peter Jaszi on May 25, 2023 -
“Sometimes the Present Erases the Past, and Sometimes the Past Erases the Present”: Steve McQueen on His Cannes-Premiering Occupied City
Tourists in Amsterdam typically stop at the Anne Frank House, but the ever-moving conga line of visitors tends to work against reflecting on the reality of its rooms. Steve McQueen’s Occupied City opens up a space for contemplation of a hundred-plus houses, buildings, and other sites across Amsterdam that are marked by World War II and the Holocaust in some way, tracing scars and trauma that may no longer be visible, much less widely known. Informed by an illustrated book by McQueen’s partner, Bianca Stigter (who directed Three Minutes: A Lengthening), it’s a living atlas: scenes of pandemic-era Amsterdam, overlaid […]
by Nicolas Rapold on May 25, 2023 -
Cannes 2023: Lisandro Alonso on Eureka
Lisandro Alonso’s Eureka, which premiered as a Special Screening at this year’s Cannes, begins as a parodic reworking of the filmmaker’s last feature, 2014’s Jauja. There, Viggo Mortensen played a Danish captain crossing inhospitable Argentinian territory in the 1880s with his daughter (Viilbjørk Malling Agger), while encountering what from his perspective are “natives” to be fearfully avoided; Eureka renders that feature’s “not without my daughter” elements as a black-and-white Western set in an indeterminate any-Western-town of America. Mortensen and Agger are once again father-and-child, but this time he’s a considerably dirtier and more disreputable cowboy type. In impeccable academy-ratio black-and-white with rounded […]
by Vadim Rizov on May 24, 2023 -
Three Bullets in the Gun: Paul Schrader on Master Gardener
If a screenplay packs a big reveal, in which everything you think you know about the lead character is immediately upended, does the film live and die by its twist? Or is it even considered a twist when said reveal arrives 20 minutes into a 112-minute feature? Paul Schrader’s latest, the intentionally provocative but surprisingly gentle (for a Paul Schrader movie) Master Gardener, is not a film that lives or dies by what you know going into it, but, as is the case with most of his offerings, I’d advise you to not look up more than your local showtimes. […]
by Erik Luers on May 23, 2023 -
Cannes 2023: Asteroid City
The negative talking points around Wes Anderson—too twee, airlessly production-designed, an aesthetic in search of emotions—have metastasized thanks to a wave of AI-generated trailers of movies “in his style” (Lord of the Rings, The Matrix, Star Wars—no, I’m not linking!) that seemingly prove computer fake can be just as bad as the real thing. I wish I could credit the tweet I saw (and should’ve fav’d) which pointed out that maybe part of the reason Anderson’s aesthetic is the only one being repeatedly run through the AI mill is because even a barely-film-literate coder can figure out its basic components, as codified in […]
by Vadim Rizov on May 23, 2023 -
“If You’re Gonna Do It, DO IT. And Maybe It’s Wrong, and That’s Fine”: Owen Teague (Back To One, Episode 254)
Owen Teague is only 24, but he’s already had an opportunity to show his range as an exceptional young actor in shows like Bloodline, Black Mirror, and The Stand, and films like To Leslie, Montana Story, and the new Nicole Holofcener film, You Hurt My Feelings (which opens Friday, May 26th). On this episode, he talks about gleaning “a lot” from the great actors he’s worked with, knowing when to “separate yourself,” the importance of feeling scared but not intimidated, discovering how central a character’s physicality is for him, plus much more! Back To One can be found wherever you get your podcasts, including Apple Podcasts, […]
by Peter Rinaldi on May 23, 2023 -
Cannes 2023: The Zone of Interest, Killers of the Flower Moon, May December
Jonathan Glazer’s The Zone of Interest, instantly hailed as a masterpiece upon the conclusion of its first screenings in Cannes last Friday, finds the British filmmaker once again engineering a vehicle with which to burrow beneath viewers’ skin. After opening his previous film, an adaptation of Michel Faber’s 2000 sci-fi novel Under the Skin, with an on-screen reminder of cinema’s intrinsic visuality—darkness, then pulsating orbs and, finally/explicitly, a dilating pupil—here Glazer turns to the aural. Another literary adaptation (this time of a work by Martin Amis, who died of oesophageal cancer the same day Glazer walked the red carpet), The […]
by Blake Williams on May 22, 2023 -
Cannes 2023: The Goldman Case, The Delinquents
On trial in 1975 for three robberies, plus a fourth in which he’s accused of also killing two people, Pierre Goldman (Arieh Worthalter) makes his opening statement, explaining that he’s declining to call any character witnesses because he wants to be judged on the facts rather than emotional appeals. “I will stand before you in my sole innocence,” he declares, “without the pomp or theatricality” that normally accrue themselves to trials, “which disgust me.” This is very funny given that what follows is a true-story courtroom drama of nonstop rhetorical flourishes and screaming matches between opposing counsels, witnesses, the jury […]
by Vadim Rizov on May 19, 2023 -
Cannes 2023: Jeanne du Barry, Monster, Youth (Spring)
Maïwenn’s Jeanne du Barry, the opening film of this year’s Official Selection, is at least the eighth feature-length biopic to center around Louis XV’s final maîtresse-en-titre, and the first significant film to feature her as a prominent character since Sofia Coppola’s famously booed 2006 Palme d’Or contender, Marie Antoinette (portrayed therein by Asia Argento). As with most Cannes openers, Maïwenn’s film is most notable for its cast: Johnny Depp, stunt-cast as Louis XV; Melvil Poupaud as the Count du Barry; and Maïwenn herself as the titular titillator. The film screened amidst ongoing national protests over pension reform, which almost certainly […]
by Blake Williams on May 19, 2023 -
“A Shifting Metaphor for a Lost Dream of Society”: Srđan Keča on The Museum of the Revolution
Investigating the death of a utopian vision coalesces with a survey of a “developing” dystopian hellscape in Museum of the Revolution, the sprawling, meditative effort from filmmaker, researcher and educator Srđan Keča. Through a series of charming vignettes that are nonetheless thick with human despair (and radical joy in the face of it), Keča’s documentary examines the crumbling remains of the titular edifice in the otherwise rapidly evolving city of Belgrade, Serbia. Construction of the building originally commenced in 1961, and the never-formally-erected Museum of the Revolution was conceived as a grand tribute to then-socialist Yugoslavia. Yet the project was […]
by Natalia Keogan on May 19, 2023
