6296 Results for “Open ”
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Chayse Irvin on Shooting Blonde in Digital Black and White and God’s Creatures in 35mm Color
This week, Netflix’s Blonde and A24’s God’s Creatures head to streaming and theaters, respectively. The digitally-shot Blonde is a highly stylized look at the life of Marilyn Monroe, shifting aspect ratios and alternating between color and monochrome while employing extreme wide angle lenses, body cam mounts, infrared and more to expressionistically convey Monroe’s perspective. God’s Creatures is the antithesis—austere and somber, captured on 35mm, with an observational point of view distanced from the main characters, a mother in a small Irish fishing village whose life crumbles after providing a false alibi for her son. The films do share one thing in common—cinematographer […]
by Matt Mulcahey on Sep 29, 2022 -
Fincher Upstairs, Raimi Downstairs: DP Zach Kuperstein on Barbarian
On a rainy night in a rundown Detroit neighborhood, Tess (Georgina Campbell) arrives at her Airbnb rental only to find the abode double booked and Keith(Bill Skarsgård) already nestled comfortably inside. That’s about all Barbarian’s refreshingly cryptic trailer gives you, along with a few glimpses of the subterranean terror that awaits. So, that’s all I’m going to give away about the plot as well, other than to say that whatever you expect from Barbarian after its first act is most decidedly not what you’re in store for. With the movie in theaters, cinematographer Zach Kuperstein spoke to Filmmaker about recreating […]
by Matt Mulcahey on Sep 22, 2022 -
Moara Passoni on the Origins of the Brazilian Filmmakers Collective
Today the short film streaming platform Argo launches two new playlists of films by eight members of the Brazilian Filmmakers Collective. Below, Moara Passoni, one of Filmmaker‘s 25 New Faces, discusses the genesis of the group. — Editor Toward the end of 2013, I moved to New York to launch director Petra Costa’s first feature-film Elena. At the time, we used to joke that we were “the incredible army of Brancaleone” — young Brazilians, mostly women, out to conquer Hollywood. We managed a thumping opening weekend, but it didn’t go far beyond that. That would all change some years later, […]
by Moara Passoni on Sep 22, 2022 -
“A Club You’ve Always Wanted To Be a Part Of”: Abigail Disney and Kathleen Hughes on DCTV Firehouse Cinema’s Inaugural Film The American Dream and Other Fairy Tales
Founded in 1972, DCTV (Downtown Community Television Center) has the distinction of being one of the rare permanent cinema landmarks in NYC. Housed in a striking firehouse on Lafayette Street in Chinatown, the non-profit media center has long been the one of the most prominent documentary production and film education centers in the country. After a storied legacy of hosting various educational programs, folding-chair screenings, master classes, panel discussions and Chinatown-specific community events, on its 50th anniversary the building will now finally house its own specialized cinema. “We don’t make films for ourselves, we make films for people to see […]
by Natalia Keogan on Sep 22, 2022 -
“Keeping Track of the Blood Continuity was a Constant Thing”: Rebekah McKendry on Glorious
An unwritten rule of public restroom usage is that one should never attempt to strike up a conversation with the person one stall over, and that’s doubly true if the person next to you is an all-powerful god sent down from the cosmos. After a night of grieving and binge-drinking leads to hugging the toilet bowl at a gross rural rest stop, Wes (Ryan Kwanten) finds himself in that scenario when the person in the stall introduces themselves. That person is nothing more than a voice funneled through a gloryhole, but what that voice requests of Wes (and why) raises […]
by Erik Luers on Sep 21, 2022 -
The Gotham Film & Media Institute Appoints Four New Members to Board of Directors
With the 2022 Gotham Week Conference and Expo just a few days away, The Gotham Film & Media Institute (formerly IFP, and Filmmaker’s publisher) has announced four new members to its Board of Directors. Joining the organization are actor Jonathan Majors, actor Stephanie March, entrepreneur and women’s advocate Dee Poku, and entertainment strategic marketing and PR executive Lisa Taback. “We are thrilled that these four brilliant media and entertainment veterans are bringing their unique perspectives and expertise to The Gotham’s board,” Jeffrey Sharp, Executive Director of The Gotham Film & Media Institute, said in a press release. “As we find […]
by Filmmaker Staff on Sep 16, 2022 -
“I Tried to Make the Film So Everyone Can Find Their Own Bowie”: Brett Morgen on Moonage Daydream
Documentary innovator Brett Morgen once again pushes the boundaries of creative non-fiction filmmaking with his latest doc, Moonage Daydream. Morgen was given access by the artist’s estate to over five million works in the archive — music, film clips, artwork, musings, interviews, photographs and recordings, some of which have never before been seen or heard. The resulting two hour and 20 minute-long film is a kinetic, sometimes euphoric tribute to Bowie and his multitude of stage personalities, career offshoots, and personal reflections. As with his other archive-based work (Jane, Cobain: Montage of Heck), Morgen’s approach is unconventional. Utilizing some of the alternative forms […]
by Tiffany Pritchard on Sep 15, 2022 -
“What if the Worst Thing That Could Happen Actually Happened?”: Director/Co-writer Christian Tafdrup on Speak No Evil
Two European families—one Danish, one Dutch—meet during a picturesque Italian vacation in Christian Tafdrup’s Speak No Evil. Their bond is immediate, and soon enough the Dutch couple enthusiastically invite the Danes to visit them in Holland. The gesture is friendly enough, but the sincerity of the statement isn’t necessarily taken at face value. Shortly after the Danes—Bjørn (Morten Burian), Louisa (Sidsel Siem Koch) and their daughter Agnes (Liva Forsberg)—return to their well-kept abode, they receive a postcard in the mail. As it turns out, the Dutch family was completely serious about their offer, inviting them to visit their home in […]
by Natalia Keogan on Sep 14, 2022 -
“It’s Not Funny if It’s Not Bright”: Greg Mottola on Confess, Fletch
I read Confess, Fletch for the first time in high school and, ever since, it’s remained a personal favorite. That often surprises people when I tell them that, not least because the name “Fletch” is less associated with Gregory Mcdonald’s genuinely funny novels than Chevy Chase’s considerably goofier incarnation of the journalist-sleuth in 1985’s Fletch and 1988’s Fletch Lives. The original Fletch adaptation essentially retains the structure and basics of Mcdonald’s original but changes the tone to better suit Chase. For better and worse, Mcdonald’s books string together often hilarious dialogue exchanges with aspirationally Hemingway-esque connective prose; they work better when the emphasis is on […]
by Vadim Rizov on Sep 14, 2022 -
TIFF 2022: Glass Onion, The Maiden
One argument for the eternally vexed question “Why film festivals?” might be “To watch Netflix movies in a theater.” The streamer does, of course, theatrically release some of its prestige titles but, because of its refusal to accommodate 90-day windows, has effectively barred itself from wide releases. Since I live in New York City, I can go see all of Netflix’s big titles when they come out with ease thanks to their acquisition of the Paris Theater, which isn’t all bad: while some of the programming is grimly reserved for week-long runs of titles like Red Notice, there’s room for pleasant […]
by Vadim Rizov on Sep 13, 2022
