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Don’t Tell a Soul, Wrong Turn and The Choirboys: Jim Hemphill’s Home Video Recommendations
The potential for horror films to serve as vehicles for provocative moral inquiry is fully realized in a pair of excellent thrillers new to Blu-ray and DVD from Lionsgate, writer-director Alex McAulay’s Don’t Tell a Soul and the surprisingly original 2021 reboot of the 2003 cult classic Wrong Turn. Both films seem, at first glance, to be routine low-budget programmers, but it quickly becomes apparent that the filmmakers are up to something more ambitious and rewarding than simply jerking the audience around with cheap shock effects. Don’t Tell a Soul follows two young brothers who break into an elderly woman’s […]
by Jim Hemphill on Mar 12, 2021 -
Shot Reverse Shot: The Inheritance Director Ephraim Asili in Conversation with Residue Director Merawi Gerima (Part Two)
(Click here to read part one of Gerima and Asili’s conversation.) Gerima: Since we’re talking about the realities of Black cinema: when you don’t have time or money, a lot of times rehearsal plays an important part. I wanted to ask you about your process with your actors before you got to the studio. Did you have time to rehearse? Asili: Not as much as I would’ve liked, but what we did have, that I would say was even better than rehearsals was, I had written about half of the script, but I had pretty elaborate backstories. So, when I went […]
by Filmmaker Staff on Mar 11, 2021 -
“It’s Kind of Scary to Think About Letting Anyone and Everyone Into the Edit Bay”: Jethica Director Pete Ohs On Twitch Livestreaming His Edit
Drawing from the world of gaming, writer/director Pete Ohs is embarking on a post-production experiment for his pandemic-shot film, Jethica: live-streaming his edit. “I know that YouTube is overflowing with editing and software tutorials but I’ve never heard of anyone actually editing a movie live,” he writes in an email, and I can’t think of anyone who has done this either. Beginning this week, Ohs is using Twitch to transmit his editing screen as well as webcam footage of himself behind the console, allowing viewers to track his process cut-by-cut. “I imagine the audience for this stream is going to […]
by Scott Macaulay on Mar 11, 2021 -
SFFILM Announces Recipients of 2021 Dolby Institute Fellowships
SFFILM in partnership with Dolby Institute announced today the two films and filmmakers who will receive 2021 Dolby Institute Fellowships. Kobi Libii, known for his work on Comedy Central’s The Opposition with Jordan Klepper, and Beth de Araújo, a 2017 Filmmaker 25 New Face, will receive creative and industry guidance as well as a cash grant enabling them to work with a sound designer at the screenwriting stage — something that’s near unheard of in independent film. “Fellows also gain post-production support, with comprehensive sound design, a Dolby Atmos mix, and Dolby Vision color correction and mastering support,” reports SFFILM […]
by Scott Macaulay on Mar 10, 2021 -
“The Second Movie I Operated On”: Camera Operator Lou Barlia on Love Story
When I revisited the classic tearjerker Love Story last month, I was struck by the intimate connection between the actors and the camera; at every given moment, Ryan O’Neal and Ali MacGraw’s doomed young lovers seemed perfectly showcased for maximum emotional impact, every gesture and expression captured from the proper distance and in perfect proportion from shot to shot—undoubtedly one of the reasons the film was the most popular of its year (1970), whether audiences were conscious of the delicacy of the framing or not. What’s all the more impressive about Love Story’s camerawork is how off the cuff some […]
by Jim Hemphill on Mar 10, 2021 -
Shot Reverse Shot: The Inheritance Director Ephraim Asili in Conversation with Residue Director Merawi Gerima (Part One)
As I wrote last year in my 25 New Face profile of Ephraim Asili, his first feature, The Inheritance, begins when “Julian (Eric Lockley) moves into his late grandmother’s house and initiates an experiment in Black collective living. The influence of Jean-Luc Godard’s La Chinoise, evident in the film’s poster onscreen and the house’s boldly painted walls, is mixed with Asili’s personal memories of Philadelphia’s MOVE members (the Philadelphia native first met them as a teenager) and living in a Black Marxist collective. Shot, per Asili’s usual practice, on 16mm, The Inheritance marks a shift from overtly experimental to essentially narrative work. […]
by Filmmaker Staff on Mar 10, 2021 -
Back to One, Episode 145: Julia Sarah Stone
You’re about to hear the name Julia Sarah Stone quite a bit. The young Canadian acting phenom is turning Hollywood heads with a focused talent and poise well beyond her years. Her latest movie, the unique sci-fi thriller Come True, which has been wowing audiences at festivals, is opening Friday March 12th from IFC Midnight. In this episode, she talks about the “playable” characteristic that helped her performance in that film, the traps actors easily fall into when they lay in the emotion while losing sight of basic aspects such as motivation, and why she always wants to be a […]
by Peter Rinaldi on Mar 9, 2021 -
“In a Strange Way, the Film Feels Absolutely New to Me”: Director Tom DiCillo on the Release of the Director’s Cut of His 2006 Feature, Delirious
Set in and around New York’s meatpacking district in the mid-aughts, Tom DiCillo‘s 2006 drama/comedy Delirious is a film about mercenary paparazzi, venal agents and managers, and the commercial manufacture of fame. That said, the picture, available now on Blu-ray and digital platforms in an official directors cut 15 years after its release, is surprisingly sweet. Set well before Instagram and TikTok created new categories of celebrity, Delirious depicts a world where genuine human emotion can co-exist amidst planted Page Six items and staged photo calls. In a rich performance snapping from broad comedy to lacerating self-pity Steve Buscemi plays Les […]
by Scott Macaulay on Mar 4, 2021 -
Pre- and Post-Pandemic Rohmer: Ryūsuke Hamaguchi on Berlinale 2021 Premiere Wheel of Fortune and Fantasy
Even after two of his features were derailed by the pandemic, Japanese director Ryūsuke Hamaguchi had a busy 2020. After breaking out with his 2016 film Happy Hour, Hamaguchi returned in 2018 with what he described as his first “commercial film,” Asako I and II, as opposed to a smaller, independent production. Adapted from a Haruki Murakami short story, Drive My Car is Hamaguchi’s current “commercial” project, while the smaller-scale Berlinale 2021 premiere Wheel of Fortune and Fantasy is his smaller, independent film. (When not in production on these films, Hamaguchi, along with director Kōji Fukada and two of his Happy Hour producers, helped spearhead a […]
by Vadim Rizov on Mar 4, 2021 -
Sundance Institute Announces Its 2021 Sundance Screenwriters Intensive Fellows
The Sundance Institute announced today the 11 screenwriters who will participate in the Institute’s ninth annual Screenwriters Intensive, which will take place digitally this year on March 4-5, 2021. Writes Ilyse McKimmie, Deputy Director, Sundance Institute Feature Film Program in a press release, “the Intensive is a two-day workshop for emerging independent writers and writer/directors developing their first fiction features. This cohort of artists from traditionally underrepresented communities will have the opportunity to interrogate their stories and refine their artistic practice, all under the guidance of established writers and the Institute’s Feature Film Program, led by me and the program’s Founding […]
by Scott Macaulay on Mar 4, 2021
