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“We Imagined the Queer London of Our Dreams” | Amrou Al-Kadhi, Layla
Films are made of and from places: the locations they are filmed in, the settings they are meant to evoke, the geographies where they are imagined and worked on. What place tells its own story about your film, whether a particularly challenging location that required production ingenuity or a map reference that inspired you personally, politically or creatively? Layla is a film of imagined space. Though set and filmed in East London, home to a vibrant queer scene and history, LGBTQ+ spaces in cities around the globe are currently victim to rapid gentrification. London is no exception. The majority of the […]
by Filmmaker Staff on Jan 18, 2024 -
Trailer Watch: “Never Look Away: Serge Daney’s Radical 1970s,” Film at Lincoln Center’s Forthcoming Series
A seminal French film critic, for too long Serge Daney’s work has been difficult to find in English. Recently published, Footlights is a newly translated (by the formidable Nicholas Elliott) edition of Daney’s important early essays, first published as a collection in French in 1983. Now, Film at Lincoln Center is holding a retrospective from January 26 to February 4 of films discussed in the book. Watch the trailer above, and click here to learn more about the series.
by Filmmaker Staff on Jan 18, 2024 -
“I Knew Right Then the Filmmaking Gods Were Looking Down on Us” | Rich Peppiatt, Kneecap
Films are made of and from places: the locations they are filmed in, the settings they are meant to evoke, the geographies where they are imagined and worked on. What place tells its own story about your film, whether a particularly challenging location that required production ingenuity or a map reference that inspired you personally, politically or creatively? Belfast is more than just a setting of my film Kneecap—it is almost a character itself. It is a city that wears its heart both on its sleeve and on its walls. Colorful graffiti, often politically charged, is everywhere. And for a […]
by Filmmaker Staff on Jan 18, 2024 -
The 2024 Sundance Question: What Place Tells Its Own Story About Your Film?
Each year, Filmmaker asks all the incoming feature directors at Sundance one question. (To see last year’s question and responses, click here.) We also send out cinematographer, editor and first-time producer questionnaires. This year’s question: Films are made of and from places: the locations they are filmed in, the settings they are meant to evoke, the geographies where they are imagined and worked on. What place tells its own story about your film, whether a particularly challenging location that required production ingenuity or a map reference that inspired you personally, politically or creatively? Below, find links to each director’s individual response […]
by Filmmaker Staff on Jan 18, 2024 -
Prepared — and Unprepared — on the Way to Sundance: Taylor Hess’s Producer Diary #1
I am packing for Sundance. I have some sweaters, some warm pants, a bottle of Wellness Formula, and a portable humidifier. My mini portable humidifier was lost in the vortex of production and my medium-sized portable humidifier may not fit in my suitcase. But I am prone to nosebleeds, and so it must fit. I feel prepared. And unprepared. I haven’t been to Sundance in nine years. Back then, there was a day in Park City when all I ate was Chobani yogurt, which was handed out for free from a little tent. The memory is strong: there I am, […]
by Taylor Hess on Jan 18, 2024 -
Exclusive Clip: Scott Cummings’s Sundance-Bound Realm of Satan
Never have the words “in collaboration with” carried such a potent charge as they do in Scott Cummings’s Sundance-bound documentary, Realm of Satan. Working with members of the Church of Satan, Cummings hypnotizes viewers into the landscapes, physical spaces and ultimately mindsets of this misunderstood group as they, in the words of the Sundance programmers, “fight to preserve their lifestyle: magic, mystery, and misanthropy.” Writing about his previous film, Buffalo Juggalos, Cummings, a Filmmaker 25 New Face, said, “The Juggalos were not my subjects, they were participants, and every choice I made honored that participation.” There’s a similar ethos at […]
by Scott Macaulay on Jan 16, 2024 -
Damien Chazelle’s Whiplash Named Favorite All-Time Sundance Film
Over 500 members of Sundance’s filmmaking community took part in a poll that named Damien Chazelle’s jazz drummer drama Whiplash as their favorite film of the festival’s 40 years. World premiering at the 2014 festival, the film won Sundance’s Audience Award: U.S. Dramatic and Grand Jury Prize; U.S. Dramatic. Of note is that the film was based on a proof-of-concept short that itself won the top prize at Sundance only the year before. The other nine selections are similarly well-known pictures by directors who have gone on to stellar careers. It’s a list that includes the first features by the […]
by Scott Macaulay on Jan 16, 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 -
“I Think of My Work as Functioning Like a Virus in the Sense That It Gets Inside Your System”: Michelle Handelman on Her New Installation, DELIRIUM PART ONE: DEATH (The Breakdown)
“Make space to think about that which has died,” begins Lydia Lunch at the start of DELIRIUM PART ONE: DEATH (The Breakdown), a new multi-media installation by filmmaker and artist Michelle Handelman up through January 20 at New York’s signs and symbols gallery. On three projections spanning the viewer’s peripheral vision are performances by Lunch as well as the choreographic duo FlucT and dancers; the score, by Jack Dangers and Pharmakon, blends electronic drones, pulses and rhythmic stabs with breath and guttural sounds — “the cacophony of grief,” says Lunch. Together, the work is both a departure for Handelman and […]
by Scott Macaulay on Jan 11, 2024
