6580 Results for “production”
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“The Film Is Full of Ghosts”: Diana Bustamante on Her DOC NYC-debuting Our Movie (Nuestra película)
Diana Bustamante’s Our Movie (Nuestra película) feels like both a departure and a homecoming for the Latin American producer credited on numerous Cannes winners, most recently Apichatpong Weerasethakul’s Jury Prize-awarded (and Tilda Swinton-starring) Memoria. Comprised entirely of news footage from the Medellín-born Bustamante’s childhood—who grew up in the ’80s and ’90s when kidnappings, political assassinations and blood-soaked streets were as common as choir practice—the “essay documentary” is, as the producer/director puts it, “a collage of images, repetitions and memories, built through the intervention of the Colombian news archive.” And what a visceral collage it is—from closeups of bullet holes to a […]
by Lauren Wissot on Nov 14, 2022 -
“Either It Blows Up or It Doesn’t”: DP Eliot Rockett on Pearl
Despite their dissimilar filmographies, I have great affection for both the arthouse friendly A24 and the drive-in exploitation of American International Pictures. That’s why I’m such a sucker for the story behind the making of A24’s Pearl, which follows AIP’s old philosophy that if you’re going to go to the trouble of hauling a cast and crew out to a remote location, you might as well make two pictures while you’re there. Pearl began life in a New Zealand hotel room in October of 2020. While in a government-mandated two-week quarantine ahead of making the 1970s-set horror film X, writer/director […]
by Matt Mulcahey on Nov 11, 2022 -
Fire of Love and The Territory Lead the 16th Annual Cinema Eye Honors Nominations
Cinema Eye Honors, a leading awards body that celebrates nonfiction filmmaking, announced today its full list of nominees for 2022. Sara Dosa’s Fire of Love (Filmmaker’s summer issue cover) and Alex Pritz’s The Territory both lead with seven nominations each across several categories, including editing, cinematography, sound design, direction and Outstanding Nonfiction Feature. Other films with multiple nominations are Laura Poitras’s All the Beauty and the Bloodshed (our recent fall issue cover), Shaunak Sen’s All That Breathes and Brett Morgen’s Moonage Daydream, among others. Women are particularly well-represented among this year’s nominees, including five out of six filmmakers highlighted in […]
by Filmmaker Staff on Nov 10, 2022 -
Apartment Stories: Aaron Moorhead and Justin Benson on Something in the Dirt
While the line “I want to believe” is most associated with The X-Files, today’s onslaught of conspiracy theorists and ravenous fact-deniers change that mantra to the more desperate “I need to believe.” After all, who needs objectivity or visual proof to confirm a preconceived notion that we wish to be true when some dude on Reddit can easily prove it for you? With a flare for endless questioning, tinfoil hat conspiracies and alternative views of history, Justin Benson and Aaron Moorhead’s two-hander, the 2022 Sundance Film Festival NEXT selection Something in the Dirt, burrows in and digs deep. Here the […]
by Erik Luers on Nov 9, 2022 -
Gina Prince-Bythewood to Receive Filmmaker Tribute, Don Katz to Receive Innovator Tribute at 2022 Gotham Awards
Today, the Gotham Film & Media Institute announced that director/writer/producer Gina Prince-Bythewood will receive the Filmmaker Tribute while Audible, Inc. founder and executive chairman Don Katz will receive the Innovator Tribute during this year’s Gotham Awards. The 32nd edition of the ceremony will take place live and in-person on Monday, November 28 at Cipriani Wall Street in New York City. You can find our previous coverage on the Gotham Awards nominees here. Prince-Bythewood recently directed the historical epic The Woman King, which hit U.S. theaters in September via Sony’s TriStar Pictures. The film centers on the Agojie, an all-woman military […]
by Filmmaker Staff on Nov 9, 2022 -
The 25th SCAD Savannah Film Festival Presents Wonder Women: Producers (the Christine Vachon Edition)
Moderated by Darrien Gipson, Executive Director of SAGindie, this year’s Wonder Women: Producers discussion at the SCAD Savannah Film Festival was a must-catch, mostly for two glaringly obvious reasons, with the first being the wide diversity of the participants. Alongside white Brits Alison Owen (Elizabeth, Saving Mr. Banks, perennial panelist and SCAD Savannah Film Festival Advisory Board member) and manager/producer Laura Berwick (Belfast, All is True, and Sir Kenneth’s longtime rep), there was the English-Jamaican writer/actress/producer Nicôle Lecky (Mood, The Moor Girl) and American actress/producer Jurnee Smollett (Lovecraft Country, Birds of Prey). Then there was the second reason—the presence of “grande dame” of indie […]
by Lauren Wissot on Nov 8, 2022 -
“We Had Made This Film Against All Odds… Why Not Take On This Last Chapter of the Film’s Journey Ourselves?”: You Resemble Me Producer Elizabeth Woodward on Embracing Self-Distribution
With You Resemble Me currently playing at the Angelika Film Center, Filmmaker presents two guest posts about the film’s self-distribution, one by the film’s writer and director, Dina Amer, and, below, one by producer Elizabeth Woodward. After a beautiful premiere in Venice, 30 festival awards from over 70 festivals around the world, our special film You Resemble Me did not have any meaningful distribution offers on the table. We could not believe that our only option was to take a deal that not only would place the film in a catalog of films that we didn’t feel were of the […]
by Elizabeth Woodward on Nov 4, 2022 -
Trailer Watch: Sean Baker and Shih-Ching Tsou’s Take Out
Sean Baker’s debut feature was 2000’s Four Letter Words, but it was his second (following his work on TV’s Greg the Bunny), Take Out, directed with Shih-Ching Tsou, that is the most clear antecedent to the neorealist-inflected work he practices today. When I interviewed Baker in 2012 about his Starlet, we began with his origin story, which included this section on Take Out: I was a bit discouraged. I was seeing these filmmakers I’d gone to school with — Todd Phillips, Marc Forster — start to make waves. Their careers were taking off. I wanted to get back to my […]
by Scott Macaulay on Oct 31, 2022 -
Sundance Institute | Sandbox Fund Announce Latest Cohort of Grantees
Today, the Sundance Institute and Sandbox Films announced the 10 projects selected as this year’s cohort for the Sundance Institute | Sandbox Fund. Geared toward supporting nonfiction films that explore the link between science and culture, the fund offers grants from development through post-production and engagement events. The 10 projects selected for the latest edition of the fund will receive a total of $300,000 in non-recoupable grants alongside individually tailored film support, meaningful networking connections and the opportunity join Sundance’s year-round artistic community. “Since its inception five years ago, the Sundance Institute | Sandbox Fund has vitally enriched the Documentary […]
by Filmmaker Staff on Oct 27, 2022 -
“We Used Almost Every Lens Set They Had in Their Inventory”: Cinematographer James Kniest on The Midnight Club
If you’ve begun watching The Midnight Club on Netflix, you may have noticed the tag “Part of the Flanaverse” affixed to the new series. Though the individual entries in said universe aren’t particularly interconnected, the sheer breadth of writer/director Mike Flanagan’s output for the streamer certainly justifies the “Flanaverse” moniker. The Midnight Club marks Flanagan’s fourth Netflix series, in addition to the four Flanagan-directed movies currently residing on the platform. Based on the young adult novel by Christopher Pike, Flanagan’s newest show follows a group of terminally ill teens at a remote cliffside hospice facility who meet in secret each […]
by Matt Mulcahey on Oct 26, 2022
