6580 Results for “production”
-
Cannes 2022: De Humani Corporis Fabrica, Crimes of the Future, Jerry Lee Lewis: Trouble in Mind, Les Amandiers
The man sitting two seats over had averted his eyes from the screen a few times before he finally hit his breaking point. I saw a penis and a drill of some kind coming right for the urethra and heard a doctor saying that he was going to put the device on the “Kalashnikov setting.” What, I wondered, might that mean? When the drill started pumping away and blood spurted, the poor guy had had enough and exited swiftly, and I absolutely couldn’t blame him. This was the second screening of the instantly infamous De Humani Corporis Fabrica that day; after the […]
by Vadim Rizov on May 25, 2022 -
“A Short Feels Like a Song, a Feature Would Be the Album”: Pepi Ginsberg on Her Cannes Short, The Pass
In The Pass, a young man bicycles into a small town looking for a place to go for a swim. Learning of a nearby clearing, he heads over there and takes that swim. That, minus one element, is the plot of Pepi Ginsberg’s Cannes-premiering short film, selected for the La Cinef program, but it’s that missing element — an ambiguously menacing encounter occurring while our protagonist is in the water — that gives the tremendously assured The Pass its cool, unsettling tone. Since 2016, the recent NYU Tisch grad has made a number of shorts, both narrative and documentary, as well as […]
by Scott Macaulay on May 25, 2022 -
Hawaiian History and Hypergentrification: Anthony Banua-Simon on Cane Fire
Anthony Banua-Simon’s nonfiction feature debut, Cane Fire, is a personal family history, historical explainer of sugar production, ode to union organizing and expose of a Hawaiian island’s mistreatment of its native people. Each of these elements are connected. Focusing on the island of Kaua’i, one of the most photographed areas of land in countless Hollywood productions, Cane Fire derives its title from a (now lost) 1934 film directed by Lois Weber, in which Banua-Simon’s great-grandfather was an extra. Banua-Simon uses this personal trivia as a way to dive into the egregious ways the island (and its people) have been depicted […]
by Erik Luers on May 24, 2022 -
Cannes 2022: Triangle of Sadness, Magdala, The Natural History of Destruction
Triangle of Sadness stands as the conclusion of what Ruben Östlund has recently deemed a trilogy about “being male in our times.” (It will not be a quartet.) As with the middle entry of said triptych (his 2017 Palme d’Or-winner The Square), Triangle is a movie of set pieces blanketed by a shapeshifting social critique obsessed with the myriad ways in which civilization and morality distort human life. Its initial target is the modeling industry, a chapter (the first of three, Östlund’s new favorite number) dominated by cheap shots at the scene’s stereotypical superficiality and cattiness, especially its particular gender […]
by Blake Williams on May 24, 2022 -
“The Silliest Use of IMAX in the History of IMAX”: DP Larkin Seiple on Everything Everywhere All at Once
“A messy but fun way to make something very stupid but very beautiful.” That’s how cinematographer Larkin Seiple describes the process of creating the multiverse-jumping singularity that is Everything Everywhere All at Once, a mixture of the silly and profound that careens through alternate realities populated with hot dog fingers, butt plugs and raccoon versions of Ratatouille while imploring us to embrace the fleeting moments of grace offered up by the universe in the face of our cosmic insignificance. Michelle Yeoh stars as Evelyn, a harried laundromat owner whose marriage, mother-daughter relationship and IIRS audit all crater simultaneously. Into that personal […]
by Matt Mulcahey on May 23, 2022 -
Cannes 2022: One Fine Morning, Armageddon Time
One Fine Morning, Mia Hansen-Løve’s eight feature, messily synthesizes familiar recurring autobiographical threads. The writer-directors’s parents were philosophers whose divorce was traced over in the excellent Things to Come. Isabelle Huppert stood in for her mother there; One Fine Morning takes the daughter’s perspective, with Hansen-Løve rendered as translator Sandra Kinsler (Léa Seydoux). With father Georg (Pascal Greggory) increasingly hollowed out by a rare neurodegenerative disease, Sandra and her mother, Georg’s ex-wife Françoise (Nicole Garcia), are forced to make a number of draining caretaking decisions. (In the press kit, Hansen-Løve says she was “partly inspired by my father’s illness while he was still alive.”) When the understandably stressed […]
by Vadim Rizov on May 20, 2022 -
Cannes 2022: Final Cut
Ticketing catastrophes, internet outages at the badge claim station, and complimentary gold buttons featuring lame movie-related quotes from uncited sources in either French or broken English—“I swear to you: I had an eye contact with Timothée,” reads mine—in sans-serif font atop the number 75. A quick Google search tells me that the traditional gift to celebrate a 75th anniversary is diamonds, but two days into Cannes’ three-quarter century extravaganza I might’ve guessed it was lead. The inauspicious Opening Night Film selection, Michel Hazanivicius’s Final Cut, was in lockstep with the festival’s other launch fumbles. Scooped up by Thierry after the […]
by Blake Williams on May 19, 2022 -
Packing for Cannes, “d’Actes Malveillants,” and L’Envol: Sarah Winshall’s Cannes Producer Diary, #1
I’m on the train from Paris to Cannes to attend the Cannes Film Festival for the first time. I haven’t arrived yet but so far going to Cannes has meant a whirlwind of preparation: joining many WhatsApp threads from the various colleagues I know who are attending and mostly texting outfit photos and repeatedly reconfirming the red carpet dress code, hitting refresh a million times on the festival’s overwhelmed and unreliable online ticketing website (rumor has it, hackers are to blame!) desperate to book tickets to films before they sell out, switching my Google calendar between PDT and CEST as […]
by Sarah Winshall on May 19, 2022 -
Nine Films to Anticipate at the 2022 Cannes Film Festival
As, just before heading to the airport, I post this brief list of films we at Filmmaker are especially excited to see at the 2022 Cannes Film Festival, cinema’s most prestigious annual event is already having something of a bumpy opening, with a new (for those who didn’t experience its debut in last year’s low-key mid-pandemic edition) ticketing system returning all manner of “504 Gateway” errors and obscure messages, some of which contain their own brutal poetry: “Validation of viewstate failed… Purpose, purpose…” (Press has seen some alleviation as those badges are now redirected to a new server, while market […]
by Scott Macaulay on May 17, 2022 -
On Set with Flamethrowers: Keith Thomas on Firestarter
Released in the fall of 1980, while Stanley Kubrick’s film adaptation of The Shining continued to horrify audiences in theaters, Stephen King’s eighth novel, Firestarter, tells the story of Charlie McGee, a young girl struggling to control her pyrokinetic powers. Her parents knew this would be an issue: years earlier, Andy and Vicky McGee participated in a trial run of a new chemical compound, Lot Six, that embedded telekinetic and mind-controlling powers that shady government officials now wish to end. A run in with Rainbird, who had also been experimented on and now acts as a hired assassin wiping out […]
by Erik Luers on May 16, 2022
