6584 Results for “production”
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Aesthetic Confidences: On Andrzej Zulawski and Meeting Possession Screenwriter Frederic Tuten
In April 1980, actor Sam Neill and screenwriter Frederic Tuten were sitting next to each other on a flight from Paris to New York. The two were about to embark on the making of a film and had been spending time with its director in France. Tuten was new to screenwriting but had already picked up on the hierarchy of above-the-line talent and was amazed the producers had sprung for him to sit in first class with the lead actor. He offhandedly asked Neill, “Isn’t this whole film world just about money?” Neill corrected him, “It’s not about money, it’s […]
by Brandon Tonner-Connolly on Sep 4, 2019 -
Creating Community Through Cinema: The Echo Park Film Center and MONO NO AWARE
I love the way Paolo Davanzo jazzes up his emails with exclamation points! He almost never uses just one; instead, he lines up two, three, sometimes four in a row, and if his ardor is not evident through prolific punctuation, he’ll apply all caps: “SO GLAD to reconnect!!!!” or “The kids created a BEAUTIFUL FILM!!!!” This cheery trait is pure Paolo, and it completely infuses the Echo Park Film Center, a small nonprofit space at the corner of Sunset and Alvarado in Los Angeles that he cofounded in 2001. EPFC packs a microcinema, filmmaking classroom and equipment rental house all […]
by Holly Willis on Sep 4, 2019 -
I Say What I Mean
Though popularly acclaimed for its thrillingly choreographed action scenes and the convergence of two of America’s great film stars, Heat (1995) endures because of its layered psychological matrix. Michael Mann interrogates masculinity, as performance and as ideology, across a cat-and-mouse genre template, crafting a diffuse portrait of ethical codes. This modus operandi, combined with Mann’s trademark urban hyperaesthetic—neon cityscapes; dark, empty roads; abandoned lots; dingy warehouses; underpopulated diners, all shot on locations off the beaten path—has elevated the material to classic status. It’s a basic-cable staple that’s also a richly studied, endlessly probed auteurist text. In other words, the perfect […]
by Vikram Murthi on Sep 4, 2019 -
Made For These Times: Ulrich Köhler on In My Room
Ulrich Köhler’s In My Room begins with what looks like a DCP glitch. The view is from a handheld news camera entering a press conference scrum, its operator confirming in voiceover that he’s rolling while roaming from lectern to lectern. Each time an official statement is delivered, the image cuts to the aftermath—the as-yet-unseen cameraman, Armin (Hans Löw), has confused the “off” and “on” switch, and the inadvertent B-roll he shot is unusable. All of Armin’s life is similarly shabbily disarrayed: At a club, he picks up a young lady and brings her home, but an ill-phrased refusal to let […]
by Vadim Rizov on Sep 4, 2019 -
They Came From Within: Bong Joon-ho on Parasite
“This is so metaphorical!” Ki-woo’s metatextual reaction to the unlikely gift of a stone from his friend Min early in Bong Joon- ho’s Palme d’Or–winning Parasite isn’t the film’s most startling moment, but it’s an early jolt that both sets and undermines viewer expectations. Ki-woo (wide-eyed Choi Woo-shik—Okja, Train to Busan) lives in an underground apartment with his underemployed family, including humbled but unvanquished father Ki-taek (Bong regular Song Kang-ho, unsurprisingly great) and scheming sister Ki-jung (Park So-dam, cynical and hilarious). When Ki-woo becomes a tutor for the daughter of a rich family, the action settles into that family’s stunning […]
by Doug Dillaman on Sep 4, 2019 -
“There Was Almost a Competition to See Who Could Spit on the Film More”: Ognjen Glavonić on The Load
A road trip movie where the destination is clear but the intent is hidden, Ognjen Glavonić’s The Load is something of a taut genre film with political subtext. Set in Yugoslavia during the 1999 Kosovo War (that ultimately concluded with the catastrophic NATO bombing that went unapproved by the UN Security Council), The Load goes micro in its study of a truck driver who’s trying to make ends meet by driving unknown cargo from one destination to another. What he’s transporting, he doesn’t bother to ask and he certainly doesn’t want to know. Drab and dreary, war-torn and ravaged, The […]
by Erik Luers on Aug 30, 2019 -
“We Decided Early On That There was Never Going to Be A Single Lock-off Shot”: DP Erik Wilson on The Dark Crystal: Age of Resistance
The original Dark Crystal was released on December 17th, 1982 , four days before my fifth birthday. I don’t remember exactly when my mom took me to see it. I can only tell you that when she did, the movie–and its lizard-like villains, the Skeksis—scared the crap out of me. There is a generation of kids who were similarly terrified and enthralled by the film, which was much darker than unsuspecting parents anticipated from Jim Henson, the man behind The Muppets and Sesame Street. Erik Wilson—the cinematographer of Netflix’s new 10-episode prequel The Dark Crystal: Age of Resistance—was not among […]
by Matt Mulcahey on Aug 30, 2019 -
“With Digital You Have to Spend a Lot of Money Before It Becomes Free”: Mark Jenkin on His Hand-Processed 16mm Bait
If you’ve heard much at all about Bait, the breakthrough feature of British filmmaker Mark Jenkin, it’s likely concerned the anachronistic means by which he’s constructed the experimental drama. Shot on a hand-cranked Bolex camera in black-and-white 16mm, then hand-processed by Jenkin himself with an assortment of unusual materials that lend scratchiness to the images, the film offsets potential accusations of gimmickry in making these aesthetic choices relevant to evoking something specific about where it’s set, an unnamed fishing village in the county of Cornwall in southwest England. As writer Ian Mantgani describes in his review for Sight & Sound, […]
by Josh Slater-Williams on Aug 30, 2019 -
“If the Co-Producer Disappears, Our Company is in Danger”: Komplizen Film’s Janine Jackowski and Jonas Dornbach
Toni Erdmann, A Fantastic Woman, Western, Tabu, Syndromes: Each bears the name Komplizen Film as either primary or co-producer. Founded in 1999 by Maren Ade and Janine Jackowski at their Munich film school, Komplizen has gone on to produce a body of work that displays a keen and consistent intelligence, is distinctive to their own tastes and avoids the whiff—evident even with many fine arthouse production houses—of the cookie-cutter. Komplizen has produced Ade’s three films to date, providing a backbone to their experiments in other fields and giving them the confidence to draw other directors and co-producers into the fold. […]
by Christopher Small on Aug 29, 2019 -
Points North Institute Announces 2019 Forum and Artist Programs at Camden International Film Festival
Having already revealed the Foucauldian dynamic that will run through this year’s Camden International Film Festival — a focus on “story and power” — the festival’s parent organization Points North Institute unveiled today the forum and artist programs that will take place over the event’s mid-September weekend. The annual Points North Forum will ask “critical questions about how the documentary film and media community reflects existing power structures, including questions of racial equity, access, funding, and which stories are being told, how, for whom, and by whom,” according to the press release. Other highlights and programs include masterclasses by Apollo […]
by Scott Macaulay on Aug 29, 2019
