The mumblecore mumblecorp is growing up, a reality certain to impact American independent film for years to come. And we, their generation, are aging with them. Some of us are their peers, some their audience, some their collaborators. Others, like me, have a more indirect tether. If “fan” is not the correct word then we are those who, because of our interest in and pursuit of film over the last decade, have come of age in their shadow. The mumblecorp — that tenacious group of filmmakers who, by blurring narrative and autobiography, cinema and home video, pioneered ultra-low-budget filmmaking — […]
by Gregory Collins on Oct 3, 2013Another sad casualty of the current recession: Gen Art is shutting down. Most film programmers worry about how to cultivate new audiences. Gen Art never had that problem. Indeed, “Who are these people?” was always the operative phrase among film industry folk attending Gen Art screenings, which were always packed with hip and enthusiastic twentysomething viewers. Gen Art’s programming was always interesting and their model and audience outreach downright enviable. I’m sorry to see them go. From Gen Art’s website: It is with an extremely heavy heart that we are are posting this. After struggling for the past 18 months […]
by Scott Macaulay on May 5, 2010Celebrating its 15th anniversary, the Gen Art Film Festival runs through April 7-13 at the Ziegfeld Theatre in NYC. Opening the festival this year will be the directorial debut of How I Met Your Mother star Josh Radnor with happythankyoumoreplease, featuring a cast of young up-and-comers like Zoe Kazan, Malin Akerman, Pablo Schreiber, and Kate Mara. The other anticipated premieres include Sebastian Gutierrez‘ Elektra Luxx, James Keach’s Waiting for Forever, Adrian Grenier’s Teenage Paparazzo, Patrick Hoelck’s Mercy, and Alexandre Franchi’s The Wild Hunt. In addition, the festival offers three prizes in three categories. The Acura Grand Jury Award is given […]
by Filmmaker Staff on Mar 10, 2010Gen Art gets a lot of flack for being a “party” festival. Each film shown at the New York City-based event is explicitly marketed with a party attached, usually in some fashionable SoHo night spot. Those who believe in the sanctity of the cinema deplore this cross-breeding of evening activities. Many film professionals who attend the parties claim they don’t know anyone there, and that this somehow makes the Festival lightweight. This is all bosh. Festivals have been founded on far more suspicious foundations than this, and in fact one big one – that I happen to work for called […]
by Noah Cowan on Mar 19, 1998