I was technical director of the Independent Feature Film Market from 1986 to 1993, and a member of the Independent Feature Film Market Committee from 1989 to 1993. I attended all prior IFP markets too, starting with the first one, a sidebar to the New York Film Festival. Those early IFFMs were a DIY affair, as scrappy, often broke indie filmmakers maneuvered to squeeze every advantage out of this novel new showcase, navigating its opportunities and inventing new ones. Nothing like it had existed before on the American indie scene. Two memories in particular are dear to me. The first […]
by David Leitner on Sep 14, 2018When Ross McElwee heeded the call to become a filmmaker in the mid 1970s, he enrolled in M.I.T.’s film program and studied with pioneering cinéma vérité documentarians Richard Leacock and Ed Pincus. Lighter, smaller cameras and advancements in sync-sound made it possible for one man to do what a film crew did not too many years before. McElwee would synthesize the lessons learned and use the new technology to create a distinctive kind of cinema. McElwee’s films are often filed in the “personal documentary” category. Like many labels, personal documentary seems inadequate, if not downright misleading. Yes, his family, friends, […]
by David Licata on Oct 10, 2012“We love the filmmakers because without them we’d all just be here drinking.” So noted CineKink Film Festival founder Lisa Vandever after calling for a round of applause at this year’s midtown kickoff at the Taj Lounge, which saw burlesque performances — by Leta Le Noir, Sweet Lorraine and “N — “The ONLY Letter in Burlesque” followed by a small shorts program. With films containing a slick music video/Calvin Klein commercial aesthetic (Roy Raz’s The Lady Is Dead from Israel), to scenes of anatomical pottery (Debi Oulu’s My Erotic Video Art, another flick from Israel — what’s up with the […]
by Lauren Wissot on Mar 7, 2011