Foreign productions shooting in France have two options to obtain tax rebates. One is to officially become a French production, which requires a co-production treaty and going through the French Ministry of Culture’s CNC agency. For Nathan Silver’s Thirst Street, that wasn’t a practical option: the United States is one of the few countries to have no co-production treaty with France. (The United States has no coproduction treaties with any country, in fact, but that’s another story.) According to Thirst co-writer/producer C. Mason Wells, the production had to go the more common Tax Rebate for International Productions (TRIP) route. The […]
by Vadim Rizov on Mar 8, 2018In Dogtooth, an authoritarian father’s carefully constructed sham world falls apart after one of his sheltered daughters watches Rocky IV and Jaws. In Electrick Children (above), a 15-year-old Mormon girl (played by “25 New Face” Julia Garner) gets pregnant after listening to a rock ‘n’ roll song on an unmarked blue cassette tape. The narrative similarities essentially end there but, given their equally unorthodox takes on coming of age in cloistered environments, the two are oddly complementary. Split between rural Utah and fabulous Las Vegas, Electrick Children‘s visual world is entirely at odds with what its doe-eyed protagonist is used to on her big-sky homestead: neon lights, dingy […]
by Michael Nordine on Nov 9, 2012Filly Brown director Youssef Delara and his wife agreed to have their photo taken by me in the shuttle from Salt Lake to Park City…even after they had been traveling for the last 24-hours. They were complete champs and Youssef didn’t even seem all that tired. He kept up with all my annoying questions, and was excited and eager for Filly Brown‘s premiere today. Friday morning was the perfect mix of snowy but not too cold, and still quiet before the masses arrived in Park City for the 2012 festival. Sundance Channel Headquarters promotes tagging your message. Welcome to the New […]
by Alexandra Byer on Jan 21, 2012Indie sweetheart Antonio Campos debuts his newest feature film, Simon Killer, today at Sundance. After he and his partners made waves in Park City last year with Martha Marcy May Marlene (which won Sean Durkin the Best Director award, and introduced Lizzy Olsen to the world), critics and audiences have placed Borderline’s newest on their must-see list. But that hasn’t changed things for Campos. He comes to Park City as a director this year, prepared to experience the festival from a new perspective. — Filmmaker: You and your partners at Borderline Films are no strangers to Sundance and the festival marketplace. With three […]
by Alexandra Byer on Jan 20, 2012