Spring 2016
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Precision Moves: Anna Rose Holmer, Lisa Kjerulff and Saela Davis on The Fits
“Stop thinking as an individual and start thinking as a team,” says Legs (Makyla Burnam), one of the Lionesses — a dynamic Cincinnati high-school drill team — to a group of young recruits, who include the shy, diminutive, but quietly purposeful 11-year-old boxer Toni. Played in writer/director/producer Anna Rose Holmer’s terrific, formally assured dramatic feature debut, The Fits, by the self-possessed and emotionally transparent Royalty Hightower, Toni has been drawn away from the comforting routine of her boxing practice by the sounds, music and movement of the Lionesses and, by extension, the more adult world they represent. But soon after […]
by Scott Macaulay on Apr 21, 2016 -
American Dreams and Nightmares
The Boost Released a year after the Partnership for a Drug-Free America’s “This Is Your Brain on Drugs” campaign frightened children into never eating their morning eggs, Harold Becker’s The Boost was this PSA’s cinematic equivalent for adults. An adaptation of political commentator and actor Ben Stein’s 1982 novel, Ludes: A Ballad of the Drug and the Dream, the film is a cautionary tale in which a real estate salesman and his wife grow addicted to wealth, entitlement and cocaine. In his review for The New York Times, filmmaker (and then freelance writer) Cameron Crowe noted that the book “winds up being largely about […]
by Filmmaker Staff on Apr 21, 2016 -
Investing in Change: The Ghetto Film School
Just after the Oscar nominations in 2015, Derrick Cameron wrote a guest column in The Hollywood Reporter titled “How to Fix the Oscars: Take a Cue from the Sports World and Fix the Talent Pool” in which he argued that “we have not invested in developing new voices in American cinema, particularly from communities that reflect our various cultures.” In contrast, Cameron and a team of other passionate educators have worked for more than a decade to make precisely that investment. They are the team responsible for Ghetto Film School. Founded in 2000 by Joe Hall in the South Bronx, […]
by Holly Willis on Apr 21, 2016 -
Dispatches from Sundance, Berlin, True/False and Rotterdam
Sundance Film Festival 2016 by Adam Cook Few film festivals carry inscribed connotations the way that Sundance does. For this newcomer to Park City, a visit to this beacon of American indie cinema came loaded with preconceptions about both the nature of the “Sundance film” (part myth, part truth) and the tendency for the collective critical response to hyperbolize and rush to proclaim the year’s early favorites. Given the calendar-based approach of looking at movies in the context of their year, Sundance emerges on the heels of last year’s best-of lists, nearly 12 months ahead of when its own lineup will […]
by Filmmaker Staff on Apr 21, 2016 -
Pregnant Pauses: Connecting the Dots Between Giving Birth and Film Production
You probably hear stuff like this all the time: “Focus on the journey, not the destination.” Or, “It’s not where you go but how you get there.” And better yet: “Don’t get attached to outcome.” Many philosophical and motivational figures throughout the ages have identified the way or how as being arguably more significant than the what or where. These ideas are immensely applicable to filmmaking, and they have guided my philosophies about life more broadly for a long time, leading to some challenging and surprising points along the way. But is it always that simple? Does outcome not matter, at least as […]
by Sean Porter on Apr 21, 2016 -
The Marriage Plot: Whit Stillman on Love & Friendship
In several ways, Love & Friendship has Whit Stillman coming full circle to his 1990 debut Metropolitan, which includes a heated discussion of Jane Austen’s merits. “I love anachronism, and this was the chance to film, essentially, a costume picture set in the present day or recent past,” he told Betsy Sussler in a 1991 BOMB interview. With this Ireland-shot adaptation of Jane Austen’s comparatively obscure epistolary novella Lady Susan, he finally discards the husk of the present, indulging his sentiment expressed on Twitter last summer that “The 18th century just keeps getting better & better.” The puckish opening introduces […]
by Vadim Rizov on Apr 21, 2016 -
Jump! How New Distributor Grasshopper Film Plans to Succeed
Before going to meet Ryan Krivoshey — the founder and, for the moment, sole employee of new distributor Grasshopper Film — I emailed a friend who works in distribution to ask what questions he would ask if he were picking Krivoshey’s brain. “HOW DOES HE MAKE MONEY?” he wrote back in emphatic all-caps. A fair question when you look at Grasshopper’s ambitious slate of first releases, which kicked off with Asghar Farhadi’s previously unreleased 2006 film Fireworks Wednesday. That’s a comparatively viable commercial proposition, given Farhadi’s high profile as the director of A Separation and relative audience friendliness. What’s coming […]
by Vadim Rizov on Apr 21, 2016 -
Act Naturally: Working with Caveh Zahedi on the Web Series, The Show about the Show
Caveh Zahedi played the same edit over and over, one too many times. “I think I’m gonna go, man,” I grumbled. I’d reached my breaking point. The idea of a rough cut that gets whittled down doesn’t work for Zahedi. He needs to sand, polish and lacquer each piece of wood before deciding if he even wants to use that wood. Basically, he fine-cuts each take. Why, I’ve asked countless times, can’t we just choose the best take and work it in? His answer: how can we tell what the best take is unless we see them all working at […]
by Peter Rinaldi on Apr 21, 2016 -
Super 8: Barth, Black and Birzeit
Black Editions Since the ’80s, Japan’s P.S.F. Records has attained cultish status for the wide variety of avant-garde-leaning jazz, psychedelic and sheerly unclassifiable music it’s released. Acid Mothers Temple and Ghost are among the eclectic array of musicians championed by label founder Hideo Ikeezumi, who’s never shied away from following his philosophy: “I only release what I like.” Now, the new label Black Editions will be bringing that catalogue to the states, in the process releasing many of P.S.F.’s records to vinyl for the first time. Bruce Sterling’s SXSW Interactive Closing Remarks “Most of the joy in your life is […]
by Filmmaker Staff on Apr 21, 2016 -
Worlds Within
Oculus Rift Just reaching stores is the long-awaited Oculus Rift ($599), the highest-end VR headset presently on the consumer market. Launched in 2012 with $2.5 million in Kickstarter funding and purchased two years later by Facebook for $2 billion, Oculus Rift in this early iteration is focusing on gaming, with EVE: Valkyrie bundled with the kit. The company is developing film applications too. There’s Oculus Video, an app allowing viewers to watch movies in either 2-D or 3-D from within a virtual cinema space. (You can even select your seat and angle of view.) And there are already dramatic VR […]
by Scott Macaulay on Apr 21, 2016
