Sundance
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“It Is a Dark and Dire Reflection Without a Simple Solution”: Editors Langdon Page and Lauren Saffa on The Cost of Silence
Nearly a decade ago, 130 million gallons of oil was spilled into the Gulf of Mexico over the course of 87 days after a deadly explosion on BP’s Deepwater Horizon offshore drilling unit. During the lengthy clean-up process, workers and civilians alike were exposed to dangerous chemical dispersants, directly causing illness that no entity has been held responsible for—neither the federal government or the oil companies—and offshore drilling continues. Mark Manning, a former deep-sea oil-field diver, chronicles the human suffering and lack of accountability of this disaster in The Cost of Silence. Editors Langdon Page and Lauren Saffa detail how […]
by Filmmaker Staff on Feb 3, 2020 -
“A Very Fine Line Between Realism and Surrealism”: DP Wyatt Garfield on Nine Days
In Edson Oda’s Nine Days, five personified souls outside of the realm of our reality compete for the opportunity to be born on Earth. A man named Will (Winston Duke), who once experienced being born, judges the competitors over the course of nine days—only one will be allowed to continue their existence, while the other four will cease to exist. Cinematographer Wyatt Garfield details the unique cinematic language of Nine Days for Filmmaker. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for […]
by Filmmaker Staff on Feb 3, 2020 -
“The Editing Doesn’t Try to Overly Emphasize Emotions”: Editor Robert Stengaard on The Painter and the Thief
When Czech painter Barbora Kysilkova has two of her naturalist works stolen from an Oslo art gallery, she decides to attend the criminal hearing of one of the men, Karl-Bertil Nordland, who was arrested for stealing them. Instead of questioning him about the whereabouts of her paintings (which vanished without a trace), she asks to paint his portrait. Benjamin Ree’s The Painter and the Thief shifts perspectives between Kysilkova and Nordland, detailing the unexpected relationship that grows between the two. Editor Robert Stengaard explains how the film went beyond sentimental emotions in order to cleverly portray the unique perspectives from […]
by Filmmaker Staff on Feb 3, 2020 -
Sundance 2020 Dispatch 8: Time, The Nest
In 1999, Fox and Rob Rich, desperate to shore up the finances of their business (Shreveport’s first urban clothing store) robbed a bank; she got 12 years, he got 60. The throughline of Garrett Bradley’s Time—a compact epic spanning 21 years in 87 minutes—tracks Fox’s ceaseless efforts to get her husband home. Her website describes her as a “realist speaker”: a motivational lecturer transmuting her difficult experiences for higher ends than the usual conference room guest, as well as a “prospective Nobel Peace Prize winner” who “is both a teacher and servant, entrepreneur, business owner and most of all a humanitarian.” This […]
by Vadim Rizov on Jan 31, 2020 -
“It Ended Up Being the Toughest Edit of My Life”: Director/Editor Bill Ross on Bloody Nose, Empty Pockets
Documentary filmmakers Bill and Turner Ross depict a mosaic of fleeting American dreams and the resilience of community in Bloody Nose, Empty Pockets. The film centers on a nearly defunct bar outside of Last Vegas, The Roaring 20s, as its patrons grappling with the uncertainty of a future without their beloved dive bar. The subjects often teeter between dismay and debauchery, offering glances into masculinity, vice and a culture of anxiety. Director and editor Bill Ross explains the nuances of editing a film to make an audience feel present, grappling with one’s own internalized imperfections and why this film was […]
by Filmmaker Staff on Jan 30, 2020 -
“Turquoise’s Old Pageant Crown”: Channing Godfrey Peoples | Miss Juneteenth
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? Turquoise’s old pageant crown is integral to the film. It represents her past as a former “Miss Juneteenth,” but also her hope for the future in passing it onto to her daughter, Kai. It also serves as a reminder of her dreams deferred, while simultaneously being the symbol of hope for […]
by Filmmaker Staff on Jan 30, 2020 -
“The Moon”: Natalie Johns | Max Richter’s Sleep
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? The moon. We did not schedule our filming or events around the full moon, but she was always there—a beacon for the night. A constant reminder of her singular influence no matter where in the world we found ourselves. Sundance Responses 2020
by Filmmaker Staff on Jan 30, 2020 -
Sundance 2020 Dispatch 6: Yalda, a Night of Forgiveness; Time; Panels and Mixers
As I hinted at in my first dispatch, co-creation has been buzzy in documentary circles of late, with gatekeepers and filmmakers both interested in finding ways of working that challenge the decision-making processes of nonfiction filmmaking. This year’s Sundance was also chock full of filmmakers who started out in documentary and have recently moved into fiction; Canon even sponsored a panel featuring Matt Heineman on this very topic. One of these films was Yalda, a Night of Forgiveness, an ingeniously conceptualized, impeccably acted and tightly shot single location piece, it both buys into and subverts crucial elements of thriller, reality […]
by Abby Sun on Jan 30, 2020 -
Sundance 2020 Dispatch 5: Shirley, The Mountains are a Dream That Calls to Me, małni – towards the ocean, towards the shore
In one of those freak festival viewing coincidences that don’t really mean anything, Sunday started with two movies in a row opening with the sound of a reiki bowl. The higher profile one, Shirley, marks multiple firsts for Josephine Decker: first directed from someone else’s screenplay (by Sarah Gubbins, adapted from Susan Scarf Merrell’s novel), first period piece and—most crucially to my mind—first without DP Ashley Connor. The subject is Shirley Jackson; I’ve read two of her short stories (I’m not proud of that) and would be curious to hear how this plays for knowledgeable admirers. Adaptation or no, visually this is […]
by Vadim Rizov on Jan 29, 2020 -
“The Vibrant Color of the Spilled Ketchup on the White Floor With the Broken Bottle was the Best Way to Describe What the Movie was All About”: DP Jean-Philippe Bernier on Dinner in America
Punk rock and suburbia collide when Simon meets Peggy in Adam Carter Rehmeier’s Dinner in America. As the two traverse the Midwest, Peggy unwittingly assists the lead singer of her favorite band in evading the police, all the while uncovering the unforeseen connections between them. DP Jean-Philippe Bernier constructs two distinct cinematic styles that function in tandem with the film’s contrasting central characters. Drawing upon a background in film score composition, as well as an early career rooted in the punk scene, Bernier discusses the process of melding content and medium to create a distinct cinematographic look, drenched in the […]
by Filmmaker Staff on Jan 28, 2020
