Chicago – Doc10, the annual Chicago documentary film festival, opens on May 2nd, 2024, with a new documentary about the famous avant garde rock band entitled “Devo,” directed by Chris Smith. who will appear live, with the band participating via Zoom. Click Devo for more information and tickets.
This spirited and irreverent portrait of the legendary new wave ban Devo charts the unlikely rise of the musical innovators from Akron, Ohio. From Kent State radicals in the 1970s, galvanized by political unrest, to unlikely icons of the 1980s, featured in Honda Scooter commercials and mainstays of the early days of MTV … they are not men, they are Devo. The film is directed by Chris Smith, known for his breakout debut “American Movie,” and goes beyond the typical bio-doc to channel the absurdity and edginess of the sonic provocateurs of Devo, with the help of their own bizarre and hilarious archival materials. “Whip it,...
This spirited and irreverent portrait of the legendary new wave ban Devo charts the unlikely rise of the musical innovators from Akron, Ohio. From Kent State radicals in the 1970s, galvanized by political unrest, to unlikely icons of the 1980s, featured in Honda Scooter commercials and mainstays of the early days of MTV … they are not men, they are Devo. The film is directed by Chris Smith, known for his breakout debut “American Movie,” and goes beyond the typical bio-doc to channel the absurdity and edginess of the sonic provocateurs of Devo, with the help of their own bizarre and hilarious archival materials. “Whip it,...
- 4/30/2024
- by [email protected] (Adam Fendelman)
- HollywoodChicago.com
Chris Smith’s “Devo” will open the ninth edition of Chicago’s Doc10 documentary film festival on May 2.
The film, which premiered at Sundance 2024, charts the life of the art-movement-turned-band Devo from Akron, Ohio, through archival footage of the band and candid sit-down interviews with band members. Smith follows the band on their journey from Dadaist, Kent State radicals to unlikely icons of 1980s MTV. Currently celebrating their 50 years of De-Evolution Tour, Devo band members will join Doc10 in a live, virtual Q&a moderated by Wxrt’s Marty Lennartz.
Doc10, a four-day fest running May 2-5, features a selection of 10 documentaries making their Chicago premieres along with a package of 10 prestigious documentary shorts. The fest is hosted by Chicago Media Project, a company that has generated more than $8.5 million in funding for documentary projects. Cmp has directly supported over 150 films including “Icarus,” “Crip Camp” and most recently “Gaucho, Gaucho,...
The film, which premiered at Sundance 2024, charts the life of the art-movement-turned-band Devo from Akron, Ohio, through archival footage of the band and candid sit-down interviews with band members. Smith follows the band on their journey from Dadaist, Kent State radicals to unlikely icons of 1980s MTV. Currently celebrating their 50 years of De-Evolution Tour, Devo band members will join Doc10 in a live, virtual Q&a moderated by Wxrt’s Marty Lennartz.
Doc10, a four-day fest running May 2-5, features a selection of 10 documentaries making their Chicago premieres along with a package of 10 prestigious documentary shorts. The fest is hosted by Chicago Media Project, a company that has generated more than $8.5 million in funding for documentary projects. Cmp has directly supported over 150 films including “Icarus,” “Crip Camp” and most recently “Gaucho, Gaucho,...
- 4/3/2024
- by Addie Morfoot
- Variety Film + TV
First you get radicalized, then you get professionalized—a familiar trajectory Chris Smith’s Devo retells in a familiar idiom. After sitting down with dour conspiracy theorist Michael Ruppert for 2009’s Collapse, the American Movie director didn’t make a feature for eight years. He returned to begin his populist doc era with 2017’s Jim & Andy, which made generous use of previously unseen videos of Jim Carrey acting like a maniac “in character” as Andy Kaufman on the set of 1999’s Man on the Moon. In present-day interviews, Carrey described his dilemma: having given a performance at a relatively young age that confirmed […]
The post Sundance 2024: Devo, War Game, Girls State first appeared on Filmmaker Magazine.
The post Sundance 2024: Devo, War Game, Girls State first appeared on Filmmaker Magazine.
- 1/25/2024
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
First you get radicalized, then you get professionalized—a familiar trajectory Chris Smith’s Devo retells in a familiar idiom. After sitting down with dour conspiracy theorist Michael Ruppert for 2009’s Collapse, the American Movie director didn’t make a feature for eight years. He returned to begin his populist doc era with 2017’s Jim & Andy, which made generous use of previously unseen videos of Jim Carrey acting like a maniac “in character” as Andy Kaufman on the set of 1999’s Man on the Moon. In present-day interviews, Carrey described his dilemma: having given a performance at a relatively young age that confirmed […]
The post Sundance 2024: Devo, War Game, Girls State first appeared on Filmmaker Magazine.
The post Sundance 2024: Devo, War Game, Girls State first appeared on Filmmaker Magazine.
- 1/25/2024
- by Vadim Rizov
- Filmmaker Magazine - Blog
Sting, Incubus, Devo, and My Morning Jacket will shake the sands of Redondo Beach, California’s waterfront, this spring at the fifth installment of the BeachLife Festival. Other performers include Seal, Dirty Heads, Local Natives, Santigold, Trey Anastasio, Fleet Foxes, Zz Top, and Courtney Barnett. Tickets for the three-day fest, which kicks off May 3, are available now.
The lineup spans a variety of genres, including reggae (Steel Pulse, Pepper), punk (performances by members of the Vandals, All, 7 Seconds), and mambo (Tito Puente Jr.) Additionally, the Samples, Surfer Blood, Chevy Metal,...
The lineup spans a variety of genres, including reggae (Steel Pulse, Pepper), punk (performances by members of the Vandals, All, 7 Seconds), and mambo (Tito Puente Jr.) Additionally, the Samples, Surfer Blood, Chevy Metal,...
- 1/19/2024
- by Kory Grow
- Rollingstone.com
Click here to read the full article.
Musician Mike Schank, best known for his good guy role in the award-winning documentary film American Movie, has died. He was 53.
Schank’s close friend Jackie Bogenberger said he had been battling cancer in recent months and died Thursday.
American Movie won best documentary at the Sundance Film Festival and became a cult favorite over the years. The 1999 film chronicled the making of the horror short Coven by independent filmmaker Mark Borchardt, with Schank — Borchardt’s best friend — shown in the film supporting Borchardt’s filmmaking dream through various challenges.
Schank’s deadpan humor and quiet sweetness in Movie — including his honesty about his struggles with alcoholism and gambling addiction — made him a beloved, unforgettable figure. He hilariously provided a bloodcurdling scream for Coven and also composed its music. The 1999’s documentary’s success led to several opportunities, including a role in the...
Musician Mike Schank, best known for his good guy role in the award-winning documentary film American Movie, has died. He was 53.
Schank’s close friend Jackie Bogenberger said he had been battling cancer in recent months and died Thursday.
American Movie won best documentary at the Sundance Film Festival and became a cult favorite over the years. The 1999 film chronicled the making of the horror short Coven by independent filmmaker Mark Borchardt, with Schank — Borchardt’s best friend — shown in the film supporting Borchardt’s filmmaking dream through various challenges.
Schank’s deadpan humor and quiet sweetness in Movie — including his honesty about his struggles with alcoholism and gambling addiction — made him a beloved, unforgettable figure. He hilariously provided a bloodcurdling scream for Coven and also composed its music. The 1999’s documentary’s success led to several opportunities, including a role in the...
- 10/18/2022
- by Associated Press
- The Hollywood Reporter - Movie News
The documentaries and nonfiction programs that are nominated at this year’s Emmy Awards chronicle a diverse range of stories that continue to show why these genres are an essential part of the new Golden Age of Television we are currently living in. The creatives behind five of this year’s Emmy contenders for documentary/nonfiction programming joined our recent Meet the Experts panel. The subjects tackled include how a financial arrangement controlled a worldwide pop star, the career of one of America’s greatest stand-up comedians, the relationship of television’s first power couple, big-wave surfers looking to catch the ultimate experience in Portugal and a world famous chef seeking to rethink how we supply food to people in need of relief.
In our panel discussion, we hear what these directors and producers have to say about finding out about their Emmy nomination this year, what it was like...
In our panel discussion, we hear what these directors and producers have to say about finding out about their Emmy nomination this year, what it was like...
- 8/11/2022
- by Charles Bright
- Gold Derby
Pick any memorable detail at random from the overview montage at the beginning of “Bad Vegan: Fame. Fraud. Fugitives.”: an immortal dog, an undercover operation, a circle of picketers. More notable than any of those individual pieces, though, is the whole itself.
Almost a tacit admission that a four-part documentary series with this title wouldn’t exist without things turning out badly, the show begins at the end, teeing up a tell-all conversation with Sarma Melngailis. In the ever-calcifying Netflix house style, there’s the former proprietor of trendy New York eatery Pure Food and Wine, looking straight into the camera and describing how on the verge of turning her restaurant into a blooming culinary empire, the arrival of one enigmatic individual helped to upend it all.
Much like the reputation of Pure Food and Wine in an enthralled subset of New York socialites, Sarma becomes the prism through...
Almost a tacit admission that a four-part documentary series with this title wouldn’t exist without things turning out badly, the show begins at the end, teeing up a tell-all conversation with Sarma Melngailis. In the ever-calcifying Netflix house style, there’s the former proprietor of trendy New York eatery Pure Food and Wine, looking straight into the camera and describing how on the verge of turning her restaurant into a blooming culinary empire, the arrival of one enigmatic individual helped to upend it all.
Much like the reputation of Pure Food and Wine in an enthralled subset of New York socialites, Sarma becomes the prism through...
- 3/14/2022
- by Steve Greene
- Indiewire
Multi-faceted filmmaker Mark Duplass discusses the movies he wishes more people knew about with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Duck Butter (2018)
The Puffy Chair (2005)
Prince Of Broadway (2008)
Tangerine (2015)
The Florida Project (2017) – Dennis Cozzalio’s review
Red Rocket (2021)
Starlet (2012)
Take Out (2004)
Mack & Rita (Tbd)
Old Joy (2006)
First Cow (2020)
Wendy And Lucy (2008) – Dennis Cozzalio’s favorite movie of 2020
Henry Fool (1997)
Trust (1990)
Amateur (1994)
Medicine For Melancholy (2008)
Shang-Chi (2021)
Your Sister’s Sister (2011)
My Effortless Brilliance (2008)
What the Funny (2008)
Humpday (2009)
True Adolescents (2009)
Man Push Cart (2005)
The White Tiger (2021)
Baghead (2008)
The Do-Deca-Pentathlon (2012)
Language Lessons (2021)
Stevie (2002)
Hoop Dreams (1994)
American Movie (1999)
What Happened Was… (1994) – Ti West’s trailer commentary
Manhunter (1986) – Josh Olson’s trailer commentary
My Dinner With Andre (1981)
Creep (2014)
Grown-Ups (1980)
Abigail’s Party (1977)
Nuts In May (1976)
Secrets And Lies (1996) – Glenn Erickson’s Criterion Blu-ray review
Naked (1993)
Parallel Mothers (2021)
The Freebie (2010)
East Of Eden (1955) – Larry Cohen’s trailer commentary
Strange...
Show Notes: Movies Referenced In This Episode
Duck Butter (2018)
The Puffy Chair (2005)
Prince Of Broadway (2008)
Tangerine (2015)
The Florida Project (2017) – Dennis Cozzalio’s review
Red Rocket (2021)
Starlet (2012)
Take Out (2004)
Mack & Rita (Tbd)
Old Joy (2006)
First Cow (2020)
Wendy And Lucy (2008) – Dennis Cozzalio’s favorite movie of 2020
Henry Fool (1997)
Trust (1990)
Amateur (1994)
Medicine For Melancholy (2008)
Shang-Chi (2021)
Your Sister’s Sister (2011)
My Effortless Brilliance (2008)
What the Funny (2008)
Humpday (2009)
True Adolescents (2009)
Man Push Cart (2005)
The White Tiger (2021)
Baghead (2008)
The Do-Deca-Pentathlon (2012)
Language Lessons (2021)
Stevie (2002)
Hoop Dreams (1994)
American Movie (1999)
What Happened Was… (1994) – Ti West’s trailer commentary
Manhunter (1986) – Josh Olson’s trailer commentary
My Dinner With Andre (1981)
Creep (2014)
Grown-Ups (1980)
Abigail’s Party (1977)
Nuts In May (1976)
Secrets And Lies (1996) – Glenn Erickson’s Criterion Blu-ray review
Naked (1993)
Parallel Mothers (2021)
The Freebie (2010)
East Of Eden (1955) – Larry Cohen’s trailer commentary
Strange...
- 12/21/2021
- by Kris Millsap
- Trailers from Hell
Here are many more movies to watch when you’re staying in for a while, featuring recommendations from Steven Canals, Larry Karaszewski, Gareth Reynolds, and Alan Arkush with special guest star Blaire Bercy from the Hollywood Food Coalition.
Please support the Hollywood Food Coalition. Text “Give” to 323.402.5704 or visit https://hofoco.org/donate!
Show Notes: Movies Referenced In This Episode
Master of the Flying Guillotine (1976)
Groundhog Day (1993)
Kung Fu Mama a.k.a. Queen of Fist (1973)
Ali: Fear Eats The Soul (1974)
Portrait Of A Lady On Fire (2019)
In The Mood For Love (2000)
Hunger (2008)
The Sweet Hereafter (1997)
Fargo (1996)
Night of the Lepus (1971)
Dolemite Is My Name (2019)
Soylent Green (1973)
Silent Running (1972)
Canyon Passage (1946)
McCabe & Mrs. Miller (1971)
The Professionals (1966)
Ride Lonesome (1959)
Carrie (1952)
The Heartbreak Kid (1972)
Hello Down There (1969)
The Brass Bottle (1964)
The Trouble With Angels (1966)
Pollyanna (1960)
Tiger Bay (1959)
The Parent Trap (1961)
Endless Night (1972)
The Family Way (1966)
Take A Girl Like You (1970)
Freddy Got Fingered...
Please support the Hollywood Food Coalition. Text “Give” to 323.402.5704 or visit https://hofoco.org/donate!
Show Notes: Movies Referenced In This Episode
Master of the Flying Guillotine (1976)
Groundhog Day (1993)
Kung Fu Mama a.k.a. Queen of Fist (1973)
Ali: Fear Eats The Soul (1974)
Portrait Of A Lady On Fire (2019)
In The Mood For Love (2000)
Hunger (2008)
The Sweet Hereafter (1997)
Fargo (1996)
Night of the Lepus (1971)
Dolemite Is My Name (2019)
Soylent Green (1973)
Silent Running (1972)
Canyon Passage (1946)
McCabe & Mrs. Miller (1971)
The Professionals (1966)
Ride Lonesome (1959)
Carrie (1952)
The Heartbreak Kid (1972)
Hello Down There (1969)
The Brass Bottle (1964)
The Trouble With Angels (1966)
Pollyanna (1960)
Tiger Bay (1959)
The Parent Trap (1961)
Endless Night (1972)
The Family Way (1966)
Take A Girl Like You (1970)
Freddy Got Fingered...
- 4/10/2020
- by Kris Millsap
- Trailers from Hell
Filmmakers/authors discuss the movies they wish more people were familiar with.
Movies Referenced In This Episode
Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s (2012)
Live Like A Cop, Die Like A Man (1976)
Island of Lost Souls (1932)
Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau (2014)
Top Gun (1986)
Water Power (1977)
Taxi Driver (1976)
In Fabric (2018)
A Climax of Blue Power (1974)
Forced Entry (1975)
Once Upon A Time In America (1984)
Nashville Girl (1976)
Ms .45 (1981)
Act of Vengeance a.k.a. Rape Squad (1974)
High Plains Drifter (1973)
Design For Living (1933)
Trouble In Paradise (1932)
Melody (1971)
Oliver! (1968)
Moonrise Kingdom (2012)
That’ll Be The Day (1973)
Stardust (1974)
The Errand Boy (1961)
Looney Tunes: Back In Action (2003)
The Bellboy (1960)
Which Way To The Front? (1970)
Hardly Working (1980)
A Night In Casablanca (1946)
The Cocoanuts (1929)
Duck Soup (1933)
Boeing Boeing (1965)
Confessions of a Young American Housewife (1974)
Cockfighter (1974)
The Second Civil War (1997)
I, A Woman (1965)
The Devil At Your Heels (1981)
The...
Movies Referenced In This Episode
Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s (2012)
Live Like A Cop, Die Like A Man (1976)
Island of Lost Souls (1932)
Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau (2014)
Top Gun (1986)
Water Power (1977)
Taxi Driver (1976)
In Fabric (2018)
A Climax of Blue Power (1974)
Forced Entry (1975)
Once Upon A Time In America (1984)
Nashville Girl (1976)
Ms .45 (1981)
Act of Vengeance a.k.a. Rape Squad (1974)
High Plains Drifter (1973)
Design For Living (1933)
Trouble In Paradise (1932)
Melody (1971)
Oliver! (1968)
Moonrise Kingdom (2012)
That’ll Be The Day (1973)
Stardust (1974)
The Errand Boy (1961)
Looney Tunes: Back In Action (2003)
The Bellboy (1960)
Which Way To The Front? (1970)
Hardly Working (1980)
A Night In Casablanca (1946)
The Cocoanuts (1929)
Duck Soup (1933)
Boeing Boeing (1965)
Confessions of a Young American Housewife (1974)
Cockfighter (1974)
The Second Civil War (1997)
I, A Woman (1965)
The Devil At Your Heels (1981)
The...
- 3/3/2020
- by Kris Millsap
- Trailers from Hell
Shriekfest Film Festival to screen the West Coast Premiere of The Field, Starring Veronica Cartwright (Alien, The Birds, Witches of Eastwick), Barry Bostwick (Rocky Horror), Mark Metcalf (Animal House, Seinfeld, Buffy), Mark Borchardt (American Movie), Tim Higgins (Funny or Die-Pass Me a Beer), Kara Mulrooney (Little Red). Directed by Tate Bunker The annual Los Angeles competition will kick off with an opening night gala September 26 bpt.me/4345177 To purchase tickets! In addition to 10 features, …
The post Shriekfest Announces the West Coast Premiere of The Field appeared first on Hnn | Horrornews.net.
The post Shriekfest Announces the West Coast Premiere of The Field appeared first on Hnn | Horrornews.net.
- 9/7/2019
- by Adrian Halen
- Horror News
By Glenn Dunks
We sometimes get so carried away with Oscar and all things award season adjacent that we forget there are very real movies being released in those first couple of months of the year. After last week's very topical Leaving Neverland review, we're going to back back into January and February and pluck out a few titles we have seen: Fyre, The Image Book, and The Gospel According to Eureka.
Fyre
It's not very often that Shoah comes up in conversation at a party, but there we were when somebody asked me about Fyre, the new documentary from the director of American Movie, Chris Smith. I had said I would rather watch all nine and a half hours of Holocaust testimonials than I would watch another 90 minutes of Fyre (including the adjacent Hulu documentary Fyre Fraud that I have no endured). I may have been several margaritas down...
We sometimes get so carried away with Oscar and all things award season adjacent that we forget there are very real movies being released in those first couple of months of the year. After last week's very topical Leaving Neverland review, we're going to back back into January and February and pluck out a few titles we have seen: Fyre, The Image Book, and The Gospel According to Eureka.
Fyre
It's not very often that Shoah comes up in conversation at a party, but there we were when somebody asked me about Fyre, the new documentary from the director of American Movie, Chris Smith. I had said I would rather watch all nine and a half hours of Holocaust testimonials than I would watch another 90 minutes of Fyre (including the adjacent Hulu documentary Fyre Fraud that I have no endured). I may have been several margaritas down...
- 3/13/2019
- by Glenn Dunks
- FilmExperience
Whenever you hear about a bizarre situation or, pardon my French, a real shitshow, you can’t help but wonder what it must have been like to be a fly on the wall while it was all going down. Well, when it comes to the infamous Fyre Festival, you’re in luck. Fyre: The Greatest Party That Never Happened is a new documentary dropping on Netflix that gets into just that. If you were fascinated at all by the whole Fyre situation, prepare to be blown away by the real life insanity of what occurred. Your jaw will be agape during large portions of the film. The doc is a look at how the Fyre Festival came together, as well as how it came crashing down, in spectacular fashion. Mixing plenty of behind the scenes footage, as well as talking heads, we watch how “entrepreneur” Billy McFarland and musician Ja Rule founded Fyre,...
- 1/19/2019
- by Joey Magidson
- Hollywoodnews.com
You probably remember the cheese sandwich. Maybe you had no idea who the young, bro-tastic hustler Billy McFarland was, or hadn’t heard of the Fyre Music Festival before — or god forbid you’d somehow miraculously missed the already deserved roasting that this misbegotten, mismanaged event had inspired on social media. But the picture of that pathetic meal almost assuredly crossed your path. It was a two slices of white cheese, their ends curled, looking like they’d just been peeled strait out of the plastic Kraft packaging; they lay...
- 1/18/2019
- by David Fear
- Rollingstone.com
You probably first heard about the Fyre Festival on April 27, 2017, when the Sauron’s Eye of Twitter’s attention turned itself towards the Bahamian island of Great Exuma. A horde of millennials — lured south by a legion of social media influencers, supermodels, and the seductive promise of Blink-182 — thought they were about to become the Lewis’ and Clarks of a new Coachella. Alas, such dreams of a hedonistic beach weekend were soon dashed, as a quick look at the Fema-quality festival grounds made it clear that these eager party-seekers were more like the Donner Party of tech start-up fiascos.
There were no bands. There was no food. Emily Ratajkowski, Bella Hadid, and the other stars of Fyre’s promotional material were nowhere to be found. A picture of a sad cheese sandwich went viral as the internet exploded with stories about finance bros and duck-faced girls being trapped in...
There were no bands. There was no food. Emily Ratajkowski, Bella Hadid, and the other stars of Fyre’s promotional material were nowhere to be found. A picture of a sad cheese sandwich went viral as the internet exploded with stories about finance bros and duck-faced girls being trapped in...
- 1/14/2019
- by David Ehrlich
- Indiewire
For many people around the world, the Fyre Festival only landed on their radar after the event became a disaster unlike anything seen before in the music industry. With images and videos arriving on social media depicting something on the level of “Lord of the Flies,” the Fyre Festival became the butt of a joke. And now, it’s the subject of a new documentary coming to Netflix.
Continue reading ‘Fyre’ Trailer: The Director Of ‘American Movie’ Details The Most Spectacular Disaster In Music Festival History at The Playlist.
Continue reading ‘Fyre’ Trailer: The Director Of ‘American Movie’ Details The Most Spectacular Disaster In Music Festival History at The Playlist.
- 1/10/2019
- by Charles Barfield
- The Playlist
By Glenn Dunks
Apologies once again for the recent absense, but working 12-to-15-hour days in an office somewhat curb one's ability to sit down and write reviews. However, we're returning to regularly scheduled programming with one of the best documentaries of the year.
Documentaries about moviemaking aren’t uncommon. We see several released each year, usually offering creative insight and historical context to works of art both great and terrible – and in the case of those like American Movie even surpassing the reputation of the movie they’re about. Documentaries about failed movies are less common, although no less fascinating and often allow their subject to attain something of a mythical status. The latest addition to this sub-genre of non-fiction is Sandi Tan’s Shirkers, a thrillingly assembled combination of cinematic mystery, sombre tribute, and aching paean to lost potential.
“Shirkers” is not only the name of the documentary,...
Apologies once again for the recent absense, but working 12-to-15-hour days in an office somewhat curb one's ability to sit down and write reviews. However, we're returning to regularly scheduled programming with one of the best documentaries of the year.
Documentaries about moviemaking aren’t uncommon. We see several released each year, usually offering creative insight and historical context to works of art both great and terrible – and in the case of those like American Movie even surpassing the reputation of the movie they’re about. Documentaries about failed movies are less common, although no less fascinating and often allow their subject to attain something of a mythical status. The latest addition to this sub-genre of non-fiction is Sandi Tan’s Shirkers, a thrillingly assembled combination of cinematic mystery, sombre tribute, and aching paean to lost potential.
“Shirkers” is not only the name of the documentary,...
- 12/4/2018
- by Glenn Dunks
- FilmExperience
What should be a comedy of errors about a hapless filmmaker’s efforts to complete a low, low budget horror film becomes instead a poignant tale about dodging life’s slings and arrows in order to follow your dreams. The film’s main dreamer is the Quixote-like Mark Borchardt, a lanky Milwaukeean determined to produce his movie come hell or high water. He even has his own Sancho Panza in Mike Schank, the rotund friend enlisted to write the film’s score. Director Chris Smith films his two heroes tilting at every windmill that comes their way and revels in their eventual success, unexpected as it is. Smith’s film was successful as well, winning the Grand Prize at Sundance in 1999.
The post American Movie appeared first on Trailers From Hell.
The post American Movie appeared first on Trailers From Hell.
- 10/3/2018
- by TFH Team
- Trailers from Hell
There have been plenty of great feature-length documentaries about filmmaking: American Movie, Lost in La Mancha, Hearts of Darkness, Best Worst Movie, Jodorowsky’s Dune, and Burden of Dreams immediately spring to mind. Now a new documentary aims to join those hallowed ranks. It’s called Memory: The Origins of Alien, and it’s an exploration of Ridley […]
The post ‘Memory: The Origins of Alien’ Documentary Explains How Ridley Scott’s Sci-Fi Classic Came Together appeared first on /Film.
The post ‘Memory: The Origins of Alien’ Documentary Explains How Ridley Scott’s Sci-Fi Classic Came Together appeared first on /Film.
- 9/10/2018
- by Ben Pearson
- Slash Film
From Yuletide horrors to anthology scares to one of the best high school-set horror comedies of all time (in this writer's humble opinion), the streaming service Shudder has a bunch of new additions coming to their eerie arsenal this July in the Us, including A Christmas Horror Story, Creepshow 2, and Todd & The Book of Pure Evil (which you should really watch if you love practical effects monsters and the storytelling style of Buffy the Vampire Slayer).
"New Additions in July
To Stream, Start Your Free 7-day Trial At Shudder ($4.99/Month Or $3.99/Month With Annual Plan)
Check Out What’S New On Shudder In July, Including 18 Films And 3 Series Seasons
July 2
The Ninth Gate Dean Corso (Johnny Depp) specializes in tracking down rare and exotic volumes for collectors. Boris Balkan (Frank Langella) has recently acquired a seventeenth-century satanic text called The Nine Gates- a legendary book written by Satan himself.
"New Additions in July
To Stream, Start Your Free 7-day Trial At Shudder ($4.99/Month Or $3.99/Month With Annual Plan)
Check Out What’S New On Shudder In July, Including 18 Films And 3 Series Seasons
July 2
The Ninth Gate Dean Corso (Johnny Depp) specializes in tracking down rare and exotic volumes for collectors. Boris Balkan (Frank Langella) has recently acquired a seventeenth-century satanic text called The Nine Gates- a legendary book written by Satan himself.
- 6/19/2018
- by Derek Anderson
- DailyDead
By Neil Pedley
This week's trip to the multiplex offers a jaunt around the globe where, amongst other things, there's a case of mistaken ethnicity in Boston, Nic Cage gets another wig fitted in Thailand, there's whimsy and surrealism in Scotland and Matthew McConaughey is right at home in Malibu, where he might finally have found something he does well, maybe.
"August Evening"
Strained emotional bonds and the transitory nature of the life of an illegal immigrant provide the backdrop for Chris Eska's quietly affecting family drama that stars Pedro Castaneda as an aging farmhand who loses his job at a chicken farm in a sleepy Texas town, forcing he and his devoted daughter-in-law (Veronica Loren) to relocate to San Antonio to stay with his older children and the grandchildren he never knew he had. As Alison Willmore pointed out in last week's Lunchbox, Castaneda is a first-time actor...
This week's trip to the multiplex offers a jaunt around the globe where, amongst other things, there's a case of mistaken ethnicity in Boston, Nic Cage gets another wig fitted in Thailand, there's whimsy and surrealism in Scotland and Matthew McConaughey is right at home in Malibu, where he might finally have found something he does well, maybe.
"August Evening"
Strained emotional bonds and the transitory nature of the life of an illegal immigrant provide the backdrop for Chris Eska's quietly affecting family drama that stars Pedro Castaneda as an aging farmhand who loses his job at a chicken farm in a sleepy Texas town, forcing he and his devoted daughter-in-law (Veronica Loren) to relocate to San Antonio to stay with his older children and the grandchildren he never knew he had. As Alison Willmore pointed out in last week's Lunchbox, Castaneda is a first-time actor...
- 9/1/2008
- by Neil Pedley
- ifc.com
Strong back to the woods for 'Fever 2'
NEW YORK -- Reports of Rider Strong's death in the horror film "Cabin Fever" have been exaggerated. Strong's character, Paul, is alive and well and living in fear of his life in the sequel, "Cabin Fever 2: Spring Fever".
Giuseppe Andrews returns as the oddball Deputy Winston, who dumped the ill Paul In a stream at the end of the 2003 original. In the Lionsgate sequel, the killer virus comes out of the woods and has a date at the high school prom.
Producers Lauren Moews of Tonic Films, John Sachar and Patrick Durham have recruited an eccentric new trio for director Ti West's follow-up to Eli Roth's comedic gorefest. Comedian Judah Friedlander (NBC's "30 Rock") plays the Down Home Water security guard. Mark Borchardt ("American Movie") portrays Winston's cousin from Wombusaw, and fellow cult actor-director Larry Fessenden ("Habit") plays an ill-fated water truck driver.
Noah Segan ("Brick"), Alexi Wasser ("Factory Girl"), Marc Senter (the upcoming "I Know Who Killed Me") and Rusty Kelley play new potential victims.
Giuseppe Andrews returns as the oddball Deputy Winston, who dumped the ill Paul In a stream at the end of the 2003 original. In the Lionsgate sequel, the killer virus comes out of the woods and has a date at the high school prom.
Producers Lauren Moews of Tonic Films, John Sachar and Patrick Durham have recruited an eccentric new trio for director Ti West's follow-up to Eli Roth's comedic gorefest. Comedian Judah Friedlander (NBC's "30 Rock") plays the Down Home Water security guard. Mark Borchardt ("American Movie") portrays Winston's cousin from Wombusaw, and fellow cult actor-director Larry Fessenden ("Habit") plays an ill-fated water truck driver.
Noah Segan ("Brick"), Alexi Wasser ("Factory Girl"), Marc Senter (the upcoming "I Know Who Killed Me") and Rusty Kelley play new potential victims.
- 3/14/2007
- The Hollywood Reporter - Movie News
Sundance announces competition lineup
In announcing the competition slate for the 2007 Sundance Film Festival, Geoffrey Gilmore, its longtime director, said he sees the beginning of a new era in independent filmmaking. "Filmmakers are undergoing a massive expansion in perspective and aesthetic qualities," he said. "Where once independence meant a detachment, a kind of navel-gazing, that doesn't exist right now. Instead, there is engagement and innovation. Filmmakers are going out and engaging the real world in terms of subject matter, vision and innovative storytelling."
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
- 12/1/2006
- The Hollywood Reporter - Movie News
Sundance announces competition lineup
In announcing the competition slate for the 2007 Sundance Film Festival, Geoffrey Gilmore, its longtime director, said he sees the beginning of a new era in independent filmmaking. "Filmmakers are undergoing a massive expansion in perspective and aesthetic qualities," he said. "Where once independence meant a detachment, a kind of navel-gazing, that doesn't exist right now. Instead, there is engagement and innovation. Filmmakers are going out and engaging the real world in terms of subject matter, vision and innovative storytelling."
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
- 11/30/2006
- The Hollywood Reporter - Movie News
Sundance announces competition lineup
In announcing the competition slate for the 2007 Sundance Film Festival, Geoffrey Gilmore, its longtime director, said he sees the beginning of a new era in independent filmmaking. "Filmmakers are undergoing a massive expansion in perspective and aesthetic qualities," he said. "Where once independence meant a detachment, a kind of navel-gazing, that doesn't exist right now. Instead, there is engagement and innovation. Filmmakers are going out and engaging the real world in terms of subject matter, vision and innovative storytelling."
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
- 11/30/2006
- The Hollywood Reporter - Movie News
Sundance announces competition lineup
In announcing the competition slate for the 2007 Sundance Film Festival, Geoffrey Gilmore, its longtime director, said he sees the beginning of a new era in independent filmmaking. "Filmmakers are undergoing a massive expansion in perspective and aesthetic qualities," he said. "Where once independence meant a detachment, a kind of navel-gazing, that doesn't exist right now. Instead, there is engagement and innovation. Filmmakers are going out and engaging the real world in terms of subject matter, vision and innovative storytelling."
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
Old categories of films long a staple of Sundance -- the coming-of-age picture or the dysfunctional family drama -- are no longer applicable to the competition films in the upcoming festival, Gilmore insisted. These new films tend to be more optimistic about the future, both politically and personally. Where once the independent world created its films almost in reaction to Hollywood and its happy endings, the new independents are drawing on the traditions of the American independent film itself. So if one thing characterizes Sundance 2007, Gilmore said, it is "freshness."
For the festival -- which runs Jan. 18-28 in Park City, Sundance, Salt Lake City and Ogden, Utah -- programrs looked at a mind-boggling 3,287 feature submissions. That includes 1,852 U.S. films and 1,435 international movies, an increase over the previous year, when 1,764 U.S. features and 1,384 international films were considered.
The 122 feature films selected include 82 world premieres, 24 North American premieres and 10 U.S. premieres representing 25 countries. The competition section is divided into dramatic and documentary sections for both Independent Film -- meaning American films -- and World Cinema. Each section will present 16 features, for a total of 64 films that screen in competition.
While the number of first-time filmmakers is down, programrs have discovered the phenomenon of filmmakers in "new guises." So Chris Smith, whose American Movie won the Grand Jury Prize for best documentary at the 1999 Sundance Film Festival, returns in dramatic competition with The Pool, a Hindi-language film set in Goa, India.
"You anticipate what a Chris Smith movie is, then you look at 'The Pool' and you say, 'That's Chris Smith?' " Gilmore said. He added that no fewer than four of the films in the dramatic competition are in languages other than English.
"American independent filmmakers are reaching out and changing the parameters that used to so easily encapsulate them," Gilmore said. "They are redefining what American independent film is."
Diversity is another factor, but not in the way Sundance programrs formerly used the word. Four Sheets to the Wind was developed in the Sundance Screenwriters and Directors Lab by Sterlin Harjo, an Oklahoma resident and descendent of the Seminole and Creek tribes. Adrift in Manhattan from director Alfredo De Villa, who is Latino, focuses on an eye doctor and an aging artist losing his eyesight.
"These are complicated and sophisticated films," Gilmore said. "You can't call them Native-American or Latino films. They no longer are reducible to their origins. They no longer represent a particular community, but are simply American independent works."
Dramatic competition presents a range of subjects from personal stories about life in suburban and small-town America to stories taking place outside the U.S. The documentary competition naturally has films focused on the country's current travails in Iraq, such as Charles Ferguson's No End in Sight and Rory Kennedy's Ghosts of Abu Ghraib, but also on aspects of World War II in Bill Guttentag and Dan Sturman's Nanking and Steven Okazaki's "White Light/Black Rain: The Destruction of Hiroshima and Nagasaki."
Each of the 16 films in dramatic and documentary categories is a world premiere. Programrs saw 856 films submitted for the documentary competition, while 996 features were submitted for the dramatic competition.
Sundance launched the world competition categories in 2005 to bolster the prominence of the international films at a festival long seen as a showcase for American indie films. Director of programming John Cooper said that with the upcoming festival "we now feel the benefit of all the travel we've done (to select films). We have hit our stride with a well-rounded program. Of the 16 films, 13 countries are represented. We found the best films, not necessarily world premieres, to rebuild the respect for foreign films in the U.S."
This year's selections include stories about a writer from China, a nomad in Mongolia, a peasant in Burkina Faso and the aftermath of crime and war in Sierra Leone.
The 2006 Grand Jury Prize winner for "13 (Tzameti)", Gela Babluani, a French director born in Georgia, will return to Park City with The Legacy, a film he made with his father, Temur Babluani. The film looks at culture shock when three French hipsters travel through rural Georgia.
John Carney's Once is a modern-day musical set in Dublin. The Israeli-German production, Sweet Mud (Adama Meshugaat) by Dror Shaul, is Israel's submission for the foreign-language Oscar.
Meanwhile, longtime British documentarian Nick Broomfield ("Aileen Wuornos: The Selling of a Serial Killer," "Kurt & Courtney") will showcase Ghosts, a fictional tale of an illegal Chinese immigrant in the U.K.
Traditionally, international films meant art films in the U.S., Gilmore said. "Now these are not necessarily art films. 'Amelie' and 'Downfall' represent a new edge of where international filmmaking is going. It now embraces genre filmmaking all over the world, not just in Asia. Our selections include art, genre films, melodramas and minimalist works that should redefine what international film is in the U.S."
"The films in the world cinema competition contain complex stories that embrace full visions of life and explore topics that transcend the confines of personal, geographic and artistic borders," Cooper said.
The complete list of titles announced Wednesday follows.
Dramatic Competition:
ADRIFT IN MANHATTAN (Director: Alfredo de Villa; Screenwriters: Nat Moss, Alfredo De Villa) -- Set in New York City, a grieving eye doctor is forced to take a closer look at her life; an aging artist confronts the loss of his eyesight, and a young photographer battles his innermost demons. World premiere.
BROKEN ENGLISH (Director and Screenwriter: Zoe Cassavetes) -- A young woman in her thirties finds herself surrounded by friends who are married, in relationships or with children. She unexpectedly meets a quirky Frenchman who opens her eyes to a lot more than love. World premiere.
FOUR SHEETS TO THE WIND (Director and Screenwriter: Sterlin Harjo) -- Cufe Smallhill finds his father dead. Fulfilling a dying wish, he disposes of the body in the family pond and sets off to begin a new life in the big city of Tulsa. World premiere.
THE GOOD LIFE (Director and Screenwriter: Steve Berra) -- A story about a "mostly normal" young man whose small town existence running a faded movie palace is shaken when he comes in contact with a mysterious young woman. World premiere.
GRACE IS GONE (Director and Screenwriter: James C. Strouse) -- A young father learns that his wife has been killed in Iraq and must find the courage to tell his two young daughters the news. World premiere.
JOSHUA (Director: George Ratliff; Screenwriters: David Gilbert, George Ratliff) -- A successful, young Manhattan family is torn apart by the machinations of Joshua, their eight-year-old prodigy, when his newborn baby sister comes home from the hospital. World premiere.
NEVER FOREVER (Director and Screenwriter: Gina Kim) -- When an American woman and her Asian-American husband discover they are unable to conceive, she begins a clandestine relationship with an attractive stranger in a desperate attempt to save her marriage. World premiere.
ON THE ROAD WITH JUDAS (Director and Screenwriter: JJ Lask) -- Reality, fiction and the notions of storytelling intertwine in this narrative about a young thief and the woman he loves.
- 11/29/2006
- The Hollywood Reporter - Movie News
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