Phil Karlson’s The Scarface Mob was originally made as a two-part pilot for the Westinghouse Desilu Playhouse anthology series before the 80-minute episodes were re-cut for theatrical release. Given the sterility of so much dramatic television in the 1950s, it’s hard to imagine Karlson—best known for hard-hitting noirs like Kansas City Confidential and The Phenix City Story—seeing the format as suitable for his style. But Desi Arnaz, a huge admirer of the latter film, promised Karlson no studio interference. And while The Scarface Mob’s story presents a clear battle between good and evil in the form of Eliot Ness (Robert Stack) and Al Capone’s (Neville Brand) Chicago bootlegging empire, Karlson’s gritty brutality finds its way on-screen as the film conflates the maniacal ruthlessness of both men’s actions.
Stack’s performance went a long way in cementing Ness’s legacy in the public imagination.
Stack’s performance went a long way in cementing Ness’s legacy in the public imagination.
- 4/12/2024
- by Derek Smith
- Slant Magazine
I typically have two problems with found footage horror movies. First, it’s often hard to believe the characters wouldn’t simply drop their cameras once the body count begins. Just as the haunted house movie must present a sufficiently logical reason for the inhabitants to remain once the voices start whispering “get out,” the found footage horror movie must posit an acceptable rationale for why the cameras keep rolling. Second, the subgenre’s veneer of reality often means some of filmmaking’s most effective tools—score, editing, composition—are sacrificed on the altar of verisimilitude. The premise of Late Night with the Devil alleviates both […]
The post “Congratulations, That Shot was Terrible”: Dp Matthew Temple on Late Night with the Devil first appeared on Filmmaker Magazine.
The post “Congratulations, That Shot was Terrible”: Dp Matthew Temple on Late Night with the Devil first appeared on Filmmaker Magazine.
- 4/11/2024
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
I typically have two problems with found footage horror movies. First, it’s often hard to believe the characters wouldn’t simply drop their cameras once the body count begins. Just as the haunted house movie must present a sufficiently logical reason for the inhabitants to remain once the voices start whispering “get out,” the found footage horror movie must posit an acceptable rationale for why the cameras keep rolling. Second, the subgenre’s veneer of reality often means some of filmmaking’s most effective tools—score, editing, composition—are sacrificed on the altar of verisimilitude. The premise of Late Night with the Devil alleviates both […]
The post “Congratulations, That Shot was Terrible”: Dp Matthew Temple on Late Night with the Devil first appeared on Filmmaker Magazine.
The post “Congratulations, That Shot was Terrible”: Dp Matthew Temple on Late Night with the Devil first appeared on Filmmaker Magazine.
- 4/11/2024
- by Matt Mulcahey
- Filmmaker Magazine - Blog
In November 2021, 61 years after Benin gained independence from the French empire, 26 of the many thousands of plundered national antiquities were returned by France to their African home. Inserting an inquisitive, imaginative intelligence into this key moment in the troubled timeline of post-imperial cultural politics, French-Senegalese director Mati Diop fashions her superb, short but potent hybrid doc “Dahomey” as a slim lever that cracks open the sealed crate of colonial history, sending a hundred of its associated erasures and injustices tumbling into the light.
The film takes its title from the kingdom on Benin’s Atlantic coast, that existed in formidable militarism for 300 years until 1894, and whose fabled female warriors were recently the subject of Gina Prince-Bythewood’s “The Woman King.” But “Dahomey” starts far from the pomp and grandeur of that wealthy, warlike kingdom, in the basement level of the Parisian Musée du Quai Branly, where CCTV cameras stare down at empty,...
The film takes its title from the kingdom on Benin’s Atlantic coast, that existed in formidable militarism for 300 years until 1894, and whose fabled female warriors were recently the subject of Gina Prince-Bythewood’s “The Woman King.” But “Dahomey” starts far from the pomp and grandeur of that wealthy, warlike kingdom, in the basement level of the Parisian Musée du Quai Branly, where CCTV cameras stare down at empty,...
- 2/18/2024
- by Jessica Kiang
- Variety Film + TV
With her mesmerizing 2019 debut feature, the lyrical Senegalese ghost story Atlantics, as well as the nonfiction project that preceded it, A Thousand Suns, Mati Diop jumped to the forefront of diasporic Black European directors reclaiming their ancestral African roots. The director’s own path as a cultural revenant continues to be inextricably woven through her work, alongside a contemplative consideration of repatriation and reparations, in her multifaceted medium-length docu-fictional essay Dahomey.
The film is both a response to Alain Resnais and Chris Marker’s 1953 inquiry into African art and colonialism, Statues Also Die, and an ongoing debate on the significance of returned artifacts and the responsibility of new generations to continue the vital work of conservation and cultural reclamation.
Running just over an hour but loaded with thematic weight and aesthetic beauty, Dahomey sprang from the French government’s return, in 2021, of 26 royal treasures from the Kingdom of Dahomey to...
The film is both a response to Alain Resnais and Chris Marker’s 1953 inquiry into African art and colonialism, Statues Also Die, and an ongoing debate on the significance of returned artifacts and the responsibility of new generations to continue the vital work of conservation and cultural reclamation.
Running just over an hour but loaded with thematic weight and aesthetic beauty, Dahomey sprang from the French government’s return, in 2021, of 26 royal treasures from the Kingdom of Dahomey to...
- 2/18/2024
- by David Rooney
- The Hollywood Reporter - Movie News
Greek filmmaker Yorgos Zois, who’s set to bow his sophomore feature, “Arcadia,” in the competitive Encounters strand of the Berlin Film Festival Feb. 18, is developing his first TV series.
“Play” follows a lone cinephile who joins a mysterious group of strangers that reenact scenes from movies in real life. The eight-part mystery-drama series tells the story of ordinary individuals who gradually lose themselves in the hazy realm between reality and fiction.
Zois says the show, which is produced by Athens-based Foss Prods. and repped internationally by Beta Cinema, is his personal attempt to “bridge the gap between cinema and series.”
“I really like exploring new territories,” he tells Variety, noting that he first conceived of “Play” as a feature film. Eventually, however, the director decided that an episodic series would allow him to “experiment” while pushing against the boundaries of a new form.
Zois’ latest feature, “Arcadia,” is a similar,...
“Play” follows a lone cinephile who joins a mysterious group of strangers that reenact scenes from movies in real life. The eight-part mystery-drama series tells the story of ordinary individuals who gradually lose themselves in the hazy realm between reality and fiction.
Zois says the show, which is produced by Athens-based Foss Prods. and repped internationally by Beta Cinema, is his personal attempt to “bridge the gap between cinema and series.”
“I really like exploring new territories,” he tells Variety, noting that he first conceived of “Play” as a feature film. Eventually, however, the director decided that an episodic series would allow him to “experiment” while pushing against the boundaries of a new form.
Zois’ latest feature, “Arcadia,” is a similar,...
- 2/18/2024
- by Christopher Vourlias
- Variety Film + TV
Anyone looking to debate the limits of progress should cast an eye on 1980s Ireland. As a generation born in revolution and civil war moved from farms to towns, a middle class emerged. Some people had televisions; if they were good, some of their kids had Levi’s jeans. As certain things loosened, the Catholic church’s grip on most aspects of Irish life seemed to only grow tighter. Between 1922 and 1996, and aided by a callow state, the church was responsible for imprisoning tens of thousands of women (mostly young single mothers who couldn’t afford the child) into what was essentially indentured servitude. In these “laundries,” women worked seven days a week and weren’t allowed to leave. Their babies were taken from them and sold for adoption, or worse. Around 1,600 women died. The number of babies is estimated to be in the thousands.
The awful tragedy of those events...
The awful tragedy of those events...
- 2/15/2024
- by Rory O'Connor
- The Film Stage
Hrithik Roshan & Deepika Padukone In A Still From Fighter (Picture Credit: Facebook)
Hrithik Roshan and Deepika Padukone in a film. O…M…Geeee. This was the initial reaction on social media when it was announced that finally, after years of manifestation, the two superstars were coming together for an action film. Hrithik and Dp both played Indian Air Force officers in the much-awaited film that was helmed by Siddharth Anand.
Interestingly, this was the second continuous film for Dp with Sid, while the director had great working chemistry with Hrithik since they worked together in Bang Bang and War! But then, despite having all the boxes ticked for a perfect blockbuster, what went wrong with the Hr-dp film, and how did it crash-landed?
Right before Fighter’s release, there were speculations that Deepika Padukone was not very happy with the film. Well, if she was, she had all the right...
Hrithik Roshan and Deepika Padukone in a film. O…M…Geeee. This was the initial reaction on social media when it was announced that finally, after years of manifestation, the two superstars were coming together for an action film. Hrithik and Dp both played Indian Air Force officers in the much-awaited film that was helmed by Siddharth Anand.
Interestingly, this was the second continuous film for Dp with Sid, while the director had great working chemistry with Hrithik since they worked together in Bang Bang and War! But then, despite having all the boxes ticked for a perfect blockbuster, what went wrong with the Hr-dp film, and how did it crash-landed?
Right before Fighter’s release, there were speculations that Deepika Padukone was not very happy with the film. Well, if she was, she had all the right...
- 2/15/2024
- by Trisha Gaur
- KoiMoi
Uwe Boll is turning his lens on Europe’s growing migrant crisis in the forthcoming thriller “Run.”
Set to start shooting in April on the Croatian island of Krk, the film follows a boat carrying migrants from various African countries through the Mediterranean sea to Italy. When the boat loses orientation and goes off course, things turn violent as the migrants blame the smugglers.
After finally making it to shore, the desperate passengers try to evade police and a few manage to get away. The film focuses on the individual storylines of the migrants, locals and tourists through the course of the day as they lead to a violent escalation.
Daniel Sauli, Kristen Renton, Sammy Sheik and Mohammed Qissi (“Kickboxer”) star in the pic, which is still casting.
“Run” is written, produced and directed by Boll, who also worked with Renton and Sauli on his most recent film, the New...
Set to start shooting in April on the Croatian island of Krk, the film follows a boat carrying migrants from various African countries through the Mediterranean sea to Italy. When the boat loses orientation and goes off course, things turn violent as the migrants blame the smugglers.
After finally making it to shore, the desperate passengers try to evade police and a few manage to get away. The film focuses on the individual storylines of the migrants, locals and tourists through the course of the day as they lead to a violent escalation.
Daniel Sauli, Kristen Renton, Sammy Sheik and Mohammed Qissi (“Kickboxer”) star in the pic, which is still casting.
“Run” is written, produced and directed by Boll, who also worked with Renton and Sauli on his most recent film, the New...
- 2/15/2024
- by Ed Meza
- Variety Film + TV
Exclusive: Lily Gladstone is set to reteam with Morrisa Maltz on Jazzy, a companion piece and follow-up to their acclaimed indie drama The Unknown Country, released by Music Box Films, which brought Gladstone a Gotham Award last fall. In addition to starring, Gladstone will exec produce, along with the team at Duplass Brothers Productions.
While The Unknown Country followed Gladstone’s character — the grieving Tana — on a lonely road trip across America, it also introduced the scene-stealing character of Jazzy, based on and played by Jasmine Bearkiller Shangreaux, a young Oglala Lakota girl growing up in South Dakota. The roles are flipped in Jazzy, with Shangreaux taking center stage and Gladstone supporting her narrative journey. Shot over six years, the film sees Jazzy and her peers grow up on camera as they navigate the space between childhood and young adulthood. When her best friend moves away, Jazzy experiences both a...
While The Unknown Country followed Gladstone’s character — the grieving Tana — on a lonely road trip across America, it also introduced the scene-stealing character of Jazzy, based on and played by Jasmine Bearkiller Shangreaux, a young Oglala Lakota girl growing up in South Dakota. The roles are flipped in Jazzy, with Shangreaux taking center stage and Gladstone supporting her narrative journey. Shot over six years, the film sees Jazzy and her peers grow up on camera as they navigate the space between childhood and young adulthood. When her best friend moves away, Jazzy experiences both a...
- 2/14/2024
- by Matt Grobar
- Deadline Film + TV
There was significant pressure on the day in which director Michael Mann and his team filmed the violent car crash from the 1957 Mille Miglia race for his upcoming film Ferrari. “We only had one shot at it,” says cinematographer Erik Messerschmidt, explaining that the special effects team created and rigged a single self-driving car that could hit the desired speed, launch into the air and tumble before landing in a ditch. With no second take, they filmed the stunt with six cameras as a precautionary measure.
Based on the biography Enzo Ferrari: The Man, the Cars, the Races, the Machine, the drama was filmed in and around the Italian city of Modena, the birthplace of the eponymous automaker, played in the film by Adam Driver. The movie traces Ferrari’s personal life as well as professional racing, including the brutal Mille Miglia crash that claimed the life of driver Alfonso de Portago,...
Based on the biography Enzo Ferrari: The Man, the Cars, the Races, the Machine, the drama was filmed in and around the Italian city of Modena, the birthplace of the eponymous automaker, played in the film by Adam Driver. The movie traces Ferrari’s personal life as well as professional racing, including the brutal Mille Miglia crash that claimed the life of driver Alfonso de Portago,...
- 11/18/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Navid Mihandoust has over 20 years of experience in cinema and television, working as a film director, director assistant, and screenwriter in several TV series and movies since 1999. On 20 August, he began serving a three-year prison sentence. Navid's unjust charges stem from a documentary about Iranian journalist and women's right activist Masih Alinejad's professional life – a documentary that was never released. Navid was initially arrested in 2019 when he endured two months of interrogations within Evin Prison's Ward. Subsequently, he was temporarily released on bail until the trial process concluded. In January 2021, the Revolutionary Court of Tehran issued a verdict, imposing a 3 1/2-year sentence based on charges of “acting against national security” and “propaganda against the regime through slogan writing.” This sentence was subsequently upheld by the Court of Appeals. During the three years that Navid was waiting for his sentence to be executed, he shot the feature film Cafe,...
- 11/12/2023
- by Panos Kotzathanasis
- AsianMoviePulse
Adapted from David Grann’s best-selling book, Martin Scorsese’s Killers of the Flower Moon is based on real-life crimes against the Osage Nation in 1920s Oklahoma. In the film, Scorsese continues his collaboration with several key artists: actors Robert De Niro and Leonardo DiCaprio, editor Thelma Schoonmaker and cinematographer Rodrigo Prieto, ASC, AMC. This also marks the final film for Scorsese and musician Robbie Robertson, who died this past August. Prieto worked with Scorsese on three previous films: The Wolf of Wall Street, The Irishman, and Silence. He built a career in his native Mexico, earning international acclaim with Alejandro González […]
The post “Scorsese is Always Open to the Energy of the Moment”: Dp Rodrigo Prieto on Killers of the Flower Moon first appeared on Filmmaker Magazine.
The post “Scorsese is Always Open to the Energy of the Moment”: Dp Rodrigo Prieto on Killers of the Flower Moon first appeared on Filmmaker Magazine.
- 11/8/2023
- by Daniel Eagan
- Filmmaker Magazine - Blog
Adapted from David Grann’s best-selling book, Martin Scorsese’s Killers of the Flower Moon is based on real-life crimes against the Osage Nation in 1920s Oklahoma. In the film, Scorsese continues his collaboration with several key artists: actors Robert De Niro and Leonardo DiCaprio, editor Thelma Schoonmaker and cinematographer Rodrigo Prieto, ASC, AMC. This also marks the final film for Scorsese and musician Robbie Robertson, who died this past August. Prieto worked with Scorsese on three previous films: The Wolf of Wall Street, The Irishman, and Silence. He built a career in his native Mexico, earning international acclaim with Alejandro González […]
The post “Scorsese is Always Open to the Energy of the Moment”: Dp Rodrigo Prieto on Killers of the Flower Moon first appeared on Filmmaker Magazine.
The post “Scorsese is Always Open to the Energy of the Moment”: Dp Rodrigo Prieto on Killers of the Flower Moon first appeared on Filmmaker Magazine.
- 11/8/2023
- by Daniel Eagan
- Filmmaker Magazine-Director Interviews
Winner of the Gan Foundation Award and the Rail d'Or Award for Best Feature Film in Cannes, “Inshallah A Boy” is also Jordan's official submission for the 96th Academy Awards. Rasheed took inspiration from a law in Jordan, where if a woman loses her husband and doesn't have a son, part of the inheritance goes to her in-laws.
“Inshallah A Boy“ is screening at Thessaloniki International Film Festival
This is exactly the situation Nawal, a nurse who takes care of an incapacitated old woman for a living, finds herself in, when her husband dies during his sleep, without leaving a will. Her and her little daughter have to face her husband's brother, Rifqi, who essentially wants to take their home from them and sell it, under the aforementioned law. Her only means to avoid losing her home and even the custody of her daughter is to give birth to a son.
“Inshallah A Boy“ is screening at Thessaloniki International Film Festival
This is exactly the situation Nawal, a nurse who takes care of an incapacitated old woman for a living, finds herself in, when her husband dies during his sleep, without leaving a will. Her and her little daughter have to face her husband's brother, Rifqi, who essentially wants to take their home from them and sell it, under the aforementioned law. Her only means to avoid losing her home and even the custody of her daughter is to give birth to a son.
- 11/8/2023
- by Panos Kotzathanasis
- AsianMoviePulse
Atomos has released an interview with ‘The Creator’’s Dp, Oren Soffer, which demonstrates the necessity of the Atomos Ninja V recorder for getting imagery that holds the big screen, by outputting ProRes Raw from the Sony FX3. “Once you tap into (ProRes) Raw and record onto the Ninja, it puts it onto the level where you realize you can intercut it with footage from an Alexa and not notice the difference,” Oren says. Watch the interview below.
Atomos and IMAX Atomos + FX3 = Alexa (?!)
It’s not a secret that ‘The Creator’ helped Atomos to recover from its delicate financial situation. Now it’s clearly known that the Atomos Ninja V is the main technology tool that allowed to shoot ‘The Creator’, which is a big-budget Hollywood sci-fi film, on the Sony FX3. In an interview with Dp Oren Soffer, it has been emphasized, that ProRes Raw is the format...
Atomos and IMAX Atomos + FX3 = Alexa (?!)
It’s not a secret that ‘The Creator’ helped Atomos to recover from its delicate financial situation. Now it’s clearly known that the Atomos Ninja V is the main technology tool that allowed to shoot ‘The Creator’, which is a big-budget Hollywood sci-fi film, on the Sony FX3. In an interview with Dp Oren Soffer, it has been emphasized, that ProRes Raw is the format...
- 11/1/2023
- by Yossy Mendelovich
- YMCinema
After shooting a number of excellent documentaries, Tatsuya Mori decided to shoot a feature film, about a little known incident that took place just after the Great Kanto Earthquake in 1923. The movie left Busan with the New Currents Award.
September 1923 screened at Busan International Film Festival
From the film’s production notes: On September 1, 1923, at 11:58 Am, the Great Kanto Earthquake struck Tokyo, the capital of Japan. On September 6, just five days after the disaster, nine peddlers, including a pregnant woman and small children, were slain near Tone River by more than 100 villagers, vigilantes among them, in Fukuda Village, Higashi-Katsushika in Chiba Prefecture. The victims were part of a group of 15 people, itinerant medicine vendors from Kagawa Prefecture. The villagers killed them, mistaking them for Koreans when they heard them speaking in their dialect. Eight vigilantes were arrested and sentenced to prison. However, they were granted an amnesty concerning the...
September 1923 screened at Busan International Film Festival
From the film’s production notes: On September 1, 1923, at 11:58 Am, the Great Kanto Earthquake struck Tokyo, the capital of Japan. On September 6, just five days after the disaster, nine peddlers, including a pregnant woman and small children, were slain near Tone River by more than 100 villagers, vigilantes among them, in Fukuda Village, Higashi-Katsushika in Chiba Prefecture. The victims were part of a group of 15 people, itinerant medicine vendors from Kagawa Prefecture. The villagers killed them, mistaking them for Koreans when they heard them speaking in their dialect. Eight vigilantes were arrested and sentenced to prison. However, they were granted an amnesty concerning the...
- 10/15/2023
- by Panos Kotzathanasis
- AsianMoviePulse
Koyaanisqatsi director Godfrey Reggio returns with his first feature in a decade, Once Within a Time, opening this Friday at New York’s IFC Center from Oscilloscope Labs. In Filmmaker‘s Fall, 2014 issue, Reggio, co-director Jon Kane and Dp Trish Govoni discussed the “perfect image” of his last feature, Visitors, which was comprised of just 74 black-and-white shots, each running 70 or so seconds. Made during the Covid-19 pandemic, the animated Once Within a Time is a very different work, described as “a bardic fairy tale about the end of the world and the beginning of a new one, tinged with […]
The post Trailer Watch: Godfrey Reggio’s Once Within a Time first appeared on Filmmaker Magazine.
The post Trailer Watch: Godfrey Reggio’s Once Within a Time first appeared on Filmmaker Magazine.
- 10/9/2023
- by Scott Macaulay
- Filmmaker Magazine - Blog
Koyaanisqatsi director Godfrey Reggio returns with his first feature in a decade, Once Within a Time, opening this Friday at New York’s IFC Center from Oscilloscope Labs. In Filmmaker‘s Fall, 2014 issue, Reggio, co-director Jon Kane and Dp Trish Govoni discussed the “perfect image” of his last feature, Visitors, which was comprised of just 74 black-and-white shots, each running 70 or so seconds. Made during the Covid-19 pandemic, the animated Once Within a Time is a very different work, described as “a bardic fairy tale about the end of the world and the beginning of a new one, tinged with […]
The post Trailer Watch: Godfrey Reggio’s Once Within a Time first appeared on Filmmaker Magazine.
The post Trailer Watch: Godfrey Reggio’s Once Within a Time first appeared on Filmmaker Magazine.
- 10/9/2023
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
What a strange, unpredictable film Ryûsuke Hamaguchi has made to follow his rapturously received international breakthrough, Drive My Car. While Evil Does Not Exist (Aku Wa Sonzai Shinai) reins in the symphonic expansiveness of its predecessor, this more compact slow-burn drama builds its own hypnotic, changeable rhythms, along with a quiet sense of dread that sneaks up on you just as people on both sides of a conflict appear to be working toward common ground — whatever that’s worth. An ending that pushes its ambiguousness to confounding lengths will be a deal-breaker for some, but this haunting stealth thriller about violations of nature is a work of undeniable power.
If the shadow of Chekhov stretched elegantly over Drive My Car, the Japanese writer-director’s new film might almost be said to have a kinship with Ibsen, its tensions around the potential contamination of a water supply and the heated responses...
If the shadow of Chekhov stretched elegantly over Drive My Car, the Japanese writer-director’s new film might almost be said to have a kinship with Ibsen, its tensions around the potential contamination of a water supply and the heated responses...
- 9/4/2023
- by David Rooney
- The Hollywood Reporter - Movie News
Four years after director Kitty Green and actor Julia Garner channeled whispers and silence into the stuff of workplace horror in The Assistant, they reunite for a movie that turns up the volume and ratchets up the fear and loathing. Way up.
Instead of the careerist corridors of Manhattan, the setting is a mining town in Australia — specifically, a hotel bar frequented by hard-drinking men. Garner, again, is extraordinary, and the chemistry between her and an equally superb Jessica Henwick, as best friends whose backpacking adventure takes a detour into a kind of hell, doesn’t hit a false note. Yet despite the flawless performances and outstanding craftsmanship, The Royal Hotel is a pummeling experience rather than a revelatory one.
For her second narrative feature, and her first film set and filmed in her native Australia, Green was inspired by the 2016 documentary Hotel Coolgardie, in which Pete Gleeson chronicles the...
Instead of the careerist corridors of Manhattan, the setting is a mining town in Australia — specifically, a hotel bar frequented by hard-drinking men. Garner, again, is extraordinary, and the chemistry between her and an equally superb Jessica Henwick, as best friends whose backpacking adventure takes a detour into a kind of hell, doesn’t hit a false note. Yet despite the flawless performances and outstanding craftsmanship, The Royal Hotel is a pummeling experience rather than a revelatory one.
For her second narrative feature, and her first film set and filmed in her native Australia, Green was inspired by the 2016 documentary Hotel Coolgardie, in which Pete Gleeson chronicles the...
- 9/3/2023
- by Sheri Linden
- The Hollywood Reporter - Movie News
It does rather feel as if the universe — or at least the French film industry — is trying to tell us something when 2023 has turned up not one but two loose Gallic adaptations of Henry James’s “The Beast in the Jungle.” That 1903 novella was about a man, John Marcher, who fails to fully live his life because he’s seized by premonitions of catastrophe that never visibly come to pass. It feels glumly relevant in an age of climate change, artificial intelligence and other obvious but indefinite signals of human demise; perhaps we should count this highly specific cinematic mini-trend as another.
Spare a thought for director Patric Chiha’s “The Beast in the Jungle,” a Berlinale premiere earlier this year, with an already modest profile about to be dwarfed by Bertrand Bonello’s starrier, bigger-swinging “The Beast” — a gender-switched James riff in which said catastrophe is very much happening,...
Spare a thought for director Patric Chiha’s “The Beast in the Jungle,” a Berlinale premiere earlier this year, with an already modest profile about to be dwarfed by Bertrand Bonello’s starrier, bigger-swinging “The Beast” — a gender-switched James riff in which said catastrophe is very much happening,...
- 9/3/2023
- by Guy Lodge
- Variety Film + TV
I have seen the future of cinema, and it is “Aggro Dr1ft,” a neon-hued outlaw eyegasm from the director of ”Spring Breakers.” There will likely never be another film like it. Even so, it’s clear that Harmony Korine’s immersive iridescent plunge into the world and psyche of a serial killer points the way down fresh avenues for the medium to explore.
This is the first movie I’ve seen that doesn’t feel like it was meant to be watched; instead, it was designed to wash over you — or maybe just to unspool on one of the many screens illuminated in your field of vision, while your focus ricochets between it and whatever else is competing for your attention. As Brian De Palma’s “Scarface” became a touchstone cultural reference for the immigrant and hip-hop communities, so too could “Aggro Dr1ft” connect with audiences who see themselves (or...
This is the first movie I’ve seen that doesn’t feel like it was meant to be watched; instead, it was designed to wash over you — or maybe just to unspool on one of the many screens illuminated in your field of vision, while your focus ricochets between it and whatever else is competing for your attention. As Brian De Palma’s “Scarface” became a touchstone cultural reference for the immigrant and hip-hop communities, so too could “Aggro Dr1ft” connect with audiences who see themselves (or...
- 9/2/2023
- by Peter Debruge
- Variety Film + TV
Harmony Korine used to be a movie junkie, someone who’d watch anything and everything. These days, when people recommend a movie, “I’ll look at it and I feel nothing, like dead inside,” says the guy whose own films, from “Spring Breakers” to the controversial screenplay for Larry Clark’s “Kids,” are nothing if not disruptive.
“Watching a lot of this shit, you really feel the algorithms,” he says the day before receiving the Pardo d’onore Manor prize at the Locarno Film Festival. Whereas, “I’ll see a clip on TikTok that is so inexplicable, so outside the realm of what I even imagine someone creating. Like, I can have an experience with a 30-second clip that goes so far beyond” what movies do for him.
TikTok. YouTube. Video games. Those are the influences operating on Korine’s latest feature-length provocation, “Aggro Dr1ft,” which is premiering at the Venice Film Festival.
“Watching a lot of this shit, you really feel the algorithms,” he says the day before receiving the Pardo d’onore Manor prize at the Locarno Film Festival. Whereas, “I’ll see a clip on TikTok that is so inexplicable, so outside the realm of what I even imagine someone creating. Like, I can have an experience with a 30-second clip that goes so far beyond” what movies do for him.
TikTok. YouTube. Video games. Those are the influences operating on Korine’s latest feature-length provocation, “Aggro Dr1ft,” which is premiering at the Venice Film Festival.
- 9/1/2023
- by Peter Debruge
- Variety Film + TV
In December of 1964, principal photography finished on the pilot of Star Trek, featuring captain Christopher Pike (played by The Searchers’ Jeffrey Hunter) as the commander of the Enterprise. When the show’s first episode finally aired almost two years later, Pike was nowhere to be found. The initial pilot had been scrapped and re-shot, with William Shatner’s James T. Kirk taking the helm and a different crew boldly going where no man had gone before. However, that wasn’t the end of Christopher Pike. The character returned as a Kirk mentor in the J.J. Abrams-directed reboot films. Now, with the Paramount […]
The post “Each Episode is Like Its Own Movie”: Dp Benji Bakshi on Star Trek: Strange New Worlds first appeared on Filmmaker Magazine.
The post “Each Episode is Like Its Own Movie”: Dp Benji Bakshi on Star Trek: Strange New Worlds first appeared on Filmmaker Magazine.
- 8/31/2023
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
In December of 1964, principal photography finished on the pilot of Star Trek, featuring captain Christopher Pike (played by The Searchers’ Jeffrey Hunter) as the commander of the Enterprise. When the show’s first episode finally aired almost two years later, Pike was nowhere to be found. The initial pilot had been scrapped and re-shot, with William Shatner’s James T. Kirk taking the helm and a different crew boldly going where no man had gone before. However, that wasn’t the end of Christopher Pike. The character returned as a Kirk mentor in the J.J. Abrams-directed reboot films. Now, with the Paramount […]
The post “Each Episode is Like Its Own Movie”: Dp Benji Bakshi on Star Trek: Strange New Worlds first appeared on Filmmaker Magazine.
The post “Each Episode is Like Its Own Movie”: Dp Benji Bakshi on Star Trek: Strange New Worlds first appeared on Filmmaker Magazine.
- 8/31/2023
- by Matt Mulcahey
- Filmmaker Magazine - Blog
Putting the blackened, flash-frozen heart of Chile’s undead past into a blender, blitzing it to a lumpen pulp and guzzling down the result with grimly comic relish, Pablo Larraín, after his Hollywood forays with “Spencer” and “Jackie,” returns to his home turf and finds it bleeding out from a mysterious two-hole puncture on its neck. “El Conde” — the Chilean director’s uncategorizably bizarre riff on vampire mythos, cronyist corruption and the more mundane horror that is a squabbling family divvying up their patriarchal inheritance while the patriarch is still around — coils itself around an inventively nasty literalization of the idea that the evil that men does lives after them. Those words, spoken over Caesar’s body in “Julius Caesar,” sparked a war that ended a republic. With his iteration, Larraín aims to do his part in delivering a republic instead, bringing his elegantly foul exercise in gallows humor to bear,...
- 8/31/2023
- by Jessica Kiang
- Variety Film + TV
Word on Wim Wenders’ Perfect Days is strong––stronger than any fiction feature he’s made since, God, who can even count. But though its Cannes premiere nabbed Koji Yakusho a Best Actor prize and U.S. acquisition, the festival screened another film I find far more intriguing: Anselm, his 3D- and 6K-shot docufiction concerning painter and sculptor Anselm Kiefer. Sideshow and Janus will release it on December 8, and ahead of its North American premiere at Telluride there is a trailer.
One in meager 2D and 1080p, but even under such conditions you can surmise the extents Wenders and Dp Franz Lustig went to create an immersive experience. This preview just moves in odd angles and high resolution, objects jutting towards the screen at an already-dizzying rate––seeing it big with four eyes has suddenly become a mandatory experience.
Find the preview below, and for more on the film read...
One in meager 2D and 1080p, but even under such conditions you can surmise the extents Wenders and Dp Franz Lustig went to create an immersive experience. This preview just moves in odd angles and high resolution, objects jutting towards the screen at an already-dizzying rate––seeing it big with four eyes has suddenly become a mandatory experience.
Find the preview below, and for more on the film read...
- 8/30/2023
- by Leonard Pearce
- The Film Stage
Just who is the Equalizer? Despite a hit TV show in the 1980s and another with Queen Latifah still running, that title has become synonymous with Denzel Washington, who returns as government-assassin-turned-vigilante Robert McCall. Billed as the final chapter in a trilogy, “The Equalizer 3” sees McCall finding community in a picturesque part of Italy and being forced to protect its people from the mafia. The film also reteams Washington with director Antoine Fuqua for the fifth time, and their comfort with one another ensures a seamless action movie that might not attract new fans, but should play well to those already fond of this franchise.
Fuqua throws the audience directly into the action. The camera follows a man as he walks through an Italian vineyard strewn with bodies, knives and bullet wounds jutting out of them. McCall must be close by, a point reinforced by Marcelo Zarvos’ quietly alarming score.
Fuqua throws the audience directly into the action. The camera follows a man as he walks through an Italian vineyard strewn with bodies, knives and bullet wounds jutting out of them. McCall must be close by, a point reinforced by Marcelo Zarvos’ quietly alarming score.
- 8/29/2023
- by Murtada Elfadl
- Variety Film + TV
Brazil’s Raccord Produções, Chile’s Araucaria Cine and France’s Nord-Ouest Films are teaming to produce acclaimed Brazilian filmmaker Gabe Klinger’s feature drama project “Okonomiyaki.”
“Okonomiyaki” will topline celebrated Brazilian actor-helmer Leandra Leal, Yuki Sugimoto, star of Disney+ series “Mila in the Multiverse,” and feature Marco Pigossi, of Netflix’s “Invisible City” and “Tidelands.”
The feature-length project has been selected for the San Sebastian Film Festival’s Europe-Latin America Co-production Forum, its industry centerpiece, which runs Sept. 25-27.
The film is produced by Clélia Bessa and Marcos Pieri at Raccord, Araucaria’s Isabel Orellana and Nord-Ouest Films’ Ola Byszuk, who are looking fo further financing and co-production, as well as sales and distribution partners for the project.
Offscreen talent includes longtime Pablo Larraín Dp Sergio Armstrong and editor Soledad Salfate, of Sebastián Lelio’s Oscar-winner “A Fantastic Woman.”
Principal photography on “Okonomiyaki” is scheduled to kick-off second quarter next year in Sao Paulo.
“Okonomiyaki” will topline celebrated Brazilian actor-helmer Leandra Leal, Yuki Sugimoto, star of Disney+ series “Mila in the Multiverse,” and feature Marco Pigossi, of Netflix’s “Invisible City” and “Tidelands.”
The feature-length project has been selected for the San Sebastian Film Festival’s Europe-Latin America Co-production Forum, its industry centerpiece, which runs Sept. 25-27.
The film is produced by Clélia Bessa and Marcos Pieri at Raccord, Araucaria’s Isabel Orellana and Nord-Ouest Films’ Ola Byszuk, who are looking fo further financing and co-production, as well as sales and distribution partners for the project.
Offscreen talent includes longtime Pablo Larraín Dp Sergio Armstrong and editor Soledad Salfate, of Sebastián Lelio’s Oscar-winner “A Fantastic Woman.”
Principal photography on “Okonomiyaki” is scheduled to kick-off second quarter next year in Sao Paulo.
- 8/28/2023
- by Emiliano De Pablos
- Variety Film + TV
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