Kohn’s Corner is a weekly column about the challenges and opportunities of sustaining American film culture.
It can be a dispiriting experience, I’ve learned, to emerge from the Cannes Film Festival and reenter a world where original cinematic achievements barely have room to breathe. Last week, I was sifting through new work from Jonathan Glazer and Nuri Bilge Ceylan in the south of France while “The Little Mermaid” dominated the U.S. box office — and came home from the festival to find that for most people, this costly live-action simulation of a 30-year-old property was all the movies had to offer the world at the moment.
But a funny thing just happened at the multiplex. I don’t exactly buy into the fan-based hysteria proclaiming “Spider-Man: Across the Spider-Verse” as the greatest superhero movie ever, but the innovations of this newly released animated sequel extend well beyond its overstuffed multiverse plot.
It can be a dispiriting experience, I’ve learned, to emerge from the Cannes Film Festival and reenter a world where original cinematic achievements barely have room to breathe. Last week, I was sifting through new work from Jonathan Glazer and Nuri Bilge Ceylan in the south of France while “The Little Mermaid” dominated the U.S. box office — and came home from the festival to find that for most people, this costly live-action simulation of a 30-year-old property was all the movies had to offer the world at the moment.
But a funny thing just happened at the multiplex. I don’t exactly buy into the fan-based hysteria proclaiming “Spider-Man: Across the Spider-Verse” as the greatest superhero movie ever, but the innovations of this newly released animated sequel extend well beyond its overstuffed multiverse plot.
- 6/3/2023
- by Eric Kohn
- Indiewire
Would it be presumptuous of me to imagine that I have a contingent of enthusiastic readers who have been worried by my recent absence from the hypertext format? I picture vast swathes of cine-literate blog readers staring distractedly out of their office windows wondering what has become of the eponymous Nicholas Deigman. I am, of course, joking; but as there is technically a minute possibility that this is in fact the case, I begin this post with a heart-felt apology for my recent absence. I have spent the past few weeks researching the great, unchartered frontier of cross-platform, multi-media marketing and distribution. I am currently working for an exciting distribution and exhibition company, Future Shorts Ltd, which organizes monthly short film festivals across the globe, and also organizes the much-hyped Secret Cinema events. In my travels I have come across some fascinating new platforms for film marketing and distribution. But...
- 9/17/2009
- by Nicholas Deigman
- t5m.com
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