While a number of arthouse movie theaters, mostly in NYC, began closing their doors starting last Thursday, an unprecedented step has now been taken to combat the spread of the coronavirus: all movie theaters in New York City and Los Angeles have been ordered to shut down. New York Mayor Bill de Blasio and Los Angeles Mayor Eric Garcetti made the decisions late last night, while also putting restrictions on other entertainment venues. Restaurants, bars, and cafes will also only be able to provide food delivery and take-out.
With these theater closures, the question remains: will any company want to theatrically release their new films over the next few months? We’ve already seen widespread postponements when it comes to studio tentpoles (from A Quiet Place: Part II to Mulan to No Time to Die to F9), but the indie distributors have been a bit less forthcoming about their plans in a rapidly evolving situation.
With these theater closures, the question remains: will any company want to theatrically release their new films over the next few months? We’ve already seen widespread postponements when it comes to studio tentpoles (from A Quiet Place: Part II to Mulan to No Time to Die to F9), but the indie distributors have been a bit less forthcoming about their plans in a rapidly evolving situation.
- 3/16/2020
- by Jordan Raup
- The Film Stage
IIf some of the most consequential filmmakers of contemporary German cinema, such as Christian Petzold, Angela Schanelec, and Thomas Arslan, to cite but a few names that are inevitably lumped together under the loosely defined term “Berlin School,” work primarily in fiction to probe in very different ways the realities of post-unification Germany, then undoubtedly one of the most significant voices working in documentary to do the same is Thomas Heise. However, unlike, for example, Petzold and Schanelec, both of whom recently enjoyed full retrospectives at Film at Lincoln Center in New York, Heise, who has been steadily making films for over three decades, has until now not enjoyed the kind of wider exposure to North American audiences that he rightly deserves. Therefore, the theatrical release of his latest film, Heimat is a Space in Time (2019), a brilliant, expansive essay that uncovers the ineradicable linkages between personal biography and national...
- 3/12/2020
- MUBI
The director’s latest documentary, the German production Heimat Is a Space in Time, has scooped the Jury Prize after the jurors discussed their verdict in front of the audience attending the gathering. On the evening of Friday 29 November, Javier Fuentes, the director of the Lanzarote Muestra Internacional de Cine (Lanzarote International Film Festival), outlined the procedure according to which the official section jury would be explaining, openly and in front of the audience, their reasoning for rewarding one of the seven titles that had been vying for the top prize at the ninth edition of the Canarian event – “because group reflection is a basic concept and must spring forth from culture”. After two hours of deliberations, in which the audience was encouraged to participate actively, the German production Heimat Is a Space in Time, the latest documentary by maestro Thomas Heise, emerged victorious, winning the €2,000 Jury Prize....
One of the strengths of German cinema is its diversity, says Simone Baumann, managing director of the national film promotion agency German Films.
As well as the three films at Toronto directed by female German helmers, there was also German filmmaker Thomas Heise’s documentary film essay “Heimat Is a Space in Time.” Then there were the many German-funded films directed by non-Germans, including “My Zoe,” by France’s Julie Delpy, and “Guns Akimbo,” by New Zealander Jason Lei Howden.
The country is one of the world’s leading coproduction nations, which was much in evidence in Toronto – with 30 German films in the festival, including coproductions such as U.S. helmer Terrence Malick’s “A Hidden Life,” Swede Roy Andersson’s “About Endlessness,” and “Proxima,” by France’s Alice Winocour.
It is hard to make generalization about German cinema, a point the filmmakers make themselves. Since the heyday of the Berlin School,...
As well as the three films at Toronto directed by female German helmers, there was also German filmmaker Thomas Heise’s documentary film essay “Heimat Is a Space in Time.” Then there were the many German-funded films directed by non-Germans, including “My Zoe,” by France’s Julie Delpy, and “Guns Akimbo,” by New Zealander Jason Lei Howden.
The country is one of the world’s leading coproduction nations, which was much in evidence in Toronto – with 30 German films in the festival, including coproductions such as U.S. helmer Terrence Malick’s “A Hidden Life,” Swede Roy Andersson’s “About Endlessness,” and “Proxima,” by France’s Alice Winocour.
It is hard to make generalization about German cinema, a point the filmmakers make themselves. Since the heyday of the Berlin School,...
- 9/15/2019
- by Leo Barraclough
- Variety Film + TV
Director Thomas Heise was born and raised in East Berlin, and he’s been working long enough in documentaries that his earliest films were suppressed by Gdr censors. His understanding of the German national character is rooted in the belief in its potential for curbing freedoms at a minimum and tipping into violent nationalism and fascism in its darkest moments. Over the course of his 218-minute opus “Heimat Is a Space in Time,” Heise examines nearly 100 years of German history through the prism of his own complex genealogy, drawing on letters, diaries and other documents from throughout the 20th century. It’s an enormous undertaking for Heise — and for even the most adventurous viewers — but his essay-film
Screening in the experimental Wavelengths section at the Toronto Film Festival — as opposed to Tiff Docs, the larger repository for nonfiction — “Heimat Is a Space in Time” is notable as much for what...
Screening in the experimental Wavelengths section at the Toronto Film Festival — as opposed to Tiff Docs, the larger repository for nonfiction — “Heimat Is a Space in Time” is notable as much for what...
- 9/13/2019
- by Scott Tobias
- Variety Film + TV
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