The winter Fandependent Film Festival has officially wrapped up, and with that the winners have been announced. David Hutchinson’s How Far I Want to Go won the Fan Award and the $1000 prize, Estelle Charrie‘s Nymph, Modern Life won the Audience Award and $500,
The 2017 Tribeca Film Festival is quickly approaching and today, the closing night program and galas/special screenings were announced. A special 45th anniversary screening of The Godfather and The Godfather Part II will close the festival and be screened back to back
The majority of the lineup for the 16th Tribeca Film Festival has been announced, with the festival releasing 82 of 98 features. Categories include Competition, Spotlight, Viewpoints and Midnight sections. More special screenings will be announced next week.
Today, the Toronto International Film Festival has announced the lineup for this year’s Human Rights Watch Film Festival, which will be screening eight films that aim to evoke social awareness and change with audiences. The 14th edition of the festival will
The Museum of Modern Art and The Film Society of Lincoln Center have announced the full lineup for this year’s New Directors/New Films, marking the 48th year for the festival celebrating new talent in cinema.
The full lineup as been revealed for South by Southwest 2017, and it includes the premiere of Edgar Wright’s Baby Driver. Terrence Malick’s Song to Song is opening the festival, which will show a total of 125 features.
The 2017 Sundance Film Festival is wrapping up in Park City and with that this year’s award winners have been announced. Macon Blair‘s directorial debut I Don’t Feel Home in This World Anymore won the U.S. Grand Jury Prize for dramatic narrative
A diptych on the inner lives of supporting characters, each afforded the lead in their own half of the film, is how writer/director Joyce Wong decides to explore the ups and downs of the people that usually occupy the margins of a film in her debut, Wexford Plaza. A series of interactions, both intimate and social, taking place within the vacant spaces of a strip mall tilting towards dereliction, of well-meaning intentions unraveling the frayed strands of two lives to differing degrees.
The 2017 Slamdance Film Festival is wrapping up and with that this year’s award winners have been announced. Daniel Warth‘s Dim The Fluorescents won the Narrative Feature Jury Prize, with Stefan Avalos‘ Strad Style winning the Documentary Feature Jury
The 34th edition of the Miami Film Festival is set to kick off March 3rd – 12th and today the full lineup of films has been announced. This year’s festival will feature 131 feature narratives, docs, and shorts from 40 different countries.
As the title of Bill Waterson’s comedy Dave Made a Maze suggests, Dave does indeed make a maze — and what a maze it is. Exploding with creativity, this quirky film about a slacker who creates a cardboard labyrinth in his apartment and subsequently gets himself and his friends lost inside is a ridiculously fun and absurd romp that had me chomping at the bit to uncover each and every unique room and passageway.
An experiment in narrative storytelling, Joji Koyama and Tujiko Noriko’s Kuro sets out to rethink and/or reappropriate certain modes of storytelling within the cinematic landscape. Its experimentation is as refined as it is all-encompassing resulting in an intriguing film-viewing experience as the imagery and sounds of Kuro (almost) never exist within the same spatial reality, each specific aspect detailing different moments in time, concurrently as an overlay of past and present.
Withdrawn is a fitting title for Adrian Murray’s feature-length debut as nearly every aspect of the production appears to inhabit some form of withdrawal within its process. Granted, the title seems to directly refer to the specifics of the film’s narrative regarding a young man plotting to withdraw funds from someone else’s misplaced credit card, but it also extends itself outward, permeating every inch of the film’s fabric.
The world of cinema set-ups is chockablock with the familiar and the unique and in the case of Dim the Fluorescents, director Daniel Warth alongside co-writer Miles Barstead have pooled the two into a unique take of a familiar narrative. The familiar: focusing on the plight of the struggling artist; the unique: the struggling artists in this case bide their time by producing and performing elaborate demonstrations for companies and corporations.
Stefan Avalos’ Strad Style opens with an ominous shot of the lead subject, Daniel Houck, burning what appears to be pieces of a violin in a fire, a stressful way to begin a documentary about a small-town guy attempting to make a 100 percent accurate version of arguably the most famous and expensive violin in the world, Guarneri’s Il Cannone.