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.
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
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Withdrawn is a fitting title for Adrian Murray’s feature-length debut as nearly every aspect of the production appears to inhabit some form of withdrawal within its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.
What would you do if you accidentally killed someone while hanging out in a house that you weren’t exactly supposed to be in? Most rational people would immediately call the police and tell the truth. But if you’re one of the three friends in Dan Berk and Robert Olsen’s Body, however, you’re going to do pretty much anything but that.
Slamdance 2016 is gearing up to kick off in Park City January 22nd, and here we have the trailer for one of this year’s features, Alvin’s Harmonious World of Opposites, from director Platon Theodoris. As with all Slamdance films this is the directorial
Patrick Ryan’s feature debut, Darkness on the Edge of Town, is a gritty Irish tale of revenge, wrought with chaos and violence. The dreary fog-soaked hills of Ireland become the perfect backdrop for this story, which revolves around two best friends avenging the murder of an estranged sister. Though it feels as if no one in this film has a soul, Ryan makes up for it by employing some great visuals and lighting, which, along with and interesting narrative structure, make this film worth a look.
Across the Sea follows Damla (Damla Sönmez) and her American husband, Kevin (Jacob Fishel), as they visit Damla’s family home in Turkey, a beautiful seaside paradise where everyone seems to know everyone else, where small fishing boats bob in the shallow waters and children squeal with joy along the water line, and where there is a dark secret yet to be revealed to its inhabitants.
The Audience, Jury, and Sponsored award winners of this year’s Slamdance Film Festival have been announced, with Nisan Dağ & Esra Saydam’s Across the Sea winning the Audience Award for Narrative Feature and a Jury Honorable Mention for Narrative Feature. Sweet Micky For President was
Today, Shout! Factory announced that they have acquired the rights to Brian James O’Connell‘s horror-comedy Bloodsucking Bastards, which just screened at this year’s Slamdance Film Festival. The film stars Fran Kranz as an apathetic office worker who discovers his new boss is a vampire. The
The distribution arm of the Slamdance Film Festival, Slamdance Studios, has announced a new partnership with online streaming service Hulu that will bring many of the hits from the festival to your home. To kick things off, 13 titles will be available
In the opening scene of Birds of Neptune, high-school senior Rachel (Britt Harris) anxiously waits for her number to be called at a health clinic. We’re pretty sure we know why she’s there, and her reaction driving home makes us certain. There are thoughtfully constructed moments like this sprinkled throughout director Steven Richter’s film, unfortunately they’re few and far between. The pensive tone of the movie is a benefit on the rare occasions the artistry connects, though ultimately this is a quiet movie that doesn’t have a lot to say. When the characters attempt thoughtful conversation, the screenplay reveals its strain for meaning.
The advancement of technology has made the world a smaller place than ever, bringing people from all over the globe together in a thriving community where information can be retrieved with the swipe of a finger. The ability to see and interact with friends and loved ones can be achieved almost instantaneously through our cell phones and web cams. With this rapid integration of technology into our personal lives comes the fear that some of this private information is also seen by others.
It’s a common occurrence for a film to explore the objectification of women, usually by featuring stereotypical male protagonists whose only goal in life is to repeatedly get laid by as many nameless women as possible. In Female Pervert, writer-director Jiyoung Lee takes this trope and flips it around, focusing on a woman who objectifies the men in her life. This results in a delightfully awkward romp that, while fun, plays it a little too safe.
Falling in love for the first time can be a beautiful, exciting, and scary thing. To suddenly care so much for another person that you can’t bear the thought of being apart is an overwhelming emotion. While expressing your love and devotion to your significant other is a good thing, sometimes partners can feel smothered, especially when in a new relationship. Michael Steves’ horror-comedy Clinger explores the most extreme version of this concept and achieves varying degrees of success.