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Meadowlark Media, the content studio founded by former ESPN president John Skipper and ESPN radio host Dan Le Batard, wants a sports content franchise to call its own.
And so the production company is launching its most ambitious content effort yet, a multi-platform series called Sports Explains the World.
“We are putting a stake in the ground that we are going to be a storytelling company,” Skipper tells The Hollywood Reporter. “When we launched the company, what we wanted to do overwhelmingly is to tell stories. Both in the number of podcasts we do and in our video. And one of the great ways to tell a story is to have an anthology series in which to put those.”
Sports Explains the World is Meadowlark’s “bold statement” that it is playing to win. “When we launched 30 for 30 [at ESPN], people knew it was quality,...
Meadowlark Media, the content studio founded by former ESPN president John Skipper and ESPN radio host Dan Le Batard, wants a sports content franchise to call its own.
And so the production company is launching its most ambitious content effort yet, a multi-platform series called Sports Explains the World.
“We are putting a stake in the ground that we are going to be a storytelling company,” Skipper tells The Hollywood Reporter. “When we launched the company, what we wanted to do overwhelmingly is to tell stories. Both in the number of podcasts we do and in our video. And one of the great ways to tell a story is to have an anthology series in which to put those.”
Sports Explains the World is Meadowlark’s “bold statement” that it is playing to win. “When we launched 30 for 30 [at ESPN], people knew it was quality,...
- 10/11/2022
- by Alex Weprin
- The Hollywood Reporter - Movie News
The increasingly addictive nature of news through presidential headlines is being highlighted in ‘Dis | Integration: Headlines are Frontlines,’ the visceral film experience that leads viewers through daily chronological New York Times headlines about Donald Trump. The project, which is the culmination of multi-media artist Smriti Keshari’s four-year film project, is debuting this weekend at […]
The post Smriti Keshari’s Multimedia Installation Dis | Integration: Headlines are Frontlines Comes to Life in Exclusive Bam Poster Premiere appeared first on Shockya.com.
The post Smriti Keshari’s Multimedia Installation Dis | Integration: Headlines are Frontlines Comes to Life in Exclusive Bam Poster Premiere appeared first on Shockya.com.
- 10/30/2020
- by Karen Benardello
- ShockYa
During the current uncertain times throughout the United States, from the deadly Covid-19 pandemic to the highly debated presidential election, Americans can find some understanding of what’s happening around them this week with ‘Headlines Are Frontlines.’ The new multimedia installation was created by artist and filmmaker Smriti Keshari, who collaborated with acclaimed film music producer […]
The post President Donald Trump in the News Again in Exclusive Photo For Multimedia Installation Headlines Are Frontlines appeared first on Shockya.com.
The post President Donald Trump in the News Again in Exclusive Photo For Multimedia Installation Headlines Are Frontlines appeared first on Shockya.com.
- 10/27/2020
- by Karen Benardello
- ShockYa
It’s difficult to quantify the breadth of the effects of Hiroshima and Nagasaki; but since those pivotal August days in 1945 when World War II suddenly became a nuclear war, many filmmakers have attempted to capture the uncertainty that nuclear weapons have unleashed. You know that feeling of uncertainty. Anyone who saw that mushroom cloud exploding out of Beirut August 4 was filled with nuclear age dread, even though it appears, thankfully, as if no nuclear material was part of the blast.
“the bomb” is a film and art installation created by artist/filmmaker Smriti Keshari, Kevin Ford, and author Eric Schlosser (“Fast Food Nation”) that explores the threat of nuclear weapons and captures much of that anxiety. After premiering it at Berlin and Tribeca in 2017, the filmmakers have adapted it into a museum piece that will premiere at Pioneer Works. To commemorate the 75th anniversary of the destruction of Hiroshima and Nagasaki,...
“the bomb” is a film and art installation created by artist/filmmaker Smriti Keshari, Kevin Ford, and author Eric Schlosser (“Fast Food Nation”) that explores the threat of nuclear weapons and captures much of that anxiety. After premiering it at Berlin and Tribeca in 2017, the filmmakers have adapted it into a museum piece that will premiere at Pioneer Works. To commemorate the 75th anniversary of the destruction of Hiroshima and Nagasaki,...
- 8/5/2020
- by Smriti Keshari
- Indiewire
“The New Yorker Documentary: Remote Festival Series” kicks off online Wednesday at 9 a.m/12 p.m. Et with a glimpse inside the world of nail technicians.
The special, short-run program will showcase a new film online each week through the summer and is part of the ongoing “New Yorker Documentary” series. The festival features renowned filmmakers will open with Crystal Kayiza’s “See You Next Time,” which examines the relationships between nail artists and their clients.
Here are the other artists’ works to be featured weekly through the summer:
“Raising Baby Grey,” directed by Alex Mallis “Flower Punk,” directed by Alison Klayman “The Pause: A Brief Contemplation of Scott’s Infertility,” directed by Richard Yeagley “Betrayal,” directed by Scott Calonico “USA v. Scott,” directed by Ora DeKornfeld and Isabel Castro “On Falling,” directed by Josephine Anderson “Allan & Suzi,” directed by Smriti Keshari “Woody’s Order!” directed by Seth Kramer, Daniel A.
The special, short-run program will showcase a new film online each week through the summer and is part of the ongoing “New Yorker Documentary” series. The festival features renowned filmmakers will open with Crystal Kayiza’s “See You Next Time,” which examines the relationships between nail artists and their clients.
Here are the other artists’ works to be featured weekly through the summer:
“Raising Baby Grey,” directed by Alex Mallis “Flower Punk,” directed by Alison Klayman “The Pause: A Brief Contemplation of Scott’s Infertility,” directed by Richard Yeagley “Betrayal,” directed by Scott Calonico “USA v. Scott,” directed by Ora DeKornfeld and Isabel Castro “On Falling,” directed by Josephine Anderson “Allan & Suzi,” directed by Smriti Keshari “Woody’s Order!” directed by Seth Kramer, Daniel A.
- 6/17/2020
- by Lindsey Ellefson
- The Wrap
Dozens of movies are hitting Netflix during the dog days of summer (click here for a complete list), but the sheer variety of new titles can be daunting. Movies are long, time is short, and indecision is brutal, so — in the hopes of helping you out — here are the seven best films that are coming to Netflix in August.
7. “Practical Magic” (1998)
Okay, so “Practical Magic” isn’t a “good movie” in the traditional sense…or in any other sense, for that matter. But it’s a perfect Netflix movie, which is another beast entirely. An incredible time capsule — and bottomless gif resource — from an ancient epoch that historians refer to as “1998,” this essential relic tells the story of sisters Sally (Sandra Bullock) and Gillian (Nicole Kidman) Owens, twin witches who are effectively cursed to remain single forever.
Did I mention that it was directed by Griffin Dunne? Did I mention that it was nominated for a Blockbuster Entertainment Award for including a Faith Hill song on the soundtrack? Did I mention that it features a scene in which Dianne Wiest and Stockard Channing use their secret powers to blend alcoholic drinks in order to lubricate a singalong set to Harry Nilsson’s “Put the Lime in the Coconut”? “Practical Magic” was kind of a blip when it first opened, but it would shake our culture to its skeleton if it came out today. A remake feels inevitable, but in the meantime, the original makes for perfect streaming on a lazy August afternoon. Better yet, add it to your queue and swing back once Halloween rolls around.
Begins streaming August 1st.
6. “The Bomb” (2016)
“the bomb” was one of the most exciting, unclassifiable experiences on the festival circuit last year, but the sheer magnitude of the project made it unclear where it might live once it had finished traveling the world, or if it would be possible for the public to see it. Fortunately, the answers to those questions turned out to be “everywhere” and “very.” Here’s IndieWire’s Steve Greene on the 59-minute film into which this enormous piece of experimental art has been newly reshaped:
Read More‘the bomb’ Review: New Doc on Netflix Is a Surreal Music Video About the End of the World
Directed by Kevin Ford, Smriti Keshari, and Eric Schlosser, this experimental, sensory history of the nuclear bomb is a staggering look at the world’s most destructive weapon and the lessons of almost eight decades that some still choose to ignore. Threading together modern-day news footage, Cold War era safety videos and grainy archival peeks into the construction process, “the bomb” looks at nuclear weapons in their myriad historic forms. Foregoing the usual talking head interviews or explanatory narration, the one piece of connective tissue throughout the film, besides the subject itself, is the film’s score, from Los Angeles electronic minimalist outfit The Acid. Throughout a harrowing parade of images and fleeting moments of whimsy, the droning, pulsating music underneath brings an alternating sense of dread and power.
Begins streaming August 1st.
5. “Cloud Atlas” (2012)
It’s easy to make fun of “Cloud Atlas,” and not just because one of the six characters that Tom Hanks plays is pretty much a live-action Jar Jar Binks. Tom Tykwer and the Wachowskis’ cosmically ambitious sci-fi epic is — in its own delirious way — one of the most earnest movies ever made. Adapted from David Mitchell’s novel of the same name, and now something of an obvious precursor to the Wachowskis’ Netflix series “Sense 8,” this symphonic story of spiritual connection spans from 1849 to 2321 in a go-for-broke attempt to crystallize the effects that one life can have on countless others.
Controversially casting individual actors in multiple roles (with many of the film’s most famous stars disguising themselves as different races and genders), “Cloud Atlas” fearlessly envisions our world as a place where bodies are temporary, but love is eternal. It’s a lot to swallow, but our collective cynicism only makes the movie more valuable, and more important to have on hand.
Begins streaming August 1st.
4. “Donald Cried” (2016)
Kris Avedisian flew under the radar when “Donald Cried” made the rounds last year — his self-directed turn as the most deeply committed man-child since “Clifford” may have been just a bit too raw and cringe-inducing for any major traction — but it’s only a matter of time before people discover one of the most fearless performances in recent memory. Here’s IndieWire’s Eric Kohn on a future dark comedy classic:
The obnoxious man-child is a common trope in American comedies, but few recent examples can match the hilariously unsettling presence of Donald Treebeck, the obnoxious central figure played by writer-director Kris Avedisian in his effective black comedy “Donald Cried.” While the story technically unfolds from the perspective of his old teen pal Peter (Jesse Wakeman), who returns to their Rhode Island suburbs from his Wall Street career after his grandmother dies, Donald welcomes his reluctant friend back to their world and won’t leave him alone. Avedisian gives Danny McBride a run for his money in this pitch-perfect embodiment of a wannabe charmer all too eager to remain the center of attention. Hardly reinventing the wheel, “Donald Cried” nevertheless spins it faster than usual, taking cues from its memorably irritating protagonist. Beneath its entertainment value, the movie also hints at the tragedy of aimless adulthood.
Begins streaming August 15th.
3. “The Matrix” (1999)
At this point, “The Matrix” has effectively become immune to any sort of qualitative criticism; there’s no use arguing that it’s “good” or “bad” or somewhere in between, it simply is. Less a movie than a cornerstone of contemporary pop culture (for better or worse), the Wachowskis’ absurdly influential orgy of mind-blowing action and high school philosophy arrived at the tail end of the 20th century in order to help define the 21st. Its aesthetic impact on the current breed of blockbusters is self-evident, but its more profound contributions have been largely off-screen, as the film brought futurism to the masses in a way that’s only possible to trace through its most unfortunate side effects (e.g. the diseased misogyny of “red pill” thinking).
Of course, “No can be told what the Matrix is. You have to see it for yourself.” Now that it’s on Netflix, it couldn’t be easier to do just that.
Begins streaming August 1st.
2. “Jackie Brown” (1997)
Every hardcore Tarantino fan’s favorite Tarantino film, “Jackie Brown” is more than just an homage to blaxploitation or the best Elmore Leonard adaptation ever made (sorry, “Out of Sight”), it’s also something of a tribute to all of the crime writer’s work and the scuzzy but soulful ethos that bound it together. To this day, “Jackie Brown” remains a major outlier for Qt. For one thing, it’s based on pre-existing material. For another, it’s got a bonafide sex scene. Last but not least, it’s about recognizably human characters who have genuine depth, who have real lives that feel as though they continue beyond the confines of a movie screen (no disrespect to the cartoonish avatars who populate Tarantino’s later, more solipsistic work — they serve their purpose to perfection).
Pam Grier is spectacular in the title role of a flight attendant with a drug smuggling side hustle. Robert Forster is heartbreaking as lovelorn bondsman Max Cherry. Hell, even Robert De Niro is phenomenal, the iconic actor beautifully playing against his legend by inhabiting the film’s most pathetic and disposable character. For anyone put off by the blockbuster scale of Tarantino’s recent work, “Jackie Brown” is a rock-solid reminder of his genius for elevating fevered pastiche into singular pathos. And the soundtrack owns.
Begins streaming August 1st.
1. “All These Sleepless Nights” (2016)
It would be reductive and unfair to say that Michal Marczak’s “All These Sleepless Nights” is the film that Terrence Malick has been trying to make for the last 10 years, but it certainly feels that way while you’re watching it. A mesmeric, free-floating odyssey that wends its way through a hazy year in the molten lives of two Polish twentysomethings, this unclassifiable wonder obscures the divide between fiction and documentary until the distinction is ultimately irrelevant.
Read MoreReview: ‘All These Sleepless Nights’ Is the Movie That Terrence Malick Has Been Trying to Make
Unfolding like a plotless reality show that was shot by Emmanuel Lubezki, this lucid dream of a movie paints an unmoored portrait of a city in the throes of an orgastic reawakening. From the opening images of fireworks exploding over downtown Warsaw, to the stunning final glimpse of Marczak’s main subject — Krzysztof Baginski (playing himself, as everyone does), who looks and moves like a young Baryshnikov — twirling between an endless row of stopped cars during the middle of a massive traffic jam, the film is high on the spirit of liberation. More than just a hypnotically hyper-real distillation of what it means to be young, “All These Sleepless Nights” is a haunted vision of what it means to have been young.
Begins streaming August 15th.
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Related stories'American Vandal' Trailer: Netflix's Dick Joke Docuseries is Either Their Best Idea Ever or Their Worst'Narcos' Trailer: Season 3 Swaps Out One Drug Kingpin for Four More'First They Killed My Father' Trailer: Angelina Jolie Remembers the Horrors of the Cambodian Genocide...
7. “Practical Magic” (1998)
Okay, so “Practical Magic” isn’t a “good movie” in the traditional sense…or in any other sense, for that matter. But it’s a perfect Netflix movie, which is another beast entirely. An incredible time capsule — and bottomless gif resource — from an ancient epoch that historians refer to as “1998,” this essential relic tells the story of sisters Sally (Sandra Bullock) and Gillian (Nicole Kidman) Owens, twin witches who are effectively cursed to remain single forever.
Did I mention that it was directed by Griffin Dunne? Did I mention that it was nominated for a Blockbuster Entertainment Award for including a Faith Hill song on the soundtrack? Did I mention that it features a scene in which Dianne Wiest and Stockard Channing use their secret powers to blend alcoholic drinks in order to lubricate a singalong set to Harry Nilsson’s “Put the Lime in the Coconut”? “Practical Magic” was kind of a blip when it first opened, but it would shake our culture to its skeleton if it came out today. A remake feels inevitable, but in the meantime, the original makes for perfect streaming on a lazy August afternoon. Better yet, add it to your queue and swing back once Halloween rolls around.
Begins streaming August 1st.
6. “The Bomb” (2016)
“the bomb” was one of the most exciting, unclassifiable experiences on the festival circuit last year, but the sheer magnitude of the project made it unclear where it might live once it had finished traveling the world, or if it would be possible for the public to see it. Fortunately, the answers to those questions turned out to be “everywhere” and “very.” Here’s IndieWire’s Steve Greene on the 59-minute film into which this enormous piece of experimental art has been newly reshaped:
Read More‘the bomb’ Review: New Doc on Netflix Is a Surreal Music Video About the End of the World
Directed by Kevin Ford, Smriti Keshari, and Eric Schlosser, this experimental, sensory history of the nuclear bomb is a staggering look at the world’s most destructive weapon and the lessons of almost eight decades that some still choose to ignore. Threading together modern-day news footage, Cold War era safety videos and grainy archival peeks into the construction process, “the bomb” looks at nuclear weapons in their myriad historic forms. Foregoing the usual talking head interviews or explanatory narration, the one piece of connective tissue throughout the film, besides the subject itself, is the film’s score, from Los Angeles electronic minimalist outfit The Acid. Throughout a harrowing parade of images and fleeting moments of whimsy, the droning, pulsating music underneath brings an alternating sense of dread and power.
Begins streaming August 1st.
5. “Cloud Atlas” (2012)
It’s easy to make fun of “Cloud Atlas,” and not just because one of the six characters that Tom Hanks plays is pretty much a live-action Jar Jar Binks. Tom Tykwer and the Wachowskis’ cosmically ambitious sci-fi epic is — in its own delirious way — one of the most earnest movies ever made. Adapted from David Mitchell’s novel of the same name, and now something of an obvious precursor to the Wachowskis’ Netflix series “Sense 8,” this symphonic story of spiritual connection spans from 1849 to 2321 in a go-for-broke attempt to crystallize the effects that one life can have on countless others.
Controversially casting individual actors in multiple roles (with many of the film’s most famous stars disguising themselves as different races and genders), “Cloud Atlas” fearlessly envisions our world as a place where bodies are temporary, but love is eternal. It’s a lot to swallow, but our collective cynicism only makes the movie more valuable, and more important to have on hand.
Begins streaming August 1st.
4. “Donald Cried” (2016)
Kris Avedisian flew under the radar when “Donald Cried” made the rounds last year — his self-directed turn as the most deeply committed man-child since “Clifford” may have been just a bit too raw and cringe-inducing for any major traction — but it’s only a matter of time before people discover one of the most fearless performances in recent memory. Here’s IndieWire’s Eric Kohn on a future dark comedy classic:
The obnoxious man-child is a common trope in American comedies, but few recent examples can match the hilariously unsettling presence of Donald Treebeck, the obnoxious central figure played by writer-director Kris Avedisian in his effective black comedy “Donald Cried.” While the story technically unfolds from the perspective of his old teen pal Peter (Jesse Wakeman), who returns to their Rhode Island suburbs from his Wall Street career after his grandmother dies, Donald welcomes his reluctant friend back to their world and won’t leave him alone. Avedisian gives Danny McBride a run for his money in this pitch-perfect embodiment of a wannabe charmer all too eager to remain the center of attention. Hardly reinventing the wheel, “Donald Cried” nevertheless spins it faster than usual, taking cues from its memorably irritating protagonist. Beneath its entertainment value, the movie also hints at the tragedy of aimless adulthood.
Begins streaming August 15th.
3. “The Matrix” (1999)
At this point, “The Matrix” has effectively become immune to any sort of qualitative criticism; there’s no use arguing that it’s “good” or “bad” or somewhere in between, it simply is. Less a movie than a cornerstone of contemporary pop culture (for better or worse), the Wachowskis’ absurdly influential orgy of mind-blowing action and high school philosophy arrived at the tail end of the 20th century in order to help define the 21st. Its aesthetic impact on the current breed of blockbusters is self-evident, but its more profound contributions have been largely off-screen, as the film brought futurism to the masses in a way that’s only possible to trace through its most unfortunate side effects (e.g. the diseased misogyny of “red pill” thinking).
Of course, “No can be told what the Matrix is. You have to see it for yourself.” Now that it’s on Netflix, it couldn’t be easier to do just that.
Begins streaming August 1st.
2. “Jackie Brown” (1997)
Every hardcore Tarantino fan’s favorite Tarantino film, “Jackie Brown” is more than just an homage to blaxploitation or the best Elmore Leonard adaptation ever made (sorry, “Out of Sight”), it’s also something of a tribute to all of the crime writer’s work and the scuzzy but soulful ethos that bound it together. To this day, “Jackie Brown” remains a major outlier for Qt. For one thing, it’s based on pre-existing material. For another, it’s got a bonafide sex scene. Last but not least, it’s about recognizably human characters who have genuine depth, who have real lives that feel as though they continue beyond the confines of a movie screen (no disrespect to the cartoonish avatars who populate Tarantino’s later, more solipsistic work — they serve their purpose to perfection).
Pam Grier is spectacular in the title role of a flight attendant with a drug smuggling side hustle. Robert Forster is heartbreaking as lovelorn bondsman Max Cherry. Hell, even Robert De Niro is phenomenal, the iconic actor beautifully playing against his legend by inhabiting the film’s most pathetic and disposable character. For anyone put off by the blockbuster scale of Tarantino’s recent work, “Jackie Brown” is a rock-solid reminder of his genius for elevating fevered pastiche into singular pathos. And the soundtrack owns.
Begins streaming August 1st.
1. “All These Sleepless Nights” (2016)
It would be reductive and unfair to say that Michal Marczak’s “All These Sleepless Nights” is the film that Terrence Malick has been trying to make for the last 10 years, but it certainly feels that way while you’re watching it. A mesmeric, free-floating odyssey that wends its way through a hazy year in the molten lives of two Polish twentysomethings, this unclassifiable wonder obscures the divide between fiction and documentary until the distinction is ultimately irrelevant.
Read MoreReview: ‘All These Sleepless Nights’ Is the Movie That Terrence Malick Has Been Trying to Make
Unfolding like a plotless reality show that was shot by Emmanuel Lubezki, this lucid dream of a movie paints an unmoored portrait of a city in the throes of an orgastic reawakening. From the opening images of fireworks exploding over downtown Warsaw, to the stunning final glimpse of Marczak’s main subject — Krzysztof Baginski (playing himself, as everyone does), who looks and moves like a young Baryshnikov — twirling between an endless row of stopped cars during the middle of a massive traffic jam, the film is high on the spirit of liberation. More than just a hypnotically hyper-real distillation of what it means to be young, “All These Sleepless Nights” is a haunted vision of what it means to have been young.
Begins streaming August 15th.
Sign Up Stay on top of the latest film and TV news! Sign up for our film and TV email newsletter here.
Related stories'American Vandal' Trailer: Netflix's Dick Joke Docuseries is Either Their Best Idea Ever or Their Worst'Narcos' Trailer: Season 3 Swaps Out One Drug Kingpin for Four More'First They Killed My Father' Trailer: Angelina Jolie Remembers the Horrors of the Cambodian Genocide...
- 8/3/2017
- by David Ehrlich
- Indiewire
When it premiered at the 2016 Tribeca Film Festival, “the bomb” was presented as a live concert experience, giving the hour long documentary an immersive, communal feel. Now, over a year later and released into a strikingly different world, “the bomb” still keeps that same level of potency, even away from the confines of a theater. Directed by Kevin Ford, Smriti Keshari, and Eric Schlosser, this experimental, sensory history of the nuclear bomb is a staggering look at the world’s most destructive weapon and the lessons of almost eight decades that some still choose to ignore.
Threading together modern-day news footage, Cold War era safety videos and grainy archival peeks into the construction process, “the bomb” looks at nuclear weapons in their myriad historic forms. It covers the standard historical hallmarks of assembling, testing and launching these armed missiles, but it also considers the cultural hold that they’ve had...
Threading together modern-day news footage, Cold War era safety videos and grainy archival peeks into the construction process, “the bomb” looks at nuclear weapons in their myriad historic forms. It covers the standard historical hallmarks of assembling, testing and launching these armed missiles, but it also considers the cultural hold that they’ve had...
- 8/1/2017
- by Steve Greene
- Indiewire
Exclusive: Ryan Kampe arrives at the Efm with a sales roster that includes Sundance premieres Family Life and Columbus, Rotterdam entries X500 and Rat Film, and Oscar-nominated Tanna.
Kevin Ford, Smriti Keshari, and Eric Schlosser’s Berlinale Special selection documentary the bomb screens on Friday and explores the power and fascination of nuclear weapons. the bomb premiered at the Tribeca Film Festival last year as a multimedia installation.
Amman Abbasi’s feature directorial debut Dayveon premiered at Sundance last month and screens in Forum on Friday. Newcomer Devin Blackmon plays the eponymous 13-year-old grieving the loss of his older brother who falls in with a local gang. FilmRise acquired North American rights after the premiere in Park City.
Alicia Scherson and Cristián Jiménez’s Family Life premiered at Sundance before going to the Rotterdam Film Festival. Jorge Becker, Gabriela Arancibia, Blanca Lewin and Cristián Carvajal star in the story of a lonely fabulist who concocts a tale...
Kevin Ford, Smriti Keshari, and Eric Schlosser’s Berlinale Special selection documentary the bomb screens on Friday and explores the power and fascination of nuclear weapons. the bomb premiered at the Tribeca Film Festival last year as a multimedia installation.
Amman Abbasi’s feature directorial debut Dayveon premiered at Sundance last month and screens in Forum on Friday. Newcomer Devin Blackmon plays the eponymous 13-year-old grieving the loss of his older brother who falls in with a local gang. FilmRise acquired North American rights after the premiere in Park City.
Alicia Scherson and Cristián Jiménez’s Family Life premiered at Sundance before going to the Rotterdam Film Festival. Jorge Becker, Gabriela Arancibia, Blanca Lewin and Cristián Carvajal star in the story of a lonely fabulist who concocts a tale...
- 2/8/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Stanley Tucci, Catherine Deneuve dramas join competition; TV dramas and Oleg Sentsov doc set to get world premiere.
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the festival in Out Of Competition berths are Stanley Tucci-directed Final Portrait and Catherine Deneuve drama Sage Femme.
James Gray’s The Lost City Of Z will have its interntional premiere while documentary The Trial: The State of Russia vs Oleg Sentsov will have its world premiere.
Among TV world premieres are Amazon’s Patriot and BBC One’s SS-gb.
In total, 18 of the 24 films selected for Competitionwill be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year...
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the festival in Out Of Competition berths are Stanley Tucci-directed Final Portrait and Catherine Deneuve drama Sage Femme.
James Gray’s The Lost City Of Z will have its interntional premiere while documentary The Trial: The State of Russia vs Oleg Sentsov will have its world premiere.
Among TV world premieres are Amazon’s Patriot and BBC One’s SS-gb.
In total, 18 of the 24 films selected for Competitionwill be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year...
- 1/20/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Stanley Tucci, Catherine Deneuve dramas join competition; TV dramas and Oleg Sentsov doc set to get world premiere.
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the competition are
18 of the 24 films selected for Competition will be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
The Berlinale Special will present recent works by contemporary filmmakers, documentaries, and extraordinary formats, as well as brand new series from around the world.
Berlinale Special Galas will be held at the Friedrichstadt-Palast and Zoo Palast. Other Special premieres will take place at the Kino International. Moderated discussions will follow the screenings at the Haus der Berliner Festspiele.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year. Audiences...
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the competition are
18 of the 24 films selected for Competition will be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
The Berlinale Special will present recent works by contemporary filmmakers, documentaries, and extraordinary formats, as well as brand new series from around the world.
Berlinale Special Galas will be held at the Friedrichstadt-Palast and Zoo Palast. Other Special premieres will take place at the Kino International. Moderated discussions will follow the screenings at the Haus der Berliner Festspiele.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year. Audiences...
- 1/20/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Once upon a time, André Bazin, in his satirical essay The Myth of Total Cinema, attempted to debunk cinematic gimmicks such as 3D, Magnascope and “Percepto” — tools of showmanship that, of course, have a tendency to be overused. Cut to the present: digital cinema has been widely adopted (a few 35mm hold-outs do exist, it should be noted), fueled first by 3D – the killer app, as David Bordwell cites in Pandora’s Digital Box. Continuing down this path, larger film festivals have embraced new forms of storytelling, including virtual reality, episodic content, and interactive media. In addition to Tribeca’s “Storyscapes,” the festival included a Vr arcade as well as its stunning closing night performance the bomb. What follows is our account of the experience, along with select highlights from the festival’s Vr arcade.
Directed by Smriti Keshari, Eric Sclosser, and Kevin Ford and staged by United Visual Artists,...
Directed by Smriti Keshari, Eric Sclosser, and Kevin Ford and staged by United Visual Artists,...
- 4/25/2016
- by John Fink
- The Film Stage
the bomb, created by Smriti Keshari and Eric Schlosser, is a groundbreaking multimedia installation that immerses you in the strange, compelling, and unsettling reality of nuclear weapons. The 55-minute film will be projected 360 degrees on massive floor to ceiling screens that surround the audience, as The Acid performs a live score in the center of the space. the bomb Created by Smriti Keshari & Eric Schlosser Film by Kevin Ford, Smriti Keshari & Eric Schlosser Staged by United Visual Artists Music by The Acid Art Direction by Stanley Donwood Animation by The Kingdom of Ludd the bomb screenings at the 2016 Tribeca Film Festival Saturday, April 23 , Doors: [ Read More ]
The post Exclusive: The Bomb Gets A New Clip appeared first on Shockya.com.
The post Exclusive: The Bomb Gets A New Clip appeared first on Shockya.com.
- 4/12/2016
- by Rudie Obias
- ShockYa
Set to explode at the upcoming Tribeca Film Festival, The Bomb is described as "a groundbreaking multimedia installation that immerses you in the strange, compelling, and unsettling reality of nuclear weapons." Created by Smriti Keshari and Eric Schlosser, The Bomb sounds like a startling and unique experience. Here are portions of the official description: "The 55-minute film will be projected 360 degrees on massive floor to ceiling screens that surround the audience, as The Acid performs a live score in the center of the space. "The Bomb will be performed on April 23 and 24 at Gotham Hall as part of the 2016 Tribeca Film Festival, with shows at 7pm and 10pm both evenings. ... Also, on April 23, at the School of Visual Arts,...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 4/8/2016
- Screen Anarchy
The workers’ rights documentary premiered in the Berlinale, where Visit Films commenced international sales.
Screen Media has acquired all North American rights from Visit Films and plans a theatrical release and Oscar qualifying run later this year.
Forest Whitaker narrates the film and executive producers Eva Longoria and Eric Schlosser are among the interviewees.
Sanjay Rawal directed Food Chains and produced alongside Smriti Keshari and Hamilton Fish.
Screen Media has acquired all North American rights from Visit Films and plans a theatrical release and Oscar qualifying run later this year.
Forest Whitaker narrates the film and executive producers Eva Longoria and Eric Schlosser are among the interviewees.
Sanjay Rawal directed Food Chains and produced alongside Smriti Keshari and Hamilton Fish.
- 3/31/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
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