The Marrakech International Film Festival has unveiled the 10 cinema figures who will participate in its In Conversation With program at its 20th edition running from November 24 to December 2.
They comprise Australian actor Simon Baker, French director Bertrand Bonello, U.S. actor Willem Dafoe, Indian filmmaker and producer Anurag Kashyap; Japanese director Naomi Kawase; Danish-u.S. actor and director Viggo Mortensen; U.K. actor Tilda Swinton; and Russian director and screenwriter Andrey Zvyagintsev.
Danish actor Mads Mikkelsen and Moroccan director Faouzi Bensaïdi, who will receive the festival’s honorary Étoile d’or prize this year, will also participate in the program.
Baker’s was seen most recently in Toronto title Limbo and Tribeca 2022 selection Blaze, with early features including L.A. Confidential (1997), David Frankel’s The Devil Wears Prada (2006), and J. C. Chandor’s Margin Call (2011), followed by hit series The Mentalist (2008–2015).
Bensaïdi’s first feature A Thousand Months world premiered...
They comprise Australian actor Simon Baker, French director Bertrand Bonello, U.S. actor Willem Dafoe, Indian filmmaker and producer Anurag Kashyap; Japanese director Naomi Kawase; Danish-u.S. actor and director Viggo Mortensen; U.K. actor Tilda Swinton; and Russian director and screenwriter Andrey Zvyagintsev.
Danish actor Mads Mikkelsen and Moroccan director Faouzi Bensaïdi, who will receive the festival’s honorary Étoile d’or prize this year, will also participate in the program.
Baker’s was seen most recently in Toronto title Limbo and Tribeca 2022 selection Blaze, with early features including L.A. Confidential (1997), David Frankel’s The Devil Wears Prada (2006), and J. C. Chandor’s Margin Call (2011), followed by hit series The Mentalist (2008–2015).
Bensaïdi’s first feature A Thousand Months world premiered...
- 11/7/2023
- by Melanie Goodfellow
- Deadline Film + TV
by Cláudio Alves
Sandy Powell's career has been closely tied to queer artistry since its genesis. After completing her education, the costume designer soon started collaborating with multi-hyphenated gay icon Lindsay Kemp whose stage work she had long admired, and, later, her jump from theater to film would be predicated on another queer genius, Derek Jarman. They'd work on four projects – Caravaggio, The Last of England, Edward II, and Wittgenstein – and the costumer would continue, keeping his memory alive after the director's death in 1994. Since then, even as her profile grew into the mainstream, Powell remained faithful to the idea and ideals of queerness in cinema, often joining forces with artists under the LGBTQ+ umbrella, Todd Haynes most of all.
As Pride Month 2023 reaches its end, let's remember this Academy darlings' first brush with Oscar. It was in 1993 when Sally Potter's adaptation of Virginia Woolf's Orlando earned Sandy...
Sandy Powell's career has been closely tied to queer artistry since its genesis. After completing her education, the costume designer soon started collaborating with multi-hyphenated gay icon Lindsay Kemp whose stage work she had long admired, and, later, her jump from theater to film would be predicated on another queer genius, Derek Jarman. They'd work on four projects – Caravaggio, The Last of England, Edward II, and Wittgenstein – and the costumer would continue, keeping his memory alive after the director's death in 1994. Since then, even as her profile grew into the mainstream, Powell remained faithful to the idea and ideals of queerness in cinema, often joining forces with artists under the LGBTQ+ umbrella, Todd Haynes most of all.
As Pride Month 2023 reaches its end, let's remember this Academy darlings' first brush with Oscar. It was in 1993 when Sally Potter's adaptation of Virginia Woolf's Orlando earned Sandy...
- 7/1/2023
- by Cláudio Alves
- FilmExperience
Mubi has announced its lineup of streaming offerings for next month, including the exclusive streaming premiere of Albert Serra’s extraordinary Pacifiction, a trio of films by Todd Haynes, two by Michael Haneke (Caché and Amour), plus works by David Cronenberg, Shin’ya Tsukamoto, and Derek Jarman.
Additional selections include Alice Rohrwacher’s Corpo Celeste, Luchino Visconti’s Rocco and His Brothers, Sean Baker’s early film Starlet, and Apichatpong Weerasethakul’s short Mekong Hotel.
Check out the lineup below and get 30 days free here.
June 1 – Is This Fate?, directed by Helga Reidemeister | What Sets Us Free? German Feminist Cinema
June 2 – Safe, directed by Todd Haynes | I Really Love You: Three by Todd Hayne
June 3 – Caché, directed by Michael Haneke | Close-Up on Michael Haneke
June 4 – Amour, directed by Michael Haneke | Close-Up on Michael Haneke
June 5 – Topology of Sirens, directed by Jonathan Davies
June 6 – Tetsuo, the Iron Man, directed by Shin’ya...
Additional selections include Alice Rohrwacher’s Corpo Celeste, Luchino Visconti’s Rocco and His Brothers, Sean Baker’s early film Starlet, and Apichatpong Weerasethakul’s short Mekong Hotel.
Check out the lineup below and get 30 days free here.
June 1 – Is This Fate?, directed by Helga Reidemeister | What Sets Us Free? German Feminist Cinema
June 2 – Safe, directed by Todd Haynes | I Really Love You: Three by Todd Hayne
June 3 – Caché, directed by Michael Haneke | Close-Up on Michael Haneke
June 4 – Amour, directed by Michael Haneke | Close-Up on Michael Haneke
June 5 – Topology of Sirens, directed by Jonathan Davies
June 6 – Tetsuo, the Iron Man, directed by Shin’ya...
- 5/23/2023
- by Leonard Pearce
- The Film Stage
The British director of the German Film and Television Academy Berlin (DFFB), one of Germany’s most prestigious film schools, has stepped down following an incident during the Berlin Film Festival in which he exposed his backside to a woman during a heated argument. The DFFB’s board of trustees and Ben Gibson, a veteran film producer, agreed to end their relationship by mutual consent “for various reasons,” the DFFB said in a statement. Sandra Braun, the DFFB’s administrative manager, will head the academy until further notice. Gibson, whose credits include the 1998 Daniel Craig starrer “Love Is the Devil: Study for a Portrait of Francis Bacon,” by John Maybury, and Lech Majewski’s 2004 “The Garden of Earthly Delights,” reportedly dropped his pants in anger during an argument with a woman at the DFFB facilities, located in the Sony Center at Berlin’s Potsdamer Platz, on Feb. 21. In an email to DFFB students cited by Berlin newspaper Der Tagesspiegel, Gibson wrote that he had allowed himself to be provoked and then “exposed” himself. He described his behavior as a “serious mistake” and apologized for the incident, the paper reported, citing his email. Before taking on the DFFB gig in 2016, Gibson worked at the Australian National Film School from 2014 to 2016 and served as director of the London Film School from 2001 to 2014. He also produced such works as Terrence Davies’ 1992 gay classic “The Long Day Closes,” Derek Jarman’s 1993’s “Wittgenstein,” Carine Adler’s 1997 “Under the Skin” and Jasmin Dizdar’s 1999 “Beautiful People.” The DFFB’s board of trustees, whose members include Chairman Christian Gaebler, head of Berlin’s Senate Chancellery, Vice Chairman Eberhard Junkersdorf of Bioskop Film and Kirsten Niehuus, head of regional funder Medienboard Berlin-Brandenburg, is to meet soon to consider its next course of action. The board’s members also include Claudia Tronnier of ZDF’s Das kleine Fernsehspiel film division, producer Regina Ziegler of Ziegler Film, Detailfilm’s Fabian Gasmia, regional pubcaster RBB’s Martina Zöllner and Iris Brockmann of the Berlin Senate Department of Finance.
- 3/9/2020
- by Ed Meza
- Variety Film + TV
Last month we attended an early red carpet for the BBC’s new adaptation of William Shakespeare’s King Lear.
The new adaptation stars Sir Anthony Hopkins, Florence Pugh, Emma Thompson, Emily Watson, Jim Broadbent, Andrew Scott and John Macmillan. It is directed by Richard Eyre, who previously directed the play on TV in 1998.
Blurb time: Set in the fictional present, King Lear sees Academy® Award winner Anthony Hopkins as the eponymous ruler, presiding over a totalitarian military dictatorship in England. Academy® Award and BAFTA® Award winner Emma Thompson stars as his oldest daughter Goneril. Academy® Award nominee and BAFTA® Award winner Emily Watson stars as his middle daughter Regan, and BAFTA® nominee Florence Pugh as Cordelia, the youngest of Lear’s children.
Academy® Award and BAFTA® Award winner Jim Broadbent is the Earl of Gloucester, with BAFTA® Award winner Andrew Scott as his loyal son Edgar and John Macmillan as his illegitimate son Edmund.
The new adaptation stars Sir Anthony Hopkins, Florence Pugh, Emma Thompson, Emily Watson, Jim Broadbent, Andrew Scott and John Macmillan. It is directed by Richard Eyre, who previously directed the play on TV in 1998.
Blurb time: Set in the fictional present, King Lear sees Academy® Award winner Anthony Hopkins as the eponymous ruler, presiding over a totalitarian military dictatorship in England. Academy® Award and BAFTA® Award winner Emma Thompson stars as his oldest daughter Goneril. Academy® Award nominee and BAFTA® Award winner Emily Watson stars as his middle daughter Regan, and BAFTA® nominee Florence Pugh as Cordelia, the youngest of Lear’s children.
Academy® Award and BAFTA® Award winner Jim Broadbent is the Earl of Gloucester, with BAFTA® Award winner Andrew Scott as his loyal son Edgar and John Macmillan as his illegitimate son Edmund.
- 5/23/2018
- by Jon Lyus
- HeyUGuys.co.uk
Feature marks first co-production between Chile, Japan and France.
Chilean filmmaker Alejandro Jodorowsky is launching a Kickstarter campaign for his upcoming feature Endless Poetry (Poesia Sin Fin), which marks the first ever co-production between Chile, Japan and France.
Paris-based Satori Films is joining forces with Chile’s Le Soleil Films and Japan’s Uplink Co on the Spanish-language project, a continuation of Jodorowsky’s autobiographical The Dance Of Reality, which premiered in Cannes’ Directors Fortnight in 2013.
The Kickstarter campaign will be launched on February 15, with an announcement by Jodorowsky on YouTube Live (http://www.poesiasinfin.com).
While The Dance Of Reality focused on Jodorowsky’s unhappy childhood in Tocopilla, on the edge of the Atacama Desert, Endless Poetry revolves around his life as a poet in Santiago during the 1940s.
His sons, Adan and Brontis Jodorowsky, will star in the film, which Jodorowsky plans to shoot in Chile this summer. His partner...
Chilean filmmaker Alejandro Jodorowsky is launching a Kickstarter campaign for his upcoming feature Endless Poetry (Poesia Sin Fin), which marks the first ever co-production between Chile, Japan and France.
Paris-based Satori Films is joining forces with Chile’s Le Soleil Films and Japan’s Uplink Co on the Spanish-language project, a continuation of Jodorowsky’s autobiographical The Dance Of Reality, which premiered in Cannes’ Directors Fortnight in 2013.
The Kickstarter campaign will be launched on February 15, with an announcement by Jodorowsky on YouTube Live (http://www.poesiasinfin.com).
While The Dance Of Reality focused on Jodorowsky’s unhappy childhood in Tocopilla, on the edge of the Atacama Desert, Endless Poetry revolves around his life as a poet in Santiago during the 1940s.
His sons, Adan and Brontis Jodorowsky, will star in the film, which Jodorowsky plans to shoot in Chile this summer. His partner...
- 2/5/2015
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Ben Gibson, the departing Director of the London Film School, has been appointed to a new senior role at Aftrs, the Australian Film Television & Radio School, as Director, Degree Programs. He will start work in Sydney in September.
Gibson will play a key leadership role in ensuring the successful delivery and development of a new three-year Aftrs Bachelor of Arts (Screen) degree and Aftrs Screen and Screen Business Masters degrees, which are being restructured and relaunched for 2015.
“Ben is eminently qualified for this pivotal new role at Aftrs, and I’m thrilled that he could be persuaded to bring his considerable skills, experience and academic rigor to Australia. His 14 years as Director of the very successful London Film School are notable for his work in building up the school’s reputation in the UK and abroad and expanding and accrediting its prestigious postgraduate degrees. Ben has also been a very successful and original independent producer and production executive, and has previously worked in distribution and exhibition, so he comes with a deep knowledge of the international screen industry at all levels,” said Sandra Levy, CEO of the Aftrs.
Prior to joining the London Film School in 2001, Gibson worked as a film distributor and independent producer, and as Head of Production at the British Film Institute from 1988 to 1998. His production and executive production credits include Terence Davies' " The Long Day Closes," Derek Jarman's "Wittgenstein," John Maybury's "Love is the Devil," Carine Adler's "Under the Skin"and Jasmin Dizdar's "Beautiful People," as well as 20 other low budget features and many shorts by UK directors including Patrick Keiller, Gurinder Chadha, Lynne Ramsay, Richard Kwietniowski and Andrew Kotting. As a partner in distributors The Other Cinema/Metro Pictures he acquired and promoted films by Pedro Almodovar, Chris Marker, Chantal Akerman and Jean-Luc Godard as well as opening the West End’s Metro Cinema in 1986. He has also been a theater director, a repertory film programmer and a film critic and journalist. He leaves Lfs at the end of July.
Ben Gibson said: “I am thrilled to have the opportunity to contribute to Sandra Levy’s vision of Aftrs as a complete screen school -- and to get the chance to work in the Australian film industry, one I’ve hugely admired and followed -- so far from a great distance. Aftrs offers a special combination of good things: self-confidence, an extraordinary heritage, great creative ambition, exceptional resources, a wide educational scope and a central mission in a dynamic and productive screen industry. It’s rightly considered to be one of the great film schools of the world. I can’t wait to join the team and get started there.”
Gibson’s final year at Lfs has been attended by great creative success. The school won 35 festival prizes and mentions in 2013-14, including a BAFTA nomination. Ms Levy pointed out that this year’s Palme d'Or for Best Short Film at the Cannes Film Festival was won by Leidi, the Lfs graduation film of Simón Mesa Soto. Also at Cannes, amongst seven graduates featured in the 2014 selection, "The Salt of the Earth," co-directed by Lfs graduate Juliano Ribeiro Salgado with Wim Wenders, was awarded the Un Certain Regard’s Special Jury Prize.
Director Mike Leigh, Chair of Governors at the London Film School, in announcing Ben’s departure earlier this year, said: “Ben Gibson has led Lfs from strength to strength over his fourteen years of outstanding service, and we will be sad to see him go.”
Aftrs is Australia’s national screen arts and broadcasting school and has been named as one of the Top 20 film schools in the world by industry journal, The Hollywood Reporter. As an elite specialist institution, Aftrs provides excellence in education through its practice based model, and aspires to deliver a dynamic educational offering that prepares the most talented and creative students – novice, experienced, fully fledged professional specialists – to be platform agnostic, creative and resilient in an industry subject to constant changes in knowledge and technology. The new BA Screen is a 3-year program offering a strong base in the understanding of story and screen history alongside a comprehensive introduction to the skills of screen production.
Gibson will play a key leadership role in ensuring the successful delivery and development of a new three-year Aftrs Bachelor of Arts (Screen) degree and Aftrs Screen and Screen Business Masters degrees, which are being restructured and relaunched for 2015.
“Ben is eminently qualified for this pivotal new role at Aftrs, and I’m thrilled that he could be persuaded to bring his considerable skills, experience and academic rigor to Australia. His 14 years as Director of the very successful London Film School are notable for his work in building up the school’s reputation in the UK and abroad and expanding and accrediting its prestigious postgraduate degrees. Ben has also been a very successful and original independent producer and production executive, and has previously worked in distribution and exhibition, so he comes with a deep knowledge of the international screen industry at all levels,” said Sandra Levy, CEO of the Aftrs.
Prior to joining the London Film School in 2001, Gibson worked as a film distributor and independent producer, and as Head of Production at the British Film Institute from 1988 to 1998. His production and executive production credits include Terence Davies' " The Long Day Closes," Derek Jarman's "Wittgenstein," John Maybury's "Love is the Devil," Carine Adler's "Under the Skin"and Jasmin Dizdar's "Beautiful People," as well as 20 other low budget features and many shorts by UK directors including Patrick Keiller, Gurinder Chadha, Lynne Ramsay, Richard Kwietniowski and Andrew Kotting. As a partner in distributors The Other Cinema/Metro Pictures he acquired and promoted films by Pedro Almodovar, Chris Marker, Chantal Akerman and Jean-Luc Godard as well as opening the West End’s Metro Cinema in 1986. He has also been a theater director, a repertory film programmer and a film critic and journalist. He leaves Lfs at the end of July.
Ben Gibson said: “I am thrilled to have the opportunity to contribute to Sandra Levy’s vision of Aftrs as a complete screen school -- and to get the chance to work in the Australian film industry, one I’ve hugely admired and followed -- so far from a great distance. Aftrs offers a special combination of good things: self-confidence, an extraordinary heritage, great creative ambition, exceptional resources, a wide educational scope and a central mission in a dynamic and productive screen industry. It’s rightly considered to be one of the great film schools of the world. I can’t wait to join the team and get started there.”
Gibson’s final year at Lfs has been attended by great creative success. The school won 35 festival prizes and mentions in 2013-14, including a BAFTA nomination. Ms Levy pointed out that this year’s Palme d'Or for Best Short Film at the Cannes Film Festival was won by Leidi, the Lfs graduation film of Simón Mesa Soto. Also at Cannes, amongst seven graduates featured in the 2014 selection, "The Salt of the Earth," co-directed by Lfs graduate Juliano Ribeiro Salgado with Wim Wenders, was awarded the Un Certain Regard’s Special Jury Prize.
Director Mike Leigh, Chair of Governors at the London Film School, in announcing Ben’s departure earlier this year, said: “Ben Gibson has led Lfs from strength to strength over his fourteen years of outstanding service, and we will be sad to see him go.”
Aftrs is Australia’s national screen arts and broadcasting school and has been named as one of the Top 20 film schools in the world by industry journal, The Hollywood Reporter. As an elite specialist institution, Aftrs provides excellence in education through its practice based model, and aspires to deliver a dynamic educational offering that prepares the most talented and creative students – novice, experienced, fully fledged professional specialists – to be platform agnostic, creative and resilient in an industry subject to constant changes in knowledge and technology. The new BA Screen is a 3-year program offering a strong base in the understanding of story and screen history alongside a comprehensive introduction to the skills of screen production.
- 7/15/2014
- by Sydney Levine
- Sydney's Buzz
Outgoing director of the London Film School to join Australian Film School.
Ben Gibson, the departing director of the London Film School, has been appointed to a new senior role at Aftrs, the Australian Film Television & Radio School, as director, degree programs. He will start work in Sydney in September.
Gibson will play a key leadership role in ensuring the successful delivery and development of a new three-year Aftrs Bachelor of Arts (Screen) degree and Aftrs Screen and Screen Business Masters degrees, which are being restructured and relaunched for 2015.
Prior to joining the Lfs in 2001, Gibson worked as a film distributor and independent producer, and as head of production at the British Film Institute (BFI) from 1988 to 1998.
His production and executive production credits include Terence Davies’ The Long Day Closes, Derek Jarman’s Wittgenstein, John Maybury’s Love is the Devil, Carine Adler’s Under the Skin and Jasmin Dizdar’s Beautiful People, as well as...
Ben Gibson, the departing director of the London Film School, has been appointed to a new senior role at Aftrs, the Australian Film Television & Radio School, as director, degree programs. He will start work in Sydney in September.
Gibson will play a key leadership role in ensuring the successful delivery and development of a new three-year Aftrs Bachelor of Arts (Screen) degree and Aftrs Screen and Screen Business Masters degrees, which are being restructured and relaunched for 2015.
Prior to joining the Lfs in 2001, Gibson worked as a film distributor and independent producer, and as head of production at the British Film Institute (BFI) from 1988 to 1998.
His production and executive production credits include Terence Davies’ The Long Day Closes, Derek Jarman’s Wittgenstein, John Maybury’s Love is the Devil, Carine Adler’s Under the Skin and Jasmin Dizdar’s Beautiful People, as well as...
- 7/3/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
To kick off year-long celebrations of the life and work of film director Derek Jarman on the 20th anniversary of his death, Neil Bartlett explains why he will be holding an all-night party-vigil in King's College London's chapel
Anniversaries are strange things. They are meant to fix time in its proper place, but sometimes they seem to do just the opposite, bending and distorting it instead. Although I know for a fact that it is now a full 20 years since Derek Jarman died, I'm still finding this particular anniversary hard to credit. Is it really possible that somebody so productive and disruptive, so loquaciously and outrageously alive, can now be that distant?
Jarman's films – and later, his activism – were crucial points of reference in my generation's struggles to endure and enjoy life. Even before I had the good fortune to meet him in person, I intuited that here was a true ally,...
Anniversaries are strange things. They are meant to fix time in its proper place, but sometimes they seem to do just the opposite, bending and distorting it instead. Although I know for a fact that it is now a full 20 years since Derek Jarman died, I'm still finding this particular anniversary hard to credit. Is it really possible that somebody so productive and disruptive, so loquaciously and outrageously alive, can now be that distant?
Jarman's films – and later, his activism – were crucial points of reference in my generation's struggles to endure and enjoy life. Even before I had the good fortune to meet him in person, I intuited that here was a true ally,...
- 1/25/2014
- by Neil Bartlett
- The Guardian - Film News
Exclusive: Mike Leigh praises London Film School director Ben Gibson for “outstanding” service.
London Film School director Ben Gibson has stepped down from the post he held for 14 years.
The Lfs board is now looking to appoint a new director who will likely assume the role from next autumn.
Gibson will remain active at the school until the transition to the new director.
Gibson has been instrumental in raising the profile of the Lfs in the UK and abroad and has also overseen the school’s long-gestating transition from Covent Garden to the Barbican.
In December 2013, the school announced its first major funding towards the transfer, with a move planned for 2016, the same year the school celebrates its 60th birthday.
Gibson told ScreenDaily: “It has been an engrossing pleasure to lead this dynamic and important institution since 2000. Lfs is a wonderful place to work and learn, and the privilege of teaching and supporting talented, collaborative and clear-eyed...
London Film School director Ben Gibson has stepped down from the post he held for 14 years.
The Lfs board is now looking to appoint a new director who will likely assume the role from next autumn.
Gibson will remain active at the school until the transition to the new director.
Gibson has been instrumental in raising the profile of the Lfs in the UK and abroad and has also overseen the school’s long-gestating transition from Covent Garden to the Barbican.
In December 2013, the school announced its first major funding towards the transfer, with a move planned for 2016, the same year the school celebrates its 60th birthday.
Gibson told ScreenDaily: “It has been an engrossing pleasure to lead this dynamic and important institution since 2000. Lfs is a wonderful place to work and learn, and the privilege of teaching and supporting talented, collaborative and clear-eyed...
- 1/14/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Hannah Arendt
Written by Margarethe von Trotta and Pam Katz
Directed by Margarethe von Trotta
Germany, Luxembourg, and France, 2012
Crafting a film around a large body of work surrounding a philosopher is no easy matter. It is easy to enter the realm of condescension when trying to communicate the ideas that ruled their lives, as with the depiction of Hypatia in Agora, making even the fundamentals of mathematics so mind-numbingly dull and obvious that we may start to root for the derelict students. A blunt presentation of the lessons of the Tractatus lends to our suspicion that Derek Jarman’s Wittgenstein is a floating wisp of cerebral indulgence, although the strengths of that film lie in Jarman’s masterful formalistic, abstract qualities rather than the communication of the ideas of early analytic philosophy. With Hannah Arendt, Margarethe von Trotta, previously known for her emergence in New German Cinema alongside Fassbinder...
Written by Margarethe von Trotta and Pam Katz
Directed by Margarethe von Trotta
Germany, Luxembourg, and France, 2012
Crafting a film around a large body of work surrounding a philosopher is no easy matter. It is easy to enter the realm of condescension when trying to communicate the ideas that ruled their lives, as with the depiction of Hypatia in Agora, making even the fundamentals of mathematics so mind-numbingly dull and obvious that we may start to root for the derelict students. A blunt presentation of the lessons of the Tractatus lends to our suspicion that Derek Jarman’s Wittgenstein is a floating wisp of cerebral indulgence, although the strengths of that film lie in Jarman’s masterful formalistic, abstract qualities rather than the communication of the ideas of early analytic philosophy. With Hannah Arendt, Margarethe von Trotta, previously known for her emergence in New German Cinema alongside Fassbinder...
- 1/3/2014
- by Zach Lewis
- SoundOnSight
Columns Festival Roundup Scott Macaulay visits October Films Festival Roundup The Locarno Film Festival, Montreal World Film Festival of New Cinema, and Telluride Film Festival covered by Jonathan Rosenbaum, Jerry White, and Paula S. Bernstein Production Update by Mary Glucksman Legal Affairs Shelley S. Surpin defines the role of production counsel Technology An excerpt from Erik Holsinger’s MacWeek Guide to Desktop Video Imho Mikki Halpin’s true-life stories of filmmakers online Short Ends Fall 1993 Table Of Contents Features In The Company Of Saints Peter Bowen rings up Wittgenstein‘s Derek Jarman Public Access D.A. Pennebaker and Chris Hegedus’ The War Room …...
- 3/2/2013
- by t.k.
- Filmmaker Magazine-Director Interviews
Leading up to our 18th birthday, I’ll be revisiting on the blog one issue of Filmmaker a day. Today’s is Fall, 1993. Peter Bowen interviewed Derek Jarman about his Wittgenstein for our Fall, 1993 cover. Holly Willis interviewed D.A. Pennebaker and Chris Hegedus about their doc on the Clinton Presidential campaign, The War Room. And there is still some useful advice in this article by Daniel Einfeld, a producer of the indie hit My LIfe’s in Turnaround, on bartering and production placement. (In the Filmmaker office, this article is kind of infamous for having what is perhaps our worst article design ever, with floating clip-art dollar signs all over the page.) I interviewed Victor Nunez about his Ruby in Paradise, which...
- 8/6/2010
- by Scott Macaulay
- Filmmaker Magazine - Blog
By Michael Atkinson
To each fiery cinema individualist his own honorial DVD box set: here we have a reacquaintance . or initiation, for the babies of the Reagan/Thatcher era . with the unique howl of Derek Jarman, dead in 1994 from AIDS at the age of 52, a career attenuated by the very same fate that ended up giving it such amperage. You'd never know it, but there was a time when British filmmakers, emboldened by punk culture, fueled by hatred for Thatcherite conservatism, and funded by the BFI and the new Channel Four, made outrageous, experimental, high culture vs. low culture collision movies, doped on structuralism and gender-bending and period-picture mockery. Jarman was the moment's jester prince; he never made a film you'd mistake for the work of another, or a film that doesn't manifest on the screen as an unpredictably impish riff on serious matters, Art-making and Sex and Death. Not to mention,...
To each fiery cinema individualist his own honorial DVD box set: here we have a reacquaintance . or initiation, for the babies of the Reagan/Thatcher era . with the unique howl of Derek Jarman, dead in 1994 from AIDS at the age of 52, a career attenuated by the very same fate that ended up giving it such amperage. You'd never know it, but there was a time when British filmmakers, emboldened by punk culture, fueled by hatred for Thatcherite conservatism, and funded by the BFI and the new Channel Four, made outrageous, experimental, high culture vs. low culture collision movies, doped on structuralism and gender-bending and period-picture mockery. Jarman was the moment's jester prince; he never made a film you'd mistake for the work of another, or a film that doesn't manifest on the screen as an unpredictably impish riff on serious matters, Art-making and Sex and Death. Not to mention,...
- 6/24/2008
- by Michael Atkinson
- ifc.com
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