Brazilian thriller Bacurau first title.
Kino Lorber is launching a virtual theatrical exhibition initiative in a bid to serve current releases and local theatres that have closed due to coronavirus pandemic.
The Kino Marquee initiative involves virtual releases with participating theatres for first-run and repertory titles from Kino Lorber and Zeitgeist, “at least until theatres are able to reopen.”
The first film is Kleber Mendonça Filho’s Brazilian thriller Bacurau, which would have been in theatres now. Participating theatres are New York’s Film at Lincoln Center, Brooklyn Academy of Music (Bam) and Jacob Burns Film Center.
Kino Marquee is...
Kino Lorber is launching a virtual theatrical exhibition initiative in a bid to serve current releases and local theatres that have closed due to coronavirus pandemic.
The Kino Marquee initiative involves virtual releases with participating theatres for first-run and repertory titles from Kino Lorber and Zeitgeist, “at least until theatres are able to reopen.”
The first film is Kleber Mendonça Filho’s Brazilian thriller Bacurau, which would have been in theatres now. Participating theatres are New York’s Film at Lincoln Center, Brooklyn Academy of Music (Bam) and Jacob Burns Film Center.
Kino Marquee is...
- 3/19/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
Here’s another story of enterprise and innovation among the coronavirus destruction.
U.S. arthouse distributor Kino Lorber is launching a virtual theatrical exhibition initiative called Kino Marquee to enable movie theaters shuttered by the coronavirus outbreak to continue to serve their audiences and generate revenue.
More from Deadline'fbi: Most Wanted' Crew Member Tests Positive For Coronavirus'Game Of Thrones' Alum Indira Varma Tests Positive For CoronavirusOscars: Movie Academy Evaluating "What Changes May Need To Be Made" Amid Coronavirus Crisis
Virtual holdovers will be determined by performance, and revenue will be split between distributor and exhibitor. The initiative is also designed to let movie audiences support their local theaters.
The initiative has been designed to emulate the moviegoing experience as much as possible. Films will be booked from Fridays to Thursdays and presented on dedicated web pages headed by each theater’s branded marquee.
The first Kino Marquee screenings are with...
U.S. arthouse distributor Kino Lorber is launching a virtual theatrical exhibition initiative called Kino Marquee to enable movie theaters shuttered by the coronavirus outbreak to continue to serve their audiences and generate revenue.
More from Deadline'fbi: Most Wanted' Crew Member Tests Positive For Coronavirus'Game Of Thrones' Alum Indira Varma Tests Positive For CoronavirusOscars: Movie Academy Evaluating "What Changes May Need To Be Made" Amid Coronavirus Crisis
Virtual holdovers will be determined by performance, and revenue will be split between distributor and exhibitor. The initiative is also designed to let movie audiences support their local theaters.
The initiative has been designed to emulate the moviegoing experience as much as possible. Films will be booked from Fridays to Thursdays and presented on dedicated web pages headed by each theater’s branded marquee.
The first Kino Marquee screenings are with...
- 3/19/2020
- by Andreas Wiseman
- Deadline Film + TV
Ahc kindly offered a pass to Film Comment Magazine which in turn kindly offered it to me to attend and do a story on this years Ahc. It is also now posted on the Film Comment Website....
There are over 200 theaters in the United States that are independently owned and operated and generally screen nothing but what would be labeled “art-house” films. These theaters have existed in one form or another since at least the 1920s, and back then were sometimes called “little cinemas.” After World War II, they became more popular and for a while were glibly referred to as “sure-seaters,” a term credited to writer Stanley Frank in a 1952 issue of Nation’s Business (and used by scholar Barbara Wilinsky as the title of her excellent book on art-house cinema).
A more accurate moniker, overheard at this year’s 6th annual Art House Convergence (Ahc), might be the People’s Republic of Cinema. From January 14 to 17, the Convergence was held as usual in Midway, Utah, just a short distance from Park City, allowing attendees to head to Sundance immediately afterward. The latest edition drew nearly 350 participants including many representatives, owners, and operators of venues that specialize in screening many of the titles written about in Film Comment. Also present were many of the smaller distributors such as Magnolia Pictures, Janus Films, and Oscilloscope Laboratories who supply the films that help keep theaters in business. A fair amount of vendors, almost all of whom were in the business of digital projection, were on hand. This year Ahc became an international event, with a panel that discussed the challenges for art-house theaters in other countries including Britain, South Korea, and Canada.
Ahc began in 2006, after the Sundance Institute contacted 14 art-house theater operators to meet as part of a celebration for the 25th Sundance Film Festival, for a discussion about the needs and operations of their theaters. Twelve of those theaters participated, said Russ Collins, the Art House Convergence chairperson, and executive director of the Michigan Theater in Ann Arbor, Michigan.
“The Sundance staff suggested the idea, which at that time was actually only a meeting before the festival,” Collins recalled. “Each theater received two film festival passes and we had a single meeting at the Peery Hotel in Salt Lake City.”
Sundance staffers such as current Sundance director John Cooper attended the meeting as did former Sundance executive director Jill Miller.
Over the next year, most of those involved in the meeting stayed in touch and were joined by Connie White, currently the film buyer for Balcony Booking, who became active in planning future conferences. Most importantly, the Sundance staffers were pleased with how the gathering went and scheduled another for 2007. Building on the success, a larger more structured event spanning several days took place the next two years, growing from 25 participants in 2008 to 75 in 2009.
“We outgrew the Peery, and it was decided that the meeting needed to be more formalized. There was also a huge outdoor expo in Salt Lake during that same time frame, and that is when we moved to Midway,” Collins said.
For the 2010 edition, Amy Beth Leber of the Salt Lake City Film Society, which was one of Ahc’s original 12 participants, was able to make arrangements with the Homestead Resort, about 40 miles from Salt Lake, but very close to Park City. Homestead had a homey campus feeling that added to the event’s atmosphere. The new locale also added to the attendance, which went to 125 from 75. This year, Ahc’s ranks swelled to nearly 350.
“Ahc is run entirely by volunteers from many of the original 12 venues, including the Coolidge Corner Theater [in Brookline, Massachusetts], Jacob Burns Film Center [Pleasantville, New York], the Belcourt [Nashville], Gary Meyers of the Telluride Film Festival, and others. With the growth, we have picked up a number of sponsors and Sony was very helpful this year, but we need to make sure that it stays a conference and does not become a trade show,” Collins said.
One of the highlights of Ahc the last several years has been the benchmark survey compiled by the Bryn Mawr Film Institute and presented by its executive director, Juliet Goodfriend. Using data compiled from 87 participants, Goodfriend reported the following this year:
-- 60% of the theaters are in urban areas
-- 90% are independent, 78% are non-profits
-- 87% of the patrons are non-student adults, with 35% of that number over age 65
-- A total of $73 million in revenue was generated, with 51% from box office receipts
-- Most venues were at least slightly profitable or broke even, but 25% ran a deficit
It was also noted that only about a third of the survey participants were using digital projection. Most ranked Facebook as one of the most effective ways of using media, but print advertising, mostly newspapers, was still quite popular, ranking behind weekly email blasts and website announcements and ahead of printed calendars or guides.
Over the course of two-and-a-half days of seminars and panels this year, the convergence covered a range of topics. Panels addressed the ever encroaching need for digital equipment and funding, as well as “Race and Diversity in the Art House” (which challenged programmers to book more films made by African American directors). A series of round-table discussions during a lunch break covered a number of other subjects such as getting better results from the use of social media, working with volunteers, and microcinemas.
A discussion about midnight programming yielded reports of promotional events such as human bowling prior to screenings of The Big Lebowski, a veal-testicle-eating contest in conjunction with screenings of Cannibal Holocaust, and “Midnight at Noon,” Saturday afternoon matinees of midnight movies, in venues with older patrons who might not be night owls.
The topic of microcinemas reflected an apparent trend, with a number of theaters popping up in a variety of places such as the Phoenix’s Film Bar and the Trylon in Minneapolis. Microcinemas might be described as small screening spaces that strive to provide intimate and contextual showings of films, from classics to new releases to the avant-garde. Several future owner-operators of micros were at Ahc, hailing from Lancaster, Pennsylvania; Richmond, Virginia; and Bend, Oregon.
Attendance at this convergence and the others has never been confined to larger big-city operations. Representatives from theaters in at least 25 states and Washington D.C. were on hand, ranging in size from part-time art center or university film series programs to multi-screen metro operations.
Rose Ann Hernandez, a board member and treasurer of a film society that operates a single screen, non-profit, all volunteer venue based in Mesilla, New Mexico, was among the first-timers who would like to come back. Hernandez, who has been involved with the film society for over 20 years, attended for several reasons.
“I went with the intention of meeting other like-minded people and picking their brains about what they've done, doing or thinking about doing. I was particularly interested in what others were doing in fundraising and marketing. I also wanted to meet the distributors to match names with faces,” she explained.
“I got a lot of information; I'm sifting through it to see what we can implement now and later. The individual conversations were energizing. It felt so good to meet others who work as hard as I do for something we both love and are passionate about.”
Patrick Schweiss, the executive director of the Sedona Film Festival and the Mary D. Fisher Theater, both in Arizona, was attending for the second time. He found out about the event in 2012 from a distributor.
“I learned so much last year that I chose to attend the 2013 Ahc rather than going to as many film festivals,” Schweiss said. “My staff really encouraged me to go, especially after attending last year, even though our festival starts in just a few weeks.”
Needless to say, the event is not all work. A lot of socializing and some deal-making do take place, and there are screenings and entertainment each evening after dinner. The 2011 Ahc featured filmmaker Michael Moore as a special speaker, and this year Robert Redford gave a brief talk about the importance of art-house theaters. There was also a special advance screening of one of the films that played at Sundance, Upstream Color, directed by Shane Carruth, whose 2004 film, Primer, won Sundance’s Grand Jury Prize that year. Crispin Hellion Glover presented his Big Slide Show (“a one hour dramatic narration of eight different profusely illustrated books he has made over the years”), followed by screenings of several of his short films and a Q&A.
Sony Pictures Repertory screened their newly restored version of Investigation of a Citizen above Suspicion on the final night. It served as a preview of 4K digital restorations including On the Waterfront, Lawrence of Arabia, and Groundhog Day (the last of which will be screened “back to back” next month at the Seattle International Film Festival Cinema, according to programmer Clinton McClung).
Above all, it was proven again this year that the art-house world has something going for it that multiplexes will never have: community. As noted in the Ahc program guide this year, “art house theaters will remain alive and well and be especially vital if operated and supported as a community-based cultural institution.”...
There are over 200 theaters in the United States that are independently owned and operated and generally screen nothing but what would be labeled “art-house” films. These theaters have existed in one form or another since at least the 1920s, and back then were sometimes called “little cinemas.” After World War II, they became more popular and for a while were glibly referred to as “sure-seaters,” a term credited to writer Stanley Frank in a 1952 issue of Nation’s Business (and used by scholar Barbara Wilinsky as the title of her excellent book on art-house cinema).
A more accurate moniker, overheard at this year’s 6th annual Art House Convergence (Ahc), might be the People’s Republic of Cinema. From January 14 to 17, the Convergence was held as usual in Midway, Utah, just a short distance from Park City, allowing attendees to head to Sundance immediately afterward. The latest edition drew nearly 350 participants including many representatives, owners, and operators of venues that specialize in screening many of the titles written about in Film Comment. Also present were many of the smaller distributors such as Magnolia Pictures, Janus Films, and Oscilloscope Laboratories who supply the films that help keep theaters in business. A fair amount of vendors, almost all of whom were in the business of digital projection, were on hand. This year Ahc became an international event, with a panel that discussed the challenges for art-house theaters in other countries including Britain, South Korea, and Canada.
Ahc began in 2006, after the Sundance Institute contacted 14 art-house theater operators to meet as part of a celebration for the 25th Sundance Film Festival, for a discussion about the needs and operations of their theaters. Twelve of those theaters participated, said Russ Collins, the Art House Convergence chairperson, and executive director of the Michigan Theater in Ann Arbor, Michigan.
“The Sundance staff suggested the idea, which at that time was actually only a meeting before the festival,” Collins recalled. “Each theater received two film festival passes and we had a single meeting at the Peery Hotel in Salt Lake City.”
Sundance staffers such as current Sundance director John Cooper attended the meeting as did former Sundance executive director Jill Miller.
Over the next year, most of those involved in the meeting stayed in touch and were joined by Connie White, currently the film buyer for Balcony Booking, who became active in planning future conferences. Most importantly, the Sundance staffers were pleased with how the gathering went and scheduled another for 2007. Building on the success, a larger more structured event spanning several days took place the next two years, growing from 25 participants in 2008 to 75 in 2009.
“We outgrew the Peery, and it was decided that the meeting needed to be more formalized. There was also a huge outdoor expo in Salt Lake during that same time frame, and that is when we moved to Midway,” Collins said.
For the 2010 edition, Amy Beth Leber of the Salt Lake City Film Society, which was one of Ahc’s original 12 participants, was able to make arrangements with the Homestead Resort, about 40 miles from Salt Lake, but very close to Park City. Homestead had a homey campus feeling that added to the event’s atmosphere. The new locale also added to the attendance, which went to 125 from 75. This year, Ahc’s ranks swelled to nearly 350.
“Ahc is run entirely by volunteers from many of the original 12 venues, including the Coolidge Corner Theater [in Brookline, Massachusetts], Jacob Burns Film Center [Pleasantville, New York], the Belcourt [Nashville], Gary Meyers of the Telluride Film Festival, and others. With the growth, we have picked up a number of sponsors and Sony was very helpful this year, but we need to make sure that it stays a conference and does not become a trade show,” Collins said.
One of the highlights of Ahc the last several years has been the benchmark survey compiled by the Bryn Mawr Film Institute and presented by its executive director, Juliet Goodfriend. Using data compiled from 87 participants, Goodfriend reported the following this year:
-- 60% of the theaters are in urban areas
-- 90% are independent, 78% are non-profits
-- 87% of the patrons are non-student adults, with 35% of that number over age 65
-- A total of $73 million in revenue was generated, with 51% from box office receipts
-- Most venues were at least slightly profitable or broke even, but 25% ran a deficit
It was also noted that only about a third of the survey participants were using digital projection. Most ranked Facebook as one of the most effective ways of using media, but print advertising, mostly newspapers, was still quite popular, ranking behind weekly email blasts and website announcements and ahead of printed calendars or guides.
Over the course of two-and-a-half days of seminars and panels this year, the convergence covered a range of topics. Panels addressed the ever encroaching need for digital equipment and funding, as well as “Race and Diversity in the Art House” (which challenged programmers to book more films made by African American directors). A series of round-table discussions during a lunch break covered a number of other subjects such as getting better results from the use of social media, working with volunteers, and microcinemas.
A discussion about midnight programming yielded reports of promotional events such as human bowling prior to screenings of The Big Lebowski, a veal-testicle-eating contest in conjunction with screenings of Cannibal Holocaust, and “Midnight at Noon,” Saturday afternoon matinees of midnight movies, in venues with older patrons who might not be night owls.
The topic of microcinemas reflected an apparent trend, with a number of theaters popping up in a variety of places such as the Phoenix’s Film Bar and the Trylon in Minneapolis. Microcinemas might be described as small screening spaces that strive to provide intimate and contextual showings of films, from classics to new releases to the avant-garde. Several future owner-operators of micros were at Ahc, hailing from Lancaster, Pennsylvania; Richmond, Virginia; and Bend, Oregon.
Attendance at this convergence and the others has never been confined to larger big-city operations. Representatives from theaters in at least 25 states and Washington D.C. were on hand, ranging in size from part-time art center or university film series programs to multi-screen metro operations.
Rose Ann Hernandez, a board member and treasurer of a film society that operates a single screen, non-profit, all volunteer venue based in Mesilla, New Mexico, was among the first-timers who would like to come back. Hernandez, who has been involved with the film society for over 20 years, attended for several reasons.
“I went with the intention of meeting other like-minded people and picking their brains about what they've done, doing or thinking about doing. I was particularly interested in what others were doing in fundraising and marketing. I also wanted to meet the distributors to match names with faces,” she explained.
“I got a lot of information; I'm sifting through it to see what we can implement now and later. The individual conversations were energizing. It felt so good to meet others who work as hard as I do for something we both love and are passionate about.”
Patrick Schweiss, the executive director of the Sedona Film Festival and the Mary D. Fisher Theater, both in Arizona, was attending for the second time. He found out about the event in 2012 from a distributor.
“I learned so much last year that I chose to attend the 2013 Ahc rather than going to as many film festivals,” Schweiss said. “My staff really encouraged me to go, especially after attending last year, even though our festival starts in just a few weeks.”
Needless to say, the event is not all work. A lot of socializing and some deal-making do take place, and there are screenings and entertainment each evening after dinner. The 2011 Ahc featured filmmaker Michael Moore as a special speaker, and this year Robert Redford gave a brief talk about the importance of art-house theaters. There was also a special advance screening of one of the films that played at Sundance, Upstream Color, directed by Shane Carruth, whose 2004 film, Primer, won Sundance’s Grand Jury Prize that year. Crispin Hellion Glover presented his Big Slide Show (“a one hour dramatic narration of eight different profusely illustrated books he has made over the years”), followed by screenings of several of his short films and a Q&A.
Sony Pictures Repertory screened their newly restored version of Investigation of a Citizen above Suspicion on the final night. It served as a preview of 4K digital restorations including On the Waterfront, Lawrence of Arabia, and Groundhog Day (the last of which will be screened “back to back” next month at the Seattle International Film Festival Cinema, according to programmer Clinton McClung).
Above all, it was proven again this year that the art-house world has something going for it that multiplexes will never have: community. As noted in the Ahc program guide this year, “art house theaters will remain alive and well and be especially vital if operated and supported as a community-based cultural institution.”...
- 2/1/2013
- by Jeff Berg
- Sydney's Buzz
It wasn’t the hardest PGA to predict — most contest entries had 9 out of 10. But there were some who got a perfect score of 10! And they were: Wade Roberts Erik Anderson...
- 1/5/2013
- by Sasha Stone
- AwardsDaily.com
The Livonia teen who police say brutally attacked and killed his ex-girlfriend's new boyfriend, her mom and then himself left a series of haunting messages on his Facebook page in the weeks leading up to the massacre.
Brian Douglas White, 19, entered the home of his 17-year-old ex wielding an axe on Wednesday and killed the girl's mother, Angela Staperfene and the girl's current boyfriend, 19-year-old Jacob Burns, while they slept, according to Fox affiliate Wjbk-tv.
The station obtained disturbing messages that White left on his Facebook page in the weeks before, including apparent references to the gory thriller "American Psycho" and lyrics by the bands Gotye and Blue October.
"You can get addicted to a certain kind of sadness," White wrote on his page, which has since been taken down.
"What a polite murderer," the station quoted him as writing on March 27.
On March 29, he reportedly wrote, "And with a...
Brian Douglas White, 19, entered the home of his 17-year-old ex wielding an axe on Wednesday and killed the girl's mother, Angela Staperfene and the girl's current boyfriend, 19-year-old Jacob Burns, while they slept, according to Fox affiliate Wjbk-tv.
The station obtained disturbing messages that White left on his Facebook page in the weeks before, including apparent references to the gory thriller "American Psycho" and lyrics by the bands Gotye and Blue October.
"You can get addicted to a certain kind of sadness," White wrote on his page, which has since been taken down.
"What a polite murderer," the station quoted him as writing on March 27.
On March 29, he reportedly wrote, "And with a...
- 4/6/2012
- by The Huffington Post
- Huffington Post
Almost 1,200 Gold Derby readers predicted the winners in all 24 races at the Academy Awards. In total, our Users entered more than 25,000 predictions. To see how you fared, log in to your account and under your profile picture click on Oscars 2011. Certain categories, like Best Picture and both supporting acting races, had the overwhelming support of our Users, Editors and expert Oscarologists. Then there were those, like Best Actress, where almost all of Experts (26/31) expected Viola Davis ("The Help") to prevail. Just five of them foresaw victory for Meryl Streep ("The Iron Lady") but hundreds of our Users thought she would finally win her third Oscar. Check out the category breakdowns here. One User, snuggle4, outdid everyone scoring 88%. Ten more Users scored 84%: John, Jacob Burns, Jenna Martin, leiendeckera, Han Seung Min, Larry G...
- 2/27/2012
- Gold Derby
Beverly Hills, CA .The Academy Foundation of the Academy of Motion Picture Arts and Sciences has awarded 68 grants totaling more than $500,000 to nonprofit organizations and institutions of higher learning throughout the United States as part of its annual Institutional and Internship Grants programs. The monies will fund film-related internships, job training programs, filmmaking workshops, scholarly seminars, visiting artist programs and screening series.
.The Academy strives to make the motion picture industry as accessible as possible to new talent and the public,. said Grants Committee Chair Andrew Marlowe. .Among the wide variety of programs earning the Academy.s support are internship and job training programs that provide students in underserved communities direct access to the industry, a key stepping-stone that might be otherwise unavailable..
The Academy Foundation.s Grants Committee selected the following programs for 2011.2012:
Internship Grants
$12,500
California Institute of the Arts (Valencia)
University of North Carolina at Chapel Hill...
.The Academy strives to make the motion picture industry as accessible as possible to new talent and the public,. said Grants Committee Chair Andrew Marlowe. .Among the wide variety of programs earning the Academy.s support are internship and job training programs that provide students in underserved communities direct access to the industry, a key stepping-stone that might be otherwise unavailable..
The Academy Foundation.s Grants Committee selected the following programs for 2011.2012:
Internship Grants
$12,500
California Institute of the Arts (Valencia)
University of North Carolina at Chapel Hill...
- 5/24/2011
- by Movie Geeks
- WeAreMovieGeeks.com
The Pleasantville, NY film and education center Jacob Burns Film Center is celebrating the legacy of Steven Spielberg by honoring him with their Jbfc Vision Award for 2011 on September 17. The full release follows below... Jacob Burns Film Center Announces Tribute To Celebrated Filmmaker Steven Spielberg Pleasantville NY – April 6, 2011 – The Jacob Burns Film Center (Jbfc), a cultural arts institution with a dual mission of film ...
- 4/6/2011
- Indiewire
This October, Criterion will be releasing a DVD and Blu-ray of Nobuhiko Obayashi’s Hausu (otherwise known as House), and while we have talked and written about the movie on the podcast and blog, I have a feeling that you lovely readers don’t have a good idea as to why this is such an important release. You may not necessarily follow all of the various film blogs, or attend all of the genre film festivals, like Fantastic Fest, but this is a movie that has a tremendous amount of buzz surrounding it.
The European distributor, Masters of Cinema, released a DVD of Hausu earlier this year, and if you have a region-free DVD player, I’d highly recommend picking it up, to supplement your inevitable Criterion purchase. I imported a copy for myself relatively cheaply, just so that I could watch the movie before Criterion released their Blu-ray, and...
The European distributor, Masters of Cinema, released a DVD of Hausu earlier this year, and if you have a region-free DVD player, I’d highly recommend picking it up, to supplement your inevitable Criterion purchase. I imported a copy for myself relatively cheaply, just so that I could watch the movie before Criterion released their Blu-ray, and...
- 9/10/2010
- by Ryan Gallagher
- CriterionCast
Hollywoodnews.com: The Academy Foundation of the Academy of Motion Picture Arts and Sciences has awarded a total of $500,000 to a record 73 film-related nonprofit organizations – including universities, museums and career development programs – throughout the United States as part of its annual Institutional Grants program.
“The Academy strives to make the motion picture industry as accessible as possible to new talent and the public,” said Grants Committee Chair Andrew Marlowe. “Among the wide variety of programs earning the Academy’s support are grants that will provide students with valuable internship opportunities and enable established filmmakers to visit schools and organizations where they can discuss their work and share their expertise.”
The Academy Foundation’s Grants Committee selected the following programs for 2010–2011:
Internship Programs
$10,000
California Institute of the Arts (Valencia)
Columbia University School of the Arts (New York City)
Emerson College (Boston)
New York University – Kanbar Institute of Film & Television
University of California,...
“The Academy strives to make the motion picture industry as accessible as possible to new talent and the public,” said Grants Committee Chair Andrew Marlowe. “Among the wide variety of programs earning the Academy’s support are grants that will provide students with valuable internship opportunities and enable established filmmakers to visit schools and organizations where they can discuss their work and share their expertise.”
The Academy Foundation’s Grants Committee selected the following programs for 2010–2011:
Internship Programs
$10,000
California Institute of the Arts (Valencia)
Columbia University School of the Arts (New York City)
Emerson College (Boston)
New York University – Kanbar Institute of Film & Television
University of California,...
- 5/14/2010
- by HollywoodNews.com
- Hollywoodnews.com
Main Feature (1H 52M 43S)
Screenwriter Jenny Lumet does a good job in getting down to basics and providing a believable tale of the classic middle-American dysfunctional family. Natural dialogue is much rarer than it should be and that aspect of this script impressed me far more than the story itself in which nothing much actually happens.
Director Jonathan Demme, most famous for Silence of the Lambs, in a departure from his usual techniques made the interesting choice to film this in a fly-on-the-wall documentary style which works wonders for Lumet’s script. It is difficult to sum up Demme’s importance to this film but the cast are so relaxed while performing in such a wild atmosphere and that is testament to his man-management abilities.
Anne Hathaway is outstanding as the lead character Kym and this comes as a surprise to me as I had her pinned as little more than another run-of-the-mill actress.
Screenwriter Jenny Lumet does a good job in getting down to basics and providing a believable tale of the classic middle-American dysfunctional family. Natural dialogue is much rarer than it should be and that aspect of this script impressed me far more than the story itself in which nothing much actually happens.
Director Jonathan Demme, most famous for Silence of the Lambs, in a departure from his usual techniques made the interesting choice to film this in a fly-on-the-wall documentary style which works wonders for Lumet’s script. It is difficult to sum up Demme’s importance to this film but the cast are so relaxed while performing in such a wild atmosphere and that is testament to his man-management abilities.
Anne Hathaway is outstanding as the lead character Kym and this comes as a surprise to me as I had her pinned as little more than another run-of-the-mill actress.
- 7/21/2009
- by Tigervamp
- Atomic Popcorn
Sundance gets its pics
For the second consecutive year, the Sundance Institute will partner with art house cinemas nationwide to present specialized screening programs of films that have played the Sundance Film Festival.
Under the banner of the Sundance Institute Arthouse Project, which was inaugurated last year, the film series will play theaters in 12 cities.
Each of the participating venues will design a customized Sundance screening series for its local community, drawing from films that have played the Sundance fest -- some of which are still seeking distribution -- as well as films supported by the Sundance Institute.
This year, the local programs will include a specially selected series of short films from the 2007 fest: Death to the Tinman, directed by Ray Tintori; Peace Talk, Jennifer Malmqvist; King, Caran Hartsfield; Salt Kiss, Fellipe Gamarano Barbosa; God Provides, Brian Cassidy and Melanie Shatzsky; Everything Will Be OK, Don Hertzfeldt; and Happiness, Sophie Barthes.
The participating theaters and film programs are Belcourt Theatre in Nashville; Broadway Center Cinemas in Salt Lake City, Coolidge Corner Theatre in Brookline, Mass., Enzian Theater in Orlando, International Film Series in Boulder, Colo., Jacob Burns Film Center in Pleasantville, N.Y., Michigan Theater in Ann Arbor, Mich., Oklahoma City Museum of Art in Oklahoma City, Pickford Cinema in Bellingham, Wash., Rafael Film Center in San Rafael, Calif., Ragtag Cinema in Columbia, Mo., and Railroad Square Cinema in Waterville, Maine.
Under the banner of the Sundance Institute Arthouse Project, which was inaugurated last year, the film series will play theaters in 12 cities.
Each of the participating venues will design a customized Sundance screening series for its local community, drawing from films that have played the Sundance fest -- some of which are still seeking distribution -- as well as films supported by the Sundance Institute.
This year, the local programs will include a specially selected series of short films from the 2007 fest: Death to the Tinman, directed by Ray Tintori; Peace Talk, Jennifer Malmqvist; King, Caran Hartsfield; Salt Kiss, Fellipe Gamarano Barbosa; God Provides, Brian Cassidy and Melanie Shatzsky; Everything Will Be OK, Don Hertzfeldt; and Happiness, Sophie Barthes.
The participating theaters and film programs are Belcourt Theatre in Nashville; Broadway Center Cinemas in Salt Lake City, Coolidge Corner Theatre in Brookline, Mass., Enzian Theater in Orlando, International Film Series in Boulder, Colo., Jacob Burns Film Center in Pleasantville, N.Y., Michigan Theater in Ann Arbor, Mich., Oklahoma City Museum of Art in Oklahoma City, Pickford Cinema in Bellingham, Wash., Rafael Film Center in San Rafael, Calif., Ragtag Cinema in Columbia, Mo., and Railroad Square Cinema in Waterville, Maine.
- 8/23/2007
- The Hollywood Reporter - Movie News
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