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British actor Tim Roth drew a big crowd and much applause with a masterclass at the 15th edition of the Luxembourg City Film Festival (LuxFilmFest) last week, in which he discussed such topics as his work with Tupac Shakur, Quentin Tarantino and Werner Herzog and how he prepared for his first TV role as a racist skinhead.

He was one of the big names attending the anniversary edition of the fest, along with the star-studded jury, which was led by Iranian filmmaker Mohammad Rasoulof and also included Danish actress Trine Dyrholm (The Girl With the Needle, Poison), Austrian actress Valerie Pachner (Fantastic Beasts: The Secrets of Dumbledore, A Hidden Life), L.A.- and Luxembourg-based VFX expert Jeff Desom (Everything Everywhere All at Once), Spanish director Albert Serra (Afternoons of Solitude), and screenwriter Paul Laverty. The festival has also featured a masterclass by Oscar-winning filmmaker Alejandro Amenábar.

As part of his busy Luxembourg schedule,...

The New Year That Never Came, a drama about the Romanian revolution of 1989, written and directed by Bogdan Muresanu, won the Grand Prix, the top prize, at the 15th edition of the Luxembourg City Film Festival (LuxFilmFest) on Saturday.

“December 20, 1989. Romania is on the brink of revolution. The authorities are preparing New Year’s festivities as if nothing – or almost nothing – is happening, but the official façade begins to crack,” reads a synopsis for the film, which world premiered at Venice 2024. “Amid the fervor of the uprising, six lives will intersect over the course of an extraordinary day, which leads to the fall of Nicolae Ceaușescu and his regime.”

The fest jury, led by Iranian filmmaker Mohammad Rasoulof, also included Danish actress Trine Dyrholm (The Girl With the Needle, Poison), VFX expert Jeff Desom (Everything Everywhere All at Once), Austrian actress Valerie Pachner (Fantastic Beasts: The Secrets of Dumbledore, A Hidden Life...

Luxembourgish actress, director, producer and TV host Désirée Nosbusch’s (Bad Banks) first fiction feature film as a director, Poison, starring British actor Tim Roth and Denmark’s Trine Dyrholm, finally premiered in her homeland. The 15th edition of the Luxembourg City Film Festival this week screened the drama, adapted from the play Gif by the Dutch author Lot Vekemans, that explores the reunion of a couple who meet again 10 years after a tragedy.

The screening was held outside the festival’s competition lineup, which is being judged by a jury led by Iranian filmmaker Mohammad Rasoulof (The Seed of the Sacred Fig) and also includes Spanish auteur Albert Serra (Afternoons of Solitude), Dyrholm (The Girl With the Needle), VFX guru Jeff Desom (Everything Everywhere All at Once), Austrian actress Valerie Pachner (A Hidden Life), and screenwriter Paul Laverty (I, Daniel Blake). Instead, the movie unspooled in its Made in/With Luxembourg program.

Spanish auteur Albert Serra always gets strong reactions to his films, and that’s how he likes it. His latest, his first documentary, Afternoons of Solitude, has been no different. The bullfighting doc won the San Sebastian Film Festival’s Golden Shell for best film in the fall and continues to tour the festival circuit.

Right now, Catalonia’s Serra is attending the 15th edition of the Luxembourg City Film Festival where he is a member of the jury led by Iranian filmmaker Mohammad Rasoulof that also includes the likes of VFX expert Jeff Desom (Everything Everywhere All at Once) and screenwriter Paul Laverty. The festival has also featured masterclasses by British star Tim Roth and Oscar-winning filmmaker Alejandro Amenábar.

Serra likes to hit viewers with images they will remember. “It’s all or nothing. The idea is that film has to be a real experience,” he told THR in...

Iranian dissident filmmaker Mohammad Rasoulof (There Is No Evil) had to flee his home country to evade an eight-year prison sentence last year.

His latest film, The Seed of the Sacred Fig, won a special jury award at the 2024 Cannes Film Festival and was in the running for the best international feature Oscar, submitted by his new home, Germany.

Right now, the auteur is serving as the head of the jury for the 15th edition of the Luxembourg City Film Festival, along with the likes of VFX expert Jeff Desom (Everything Everywhere All at Once) and long-time Ken Loach creative partner and screenwriter Paul Laverty.

During a break of his LuxFilmFest jury duties, Rasoulof talked to THR, via a translator, about what he is currently working on, parallels between Iran and the U.S. under President Donald Trump and the Iranian creatives who should not be ignored by the world.

Writer, director and visual effects artist Jeff Desom is best known for bringing his VFX magic to the Daniels’ Oscar winner Everything Everywhere All at Once. Working between L.A. and Luxembourg, he combines live-action, found footage and digital effects.

Right now, Desom is back in his native country as a member of the Mohammad Rasoulof-led jury at the 15th edition of the Luxembourg City Film Festival, along with the likes of screenwriter Paul Laverty and Danish star Trine Dyrholm.

The big success of Everything Everywhere, starring Michelle Yeoh, changed his work significantly, the creative told THR on the sidelines of the festival. “I didn’t do visual effects as my main job. I was a director, a writer, and visual effects work was just a means to an end,” he explained. “I was doing a lot of it for my own projects, and I’d never really done...

If you have never heard about the Luxembourg City Film Festival before, it may surprise you to know that the biggest annual film event in the Grand Duchy of Luxembourg, which is surrounded by France, Germany and Belgium, is turning 15 this year.

Long considered a hidden gem on the global fest circuit, the event has steadily gained in stature, routinely attracting big industry names to a country with a population of only around 670,000. Just take last year as an example, when the fest set an attendance record with a 10 percent increase to 19,962. For its 2024, LuxFilmFest, it attracted the likes of Viggo Mortensen, Chinese director Wang Bing, Mauritanian director Abderrahmane Sissako, French director Gaspar Noé — who hosted a retrospective and a masterclass — and a jury that included Luxembourg star Vicky Krieps, German actor Sebastian Koch, and U.S. director Ira Sachs.

For this year’s 15th edition, which kicks off on Thursday,...

The visual effects in “Everything Everywhere All at Once,” the latest film directed by Daniel Kwan and Daniel Scheinert (the filmmaking team known as Daniels), are abundant and impressive in the way that they turn the film’s ordinary heroine, Evelyn (Michelle Yeoh), into a multiverse-hopping action star. The movie’s hundreds of effects shots are even more astonishing when one watches the end credits and realizes that they were not the work of a high-end post-production facility but a handful of craftspeople led by Zak Stoltz, a friend of the Daniels who had never served as an effects supervisor on a feature film.

“They came to me because they had worked with a post house for visual effects on their last film, ‘Swiss Army Man,’ and they didn’t love the process,” Stoltz told IndieWire. “It felt very impersonal compared to the way we had always worked together, where...

Photo: ‘Doors’/Epic Pictures A Story In Parts Recent sci-fi release ‘Doors’ from directors Saman Kesh, Jeff Desom, and Dugan O'Neal and starring Josh Peck, Lina Esco, Wilson Bethel, and Kyp Malone is a creatively told story that impresses in some areas and disappoints in others. In ‘Doors’, hundreds of thousands of mystery, alien doors appear unannounced on Earth and it is up to the human-race to uncover the meaning and purpose of them before it is too late. From the team behind the ‘V/H/S’ trilogy, ‘Doors’ structures its film in a similar way dividing itself into four narrative vignettes that all take place after the start of the door crisis. This creative structure is the biggest strength of the film but unfortunately also fuels the film's greatest weaknesses. Related article: The Complete List of 2021 Oscar Nominations – Celebrations, Surprises & Snubs | The Show Must Go On Related article: ‘Attack the Block...

Science fiction is a genre that allows just about anything to be possible. It deals in both high-brow and low-brow concepts, and the range of methods in telling these stories is about as vast as the stories themselves. In Doors, we see a trio of directors attempting to tell multiple stories surrounding a singular event, and to convey different aspects of this event to the audience.

Directed by Jeff Desom, Saman Kesh, and Dugan O’Neal, Doors takes an interesting concept and maneuvers it in some challenging directions—some work better than others. The general premise is that one day, out of nowhere, hundreds of alien portals appear all over the Earth. We have no idea where these doors come from or why, so naturally, the next step is to begin investigating. Some people are sent through the doors, never to return. Others are sent through and come back, but are driven insane by the experience.

Watch the Trailer for Doors: "Without explanation or warning, a number of mysterious, alien “doors” suddenly appear in every corner of the globe. While many of those that encounter these sentient visitors feel the strange urge to interact with them – never to be seen again – others stay behind to face the potential threat of what their ultimate agenda towards mankind is. In a rush to determine the reason for the arrival of these cosmic anomalies, the government enlists volunteers to brave the journey to enter the doors so that we might learn more about their origin or purpose. But even these brave volunteers are not prepared for what lies beyond the threshold. The story of the doors is told through multiple perspectives: a ragtag band of high school students discover a door for the first time, volunteers explore the parallel reality beyond the threshold, and a lonesome hermit manages the...

In today’s film news roundup, Edgar Wright is directing “The Chain,” “Scoob!” and “The Secret Garden” get release dates, “Young Hearts” and “Doors” find homes; and the Film Life Foundation is launched.

Director Attachment

“Baby Driver” director Edgar Wright is attached to Universal Pictures’ adaptation of kidnap movie “The Chain,” based on the bestselling novel by Adrian McKinty.

Jane Goldman has been hired to write the script. Producers are Working Title’s Eric Fellner and Tim Bevan, Complete Fiction’s Nira Park and Wright, and The Story Factory’s Shane Salerno.

“The Chain” is centered on a woman who learns that her 11-year-old daughter has been kidnapped and discovers that the only way to get her back is to pay a ransom and kidnap another child. Her daughter will be released only when the next victim’s parents kidnap another child.

Wright’s thriller “Last Night in Soho” was...

Brooklyn couple Su (Sunita Mani) and Jack (John Reynolds) have several plans to salvage their lives. Go vegetarian, plant a garden, make sourdough bread, and above all, quit the internet addiction that’s become their relationship’s third wheel, distracting them from make-outs and barging into their fights until Su yells, “Alexa stop!” To detox, the couple embarks on a phone-free week in upstate New York. “It’s not the end of the world if we forget something,” says Jack. It’s the end of the world because aliens invade right when they turn off their ringers, making the plugged-in pair the last people to learn that those lights in the sky aren’t shooting stars. They haven’t seen enough meteors to know the difference.

The monsters, overseen by visual effects supervisor Jeff Desom, are a marvel of low-budget ingenuity that nods to “Star Trek’s” infamous Tribbles. But these small,...

Read More: Vimeo Pushes Further into Original Programming The Vimeo Staff Pick is quite a high honor in the world of online short films and documentaries, and today the company has bestowed its milestone 10,000th pick to Jeff Desom's behind-the-scenes documentary, "Holorama: An Optical Theater." Along with his model-maker Oli Pesch, Desom creates miniature sets from some of cinema and television's most iconic scenes (including "Twin Peaks" and "The Big Lebowski") and projects holograms of the characters into said location using digital rotoscopes of the characters from the scene and semi-transparent screen to reflect the digital image into the space. The mind-blowing exhibition can be seen in the Staff Pick above or by heading over to Desom's Vimeo page. Since 2008, around 6,500 "Vimeans" have been handpicked for the Staff Pick prize. One such winner was Orlando Von Einsiedel, whose short doc, "Skateistan: To Live and...

FRONTIÈRES International Co-Production Market has announced it’s official selection for it’s return to this year’s Fantasia International Film Festival. Frontieres is the first and only co-production market to connect North America and Europe in an environment focused specifically on genre film production. The initiative began in 2012 with 14 projects selected including works by Aaron Moorhead and Justin Benson (Resolution), Stuart Gordon (Re-Animator) and Bruce McDonald (Pontypool). This fourth edition will bring together 12 projects hailing from Canada, Germany, Ireland, Lithuania, Luxembourg, Portugal, the UK and the United-States.

Frontieres will take place from July 24th to 27th. This group of filmmakers in particular presents a high volume of fresh filmmakers, many of whom will be presenting their debut feature length films. This is rounded off by a handful of internationally known filmmakers.

The official Frontières selection of Frontières @ Fantasia 2014 consists of the following projects:

Dead Noon (Luxembourg)

Director/Writer: Jeff Desom...

Montreal's Fantasia International Film Festival, widely acclaimed as one of the largest and most influential genre film festivals in the world, has just announced the official selections of the fourth edition of its Frontières International Co-Production Market.

Read on for a complete listing of all the titles being pitched at the event!

From the Press Release

Montreal, Thursday May 15, 2014 – Just over a month after its first European edition in Brussels, the Frontières International Co-Production Market has selected the official line-up of Frontières projects for its 4th edition.

For its return to Montreal's Fantasia International Film Festival, from July 24 to 27, 12 Frontières projects have been selected, hailing from Canada, Germany, Ireland, Lithuania, Luxembourg, Portugal, the UK and the United-States.

This project selection boasts a higher-than-usual concentration of fresh talents, many of them presenting first feature film projects after many award-winning shorts, or second features following debuts that traveled extensively on the festival circuit.

Summer is coming.  And with that so does Montreal's Fantasia International Film Festival. For the past couple of years, the festival has been shepherding genre projects together via the Frontières International Co-Production Market, which gives the opportunity for filmmakers to meet with international producers, sales agents and distributors looking for projects. In 2014, things expanded to the Brussels International Fantastic Film Festival, to focus on co-producing films across Europe.For its return to the Fantasia International Film Festival, from July 24 to 27, the official Frontières selection consists of a number of new projects, as well as a continuation of the following projects: Dead Noon (Luxembourg)Director/Writer: Jeff Desom (1st Feature)Producer: Bernard Michaux - Lucil Film (Schatzritter) Emergence (Lithuania)Directors/Writers: Kristina Buozyte &; Bruno Samper (Vanishing Waves)Producer: Leva Norviliene - Tremora...

[Read the whole post on twitchfilm.com...]...

Fantasia’s co-production markets announces projects for its fourth edition, running July 24-27.

Frontières International Co-Production Market has unveiled the official lineup of its fourth edition.

Returning to Montreal’s Fantasia International Film Festival following its first European edition in Brussels, Frontières has selected 12 projects hailing from Canada, Germany, Ireland, Lithuania, Luxembourg, Portugal, the UK and Us.

Among the projects are new works from established film-makers Gabriel Pelletier, George Mihalka and Simon Rumley, but the selection also includes a strong concentration of new talents presenting their first or second features.

Ahead of this edition, Lindsay Peters has been promoted to market managing director, while Stephanie Trepanier [pictured] will focus on market creative director duties.

Trepanier commented: “It’s a particular pleasure to be able to present a new line-up of film projects just a month after the new Frontières in Brussels took place. It was also a challenge, the load of submissions having more than doubled over the...

Last week at Nyu's Skirball Center, web video platform Vimeo hosted an awards show honoring the best in web-native video.  The platform, known for no ads and an interface that puts the spotlight on filmmaking craft, gave its awards to a series of videos that are bringing innovation to the online video world. The winner of each category received a $5,000 prize from Vimeo, and the Grand Prize winner, "Symmetry" by Everynone took home the $25,000 grand prize. The Vimeo Awards occurred for the first time in 2010. Four new categories, Action Sports, Advertising, Fashion and Lyrical, were added for the 2012 edition. Take a few minutes out of your day to check out the best of online video: Grand Prize Winner/Best Lyrical Video: "Symmetry" by Everynone Symmetry from Everynone on Vimeo. Best Remix Video: "Rear Window Timelapse" by Jeff Desom Rear Window Timelapse from Jeff Desom on Vimeo. Best Video Series:...

Here's something irresistible for retro movie lovers. Video magic maker Jeff Desom has created a time lapse tribute to Alfred Hitchcock's Read Window that covers all the highlights of the film, strictly from the point of view of James Stewart, who obsessively observes the action going on in the apartments that face his own. It's a fairly amazing creation.

Over the weekend, I stumbled across Luxembourg-based filmmaker Jeff Desom’s incredible Rear Window timelapse remix, which is shortlisted for the upcoming Vimeo Awards (although it just got pulled from Vimeo, presumably because of rights issues.) However, for the time being, it’s still on YouTube, and I’ve embedded it below for your enjoyment.

Desom’s remix is not only technically brilliant, but also winningly playful; part of its genius is that Desom shows you how he’s constructing the world seen from James Stewart’s window in Rear Window before he begins the action.

Here’s an extract from an interview with Desom on One Small Window in which he discusses his process:

How did the Rear Window project come into being?

The project was commissioned by a Luxembourg venue which has this extremely wide screen above their bar. They let me do whatever I wanted as long...

We've got an amazingly creative short video to share that will be especially interesting to all you Alfred Hitchcock fans out there. We bring you Jeff Desom's imagining of Rear Window in three minutes. Dig it!

Desom did some incredible computer work to bring the classic film into a brief three-minute retelling of the story. "I dissected all of Hitchcock’s Rear Window and stitched it back together in After Effects," Desom said. "I stabilized all the shots with camera movement in them. Since everything was filmed from pretty much the same angle, I was able to match them into a single panoramic view of the entire backyard without any greater distortions. The order of events stays true to the movie’s plot."

Check out the film in its entirety below, and for more of Desom's quirky genius visit his official website.

Rear Window Timelapse from Jeff Desom on Vimeo.

Alfred Hitchcock's classic Rear Window has been around for almost 70 years and it wasn't until Jeff Desom took the bits and pieces from the movie to compile this impressive panorama time lapse of the apartment complex that Jimmy Stewart spies into throughout the film. Even more impressive is that the events occurring in the three-minute-long video occur as they are seen in the original movie. Take a look:  

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“Drama is life with the dull bits cut out,” Alfred Hitchcock once puffed. Filmmaker Jeff Desom took it upon himself to cut out some bits from Hitch’s voyeuristic 1954 masterpiece, Rear Window, and rearrange them to create a three-minute, single-shot, full-fov version of the classic film. It doesn’t make the film more dramatic (probably because there was nothing dull to begin with), but it’s still a sight to behold. Watch Miss Torso dance, the Songwriter compose, and Raymond Burr possibly murder his wife, all from the chair-ridden perspective of Jimmy Stewart’s L. B. Jeffries and set to some jazzed-up Brahms.

Why Watch? Whoa. Wow. Okay. Calming down just a bit, for fans of Rear Window (and who isn’t? Seriously, find me these people who aren’t so we can send them all to a different planet where they can’t bother us), this short film is a thing of movie geek beauty. Jeff Desom is a true geek, because he thought it would be a great idea to reconstruct the courtyard from the Alfred Hitchcock flick in order to follow the events of the film from a static position. Turns out, it was better than a great idea. The execution here is impeccable. What will it cost? Only 3 minutes. Skip Work. You’ve Got Time For More Short Films.

You've got to watch this incredibly cool time lapse video of Alfred Hitchcock's Rear Window. The video was created by Jeff Desom using After Effects and original footage from the 1954 classic film. The order of events is pretty much as seen in the movie. I'm a huge fan of this movie, and I love how this time lapse video turned out! What's your favorite Hitchcock film?

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Artist Jeff Desom is apparently a huge fan of Alfred Hitchcock's work. He also is an accomplished video editor and post-production polisher who decided to make a visual art installation by taking all of the shots of the courtyard in Rear Window, digitally stitch them together, stabilize for camera movement and then let them play out in time lapse. It's the kind of thing that reads like an unnecessary bit of overzealous fandom, but once you hit play on the below video, you'll quickly realize the final product is really something to behold. For more information, check out Jeff Desom's personal website. [via AICN] And from a painstaking tribute to one of the greatest filmmakers of our time, we find ourselves faced with India's new pain-inducing big screen...

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Have you ever imagined what the courtyard of the apartments from Alfred Hitchcock's film "Rear Window" looked like in full? Videographer and special effects master Jess Desom has done just that. Using After Effects, Desom pieced together the scenes from the famous Greenwhich Village courtyard and all of the tenants' happenings into a cohesive three minute video. The results of are phenomenal and kind of mind blowing, providing never-before-seen perspective on a popular film.

Desom has also done visual work for the likes of Nrp & Wnyc’s Radiolab in their video "Words."

Watch below for Jess Desom's version of "Rear Window":

Rear Window Timelapse from Jeff Desom on Vimeo.

What does L.B. Jefferies (Jimmy Stewart) see through his binoculars as he stares out of his apartment window? It.s a mystery that powers Alfred Hitchcock.s breathtaking Rear Window, a 1954 Oscar nominee that ranks among the all-time greats from the Master of Suspense. This is pretty great, as well. Vimeo user Jeff Desom splices together a time-lapsed vision of everything in Jefferies. eyesight. It was shared on Twitter by @jonathanwakeham, and we have it for you below: It.s like Rear Window for someone with attention-deficit disorder . a cubed layout of Hitchcock.s grand design that shows how Michel Gondry or Spike Jonze might tackle the recognizable back alley outside Jefferies apartment if they were tasked with adapting Cornell Woolrich.s short story. I do love when Grace Kelly.s character makes her move on Raymond Burr.s apartment, though without Stewart.s pained reaction shots., the suspense...

Alfred Hitchcock fan Jeff Desom has done something quite remarkable with the footage from Hitchcock's classic 1954 Rear Window, his thriller that has inspired hundreds films since then. As explained by Desom: "I dissected all of Hitchcock's Rear Window and stitched it back together in After Effects. I stabilized all the shots with camera movement in them. Since everything was filmed from pretty much the same angle I was able to match them into a single panoramic view of the entire backyard without any greater distortions. The order of events stays true to the movie's plot." You'll find this absolutely epic video below, with screen grabs of views from various points in the day at his website.

First of all, if you're one of those cinephiles who has some glaring blanks spots in your absorption of film history, Alfred Hitchcock's staple thriller Rear Window should not be one of them. If it that's not the case, get the film as soon as possible and then rejoin the group. Good? All right. Now that you're caught up, you can check out a preview of this masterful piece of work from Jeff Desom who has used Adobe Photoshop and After Effects to craft a 3D model of the apartment complexes in Rear Window and has the film play out in real time as if the viewer was peering into the apartments involved in this classic story. Watch below! Here's a preview of what Jeff Desom has done with Rear Window via SlashFilm: The video itself is actually a 20-minute video installation and presents the entire film within that...

Using After Effects and Photoshop, digital artist Jeff Desom created the following time lapse video presenting a unique and amazing look at the courtyard from Alfred Hitchcock's Rear Window. Here's how Desom describes the project on his site: I dissected all of Hitchcock's Rear Window and stiched it back together in After Effects. I stabilized all the shots with camera movement in them. Since everything was filmed from pretty much the same angle I was able to match them into a single panoramic view of the entire backyard without any greater distortions. The order of events stays true to the movie's plot. The video runs for three-minutes and is set to Johannes Brahms' "Hungarian Dance No. 5" which is to say it moves at a rather fast pace, but for anyone that has seen the film you will find yourself recognizing each moment and you'll begin stitching the story together as if you were L.

Alfred Hitchcock’s filmography boasts a bounty of treasures, but one of his most impressive works is undoubtedly Rear Window. If you’ve never seen it, I must implore you to move the film to the top of your Netflix queue right this moment. Besides the excellent story construction and acting, the thriller is a technical marvel. The majority of the film is seen through the Peeping Tom eyes of Jimmy Stewart, and Hitchcock constructed an enormous exterior building set in order to put the audience right in Stewart’s shoes. What results is a film experience unlike any other, much more akin to watching an extremely well choreographed play (Noises Off, anyone?) than a movie. A glorious piece of art has been put together using Hitchcock’s classic, as Installation artist Jeff Desom put his Adobe After Effects knowledge to good use in order to create a single-shot edit of the film.

Alfred Hitchcock has made some great movies and one could say his attention to detail is one that has been pretty immaculate. Thanks to Hitch’s persistence on shooting multiple scenes from the angle of Jimmy Stewart’s character who is confined to watch his neighbors from a wheelchair. Hopefully you have all seen the film because there are some spoilers in this video…sort of.

Rear Window is one of my favorite Hitchcock films and this video is a damn joy to watch. I would recommend, if possible, watching it on the largest widescreen monitor/HDTV you can to get the full effect. Jeff Desom, the man who created this, used After Effects and Photoshop (as well as coffee) to stitch this together. According to his website (http://www.jeffdesom.com/hitch/), he used this loop as a video installation at a bar/club. Now, I wanna know where the hell the bar is!

Alfred Hitchock seems to hold a particular appeal for artists. From Douglas Gordon's "24 Hour Psycho," which sees the director's masterpiece slowed down to a one-day timespan, to a current exhibition themed around the filmmaker at Gallery 1988 in Santa Monica, visual and video artists seem to love deconstructing and recreating the iconography of the great director's films.

One more attempt has arrived online (via @UltraCulture), and it's a phenomenal reworking of one of the director's very best films, "Rear Window." Installation artist Jeff Desom has used Adobe After Effects to extract all the footage from the Jimmy Stewart/Grace Kelly thriller, rearranged it into a single tableau, and then plays it out in timelapse. It's extremely clever, and a fascinating new angle on a true cinema classic. Watch below, and find out more at Desow's site.

Rear Window Timelapse from Jeff Desom on Vimeo.

Alfred Hitchcock’s Rear Window is easily one of my favourite films, with James Stewart and Grace Kelly never better than in Hitch’s textured tale of the mystery of the sudden disappearance of a neighbour.

Artist Jeff Desom has created a visual installation based on the film, taking each individual component of the impressive set and aligning them as it would be seen if we were standing at the window of Jefferies’ window.

This video shows how it was done and then runs the events of the films in order. For more information on how it was done click here.

Sadly what you don’t get to see from this vantage point is the best kiss in cinematic history.

Here’s the video, thanks to Gary Phillips for the heads up.

The art world has been messing about with cinema ever since the first movies were made, but we've rarely seen anything as impressive as this. Artist Jeff Desom has produced a 20-minute visual installation based on Alfred Hitchcock's classic 1954 movie Rear Window (starring James Stewart and Grace Kelly) and you can watch his stunning making-of video for the project below. Rear Window Timelapse from Jeff Desom on Vimeo. "I dissected all of Hitchcock's Rear Window and stitched it back together in After Effects," Desom explained. "I stabilised (more)...

The 2010 Los Angeles Film Festival is set to run June 17-27 in a brand new location. Oh, it’s still in L.A, but it’s moving across town, from Westwood — where it’s been held the past few years — all the way over to Downtown.

The main “hub” for the fest will be the new L.A. Live complex, but there will also be screenings at other locations, such as the Downtown Independent and Redcat theaters. The city is really trying to build downtown up into a major arts and culture hub, so the festival moving there fits in with that agenda. Film Independent, the organization that runs Laff, also runs the annual Independent Spirit Awards, an event that also moved downtown — from Santa Monica — this year.

On Bad Lit, I tend to like to put up festival lineups that include days and times of screenings. However, since I...