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Jane Schoenbrun’s defining cinematic preoccupation was clear from their first feature, We’re All Going to the World’s Fair. Young people in the digital age share a symbiotic relationship with the culture that exposes them to a world beyond their lived experiences, and the moving images these impressionable young minds consume end up consuming them.

Schoenbrun moves forward by looking back at the ’90s in their sophomore effort, I Saw the TV Glow, a mesmeric but frequently muddled exploration of transgender self-actualization through identification with a beguiling television program. The disconnect between story and style feels pronounced here, whereas in the writer-director’s first feature these modes of meaning-making felt mutually reinforcing. The film’s thematic content represents a watershed moment for trans cinema, yet it finds expression on screen most often through watered-down genre hallmarks.

I Saw the TV Glow finds Schoenbrun pushing this line of inquiry again with...

Suburban teen loner Owen (Justice Smith) is introduced to a late-night TV show shrouded in mystery by a fellow classmate (Brigette Lundy-Paine) in I Saw the TV Glow, the latest genre offering from writer-director Jane Schoenbrun. Dubbed an “emo horror” flick by Sundance programmers, Schoenbrun’s sophomore feature is having its world premiere in Park City this year, where the filmmaker’s buzzy feature debut, We’re All Going to the World’s Fair, similarly premiered in 2021. Editor Sofi Marshall discusses how she became involved in Schoenbrun’s latest project, how the “independent” section of her local Blockbuster catalyzed her filmic career path and […]

The post “We Realized During the Edit That There Were Several Options for the Ending”: Editor Sofi Marshall on I Saw the TV Glow first appeared on Filmmaker Magazine.

Suburban teen loner Owen (Justice Smith) is introduced to a late-night TV show shrouded in mystery by a fellow classmate (Brigette Lundy-Paine) in I Saw the TV Glow, the latest genre offering from writer-director Jane Schoenbrun. Dubbed an “emo horror” flick by Sundance programmers, Schoenbrun’s sophomore feature is having its world premiere in Park City this year, where the filmmaker’s buzzy feature debut, We’re All Going to the World’s Fair, similarly premiered in 2021. Editor Sofi Marshall discusses how she became involved in Schoenbrun’s latest project, how the “independent” section of her local Blockbuster catalyzed her filmic career path and […]

The post “We Realized During the Edit That There Were Several Options for the Ending”: Editor Sofi Marshall on I Saw the TV Glow first appeared on Filmmaker Magazine.

Sideshow Brings Frankenstein'S Monster To Life: "First brought to life by the words of Mary Shelley, the creation known as Frankenstein’s Monster has taken on many forms throughout popular culture. Inspired by the iconic literary character and his visual legacy across the centuries, the Frankenstein’s Monster Statue by Sideshow honors the creature’s horror roots and tragic nature with a new, original design.

This stunningly detailed, fully sculpted piece shows the hulking figure cloaked in the pelt of a black bear and clad in patchwork pants. Two large electrodes emerge from his back and silver staples hold his reanimated flesh together. He is painted with a cadaverous mixture of yellows and reds, emphasizing how Frankenstein’s creation straddles the line between life and death.

Lurching through a melancholy cemetery scene, Frankenstein’s Monster crosses a snow-dusted grave where a lantern, shovel, and broken skull rest. The headstone...

SeriesFest has wrapped its fifth edition in Denver after handing out juried awards to 15 winners.

Beyond the pilot competition, highlights of the June 21-26 festival, inlcuded panels featuring Netflix content chief Ted Sarandos and a team of executives and collaborators from Shondaland. NBC fall drama Bluff City Law had its world premiere, and Starz rolled out the first episode of The Rook. Stevie Wonder and Usher performed at Red Rocks Amphitheatre outside Denver, continuing the mostly TV-focused festival’s annual music undercurrent.

Currency, a drama imagining a “green-out” that threatens the capitalist system, captured Best Drama Pilot honors as well as the Audience Award. Best Comedy Pilot went to Brooklyn Moving Company, which depicts movers who burst into song and dance.

Jurors screened 53 pilots at the Sie FilmCenter, the arthouse multiplex that is the year-round home of Denver Film. (See the full list of winners below.)

“This year’s pilots...

The teasing is over! This here is the real deal. The moment we wait all year for: The lineup for the powerful, the mighty Boston Underground Film Festival, which is set to run March 25 to April 1. Now in its 12th year, Buff shows no sign of slowing down or taking it easy. In fact, this might be their most demented and transgressive edition yet.

There are homages to Giallo horror, tributes to the grand grindhouse tradition of sleaze and exploitation, sex and violence galore — both separately and together — plus, a resurrected ’80s slasher classic that all combine into an epic celebration of everything that is vicious and twisted in this world. But, in a fun way, ya know.

Alas, I haven’t seen any of the feature films that are playing this year, so I can’t offer any special recommendations of those. Although, there are many (most) that I...