Here's the latest Austin and Texas film news.
Austin filmmaker David Modigliani takes viewers on a journey into Louisiana's past in the documentary 61 Bullets, set to premiere at this year's New Orleans Film Festival (Oct. 16-23). The movie, which discusses the mysterious deaths of U.S. Senator Huey Long and surgeon Carl Weiss in 1935 inside the state's capitol and follows Weiss' family's attempt to clear their name in Long's murder, received a $10,000 Austin Film Society Grant in 2009.In distribution news, RADiUS has acquired the U.S. rights to the SXSW 2014 Grand Jury awardwinner The Great Invisible (Elizabeth's review), Deadline reports. The documentary, by former Austinite Margaret Brown (Elizabeth's interview), depicts the response to 2010's Deepwater Horizon explosion and resultant oil spill through the eyes of those affected. Music for the movie was composed by Austinite David Wingo.The SXSW 2013-screened Big Joy: The Adventures of James Broughton (Don's review) returns...
Austin filmmaker David Modigliani takes viewers on a journey into Louisiana's past in the documentary 61 Bullets, set to premiere at this year's New Orleans Film Festival (Oct. 16-23). The movie, which discusses the mysterious deaths of U.S. Senator Huey Long and surgeon Carl Weiss in 1935 inside the state's capitol and follows Weiss' family's attempt to clear their name in Long's murder, received a $10,000 Austin Film Society Grant in 2009.In distribution news, RADiUS has acquired the U.S. rights to the SXSW 2014 Grand Jury awardwinner The Great Invisible (Elizabeth's review), Deadline reports. The documentary, by former Austinite Margaret Brown (Elizabeth's interview), depicts the response to 2010's Deepwater Horizon explosion and resultant oil spill through the eyes of those affected. Music for the movie was composed by Austinite David Wingo.The SXSW 2013-screened Big Joy: The Adventures of James Broughton (Don's review) returns...
- 8/25/2014
- by Jordan Gass-Poore'
- Slackerwood
The Austin Film Society teams up with aGLIFF tonight to bring the new documentary To Be Takei (my review for Paste) to the Marchesa for a one-off screening. It's a touching and genuinely funny profile of George Takei, whose career has taken him from Star Trek to social media icon and gay rights activist. This month's Roger Corman series continues this weekend with X: The Man With The X-Ray Eyes. This 1963 thriller screens tonight and again on Sunday in a 35mm print. On Wednesday night, Afs presents SXSW doc Big Joy: The Adventures of James Broughton (Don's review) and then the Barbara Stanwyck Essential Cinema series will close Thursday with Ball Of Fire. Screening in 35mm, this classic 1941 Howard Hawks comedy, written by Billy Wilder and Charles Brackett, pairs Stanwyck with Gary Cooper.
Over at the Alamo Drafthouse Ritz, The Complete David Lynch series is winding down but has several more gems on the way.
- 8/22/2014
- by Matt Shiverdecker
- Slackerwood
James Broughton refused to live an inauthentic life. And in fact he had many lives. He was a poet, a filmmaker, an artist, a gay man, a straight man and an all-around visionary. "Big Joy: The Adventures of James Broughton," which world-premiered at SXSW in 2013, traces the life and times of this man of many parts. In the mid-20th century, Broughton found himself at the intersection of many Bay Area art and social movements, from the San Francisco Renaissance to the Beat Generation that rose after Allen Ginsberg first performed "Howl," that barbaric yawp of unchained imagination, in 1955. (Stream the film now on Netflix.) Broughton was born in Modesto in 1913, and then raised in San Francisco where he pursued a career in poetry until eventually he borrowed a 16mm camera during one of many bouts of depression. Thus began a career in making poetic, lyrical, avant-garde short films that...
- 6/30/2014
- by Ryan Lattanzio
- Thompson on Hollywood
'When in doubt, twirl." There was a time when that sage advice, given by the late queer genius James Broughton, was actually subversive, an exhortation to burrow deeper in one's queerness when faced with adversity. It's now the type of statement likely to be uttered by some reality TV show nitwit on a shopping spree.
Broughton, poet, filmmaker and Renaissance man, is the subject of the exhilarating documentary Big Joy: The Adventures of James Broughton, co-directed by Stephen Silha, Eric Slade, and Dawn Logsdon. His life was larger than fiction. It spanned a poor-little-rich-boy childhood, the making of groundbreaking experimental films influenced by Cocteau and Maya Deren, being part of a late-'40s San Francisco arts movement that planted the seeds for the Beats....
Broughton, poet, filmmaker and Renaissance man, is the subject of the exhilarating documentary Big Joy: The Adventures of James Broughton, co-directed by Stephen Silha, Eric Slade, and Dawn Logsdon. His life was larger than fiction. It spanned a poor-little-rich-boy childhood, the making of groundbreaking experimental films influenced by Cocteau and Maya Deren, being part of a late-'40s San Francisco arts movement that planted the seeds for the Beats....
- 6/18/2014
- Village Voice
American filmmaker and poet James Broughton recorded odes to life on Earth. On March 22 and 23, Anthology Film Archive presents programs of Broughton's film work that include reverent and ridiculous celebrations of physical love, like 1968's ebullient The Bed, as well as presentations of spirits meeting in physical form, such as 1977's Song of the Godbody, made with his soulmate, Joel Singer.
These repertory screenings celebrate the late Broughton's centennial, as does the weekend-long run of the new documentary Big Joy: The Adventures of James Broughton.
The film (co-directed by Stephen Silha, Eric Slade, and Dawn Logsdon) narrates Broughton's existence in chronological fashion, from his Modesto, California, birth through 85 largely California-bas...
These repertory screenings celebrate the late Broughton's centennial, as does the weekend-long run of the new documentary Big Joy: The Adventures of James Broughton.
The film (co-directed by Stephen Silha, Eric Slade, and Dawn Logsdon) narrates Broughton's existence in chronological fashion, from his Modesto, California, birth through 85 largely California-bas...
- 3/19/2014
- Village Voice
London Lgbt film festival reveals full programme; Sundance/Berlin winner 52 Tuesdays booked as closing film; VoD plans.Scroll down for programme highlights
The long-running London Lesbian and Gay Film Festival (Llgff) is to be renamed BFI Flare: London Lgbt Film Festival in a bid to “reflect the increasing diversity of the programme”.
The British Film Institute (BFI) will also launch a BFI Flare collection on its VoD platform, BFI Player, as well as a monthly screening programme at its BFI Southbank base in London.
The announcements were made last night (Feb 19) at the launch of the 28th edition of the festival, where the full programme was also unveiled. This year’s festival runs March 20-30.
Speaking to ScreenDaily about the name change, BFI deputy head of festivals Tricia Tuttle said: “The festival had outgrown the name. Following an audience consultation last year, 70% came back saying it was time for a change.
“Options considered...
The long-running London Lesbian and Gay Film Festival (Llgff) is to be renamed BFI Flare: London Lgbt Film Festival in a bid to “reflect the increasing diversity of the programme”.
The British Film Institute (BFI) will also launch a BFI Flare collection on its VoD platform, BFI Player, as well as a monthly screening programme at its BFI Southbank base in London.
The announcements were made last night (Feb 19) at the launch of the 28th edition of the festival, where the full programme was also unveiled. This year’s festival runs March 20-30.
Speaking to ScreenDaily about the name change, BFI deputy head of festivals Tricia Tuttle said: “The festival had outgrown the name. Following an audience consultation last year, 70% came back saying it was time for a change.
“Options considered...
- 2/20/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Short Term 12 and Big Easy Express took home top prizes at the 4th American Film Festival in Wroclaw.
The American Film Festival (Aff) in Wrocław, Poland has awarded the audience award for Best Narrative Feature ($10,000) to Destin Daniel Cretton’s Short Term 12.
The audience award for the Best Documentary Feature ($5,000) went to Emmett Malloy for Big Easy Express.
The festival, focused entirely on independent American cinema, closed with the Polish premiere of Steven Soderbergh’s Behind the Candelabra on Oct 27.
A total of 80 films were screened at the Nowe Horyzonty cinema in Wrocław, of which 52 films received their Polish premiere such as Jim Jarmusch’s Only Lovers Left Alive, As I Lay Dying by James Franco and Don Jon by Joseph Gordon-Levitt. There were three European premieres and one world premiere, Blue Highway by Kyle Smith.
The number of admissions exceeded 17,000 for the second consecutive year.
The Aff also featured a retrospective of Shirley Clarke, a mini-retrospective...
The American Film Festival (Aff) in Wrocław, Poland has awarded the audience award for Best Narrative Feature ($10,000) to Destin Daniel Cretton’s Short Term 12.
The audience award for the Best Documentary Feature ($5,000) went to Emmett Malloy for Big Easy Express.
The festival, focused entirely on independent American cinema, closed with the Polish premiere of Steven Soderbergh’s Behind the Candelabra on Oct 27.
A total of 80 films were screened at the Nowe Horyzonty cinema in Wrocław, of which 52 films received their Polish premiere such as Jim Jarmusch’s Only Lovers Left Alive, As I Lay Dying by James Franco and Don Jon by Joseph Gordon-Levitt. There were three European premieres and one world premiere, Blue Highway by Kyle Smith.
The number of admissions exceeded 17,000 for the second consecutive year.
The Aff also featured a retrospective of Shirley Clarke, a mini-retrospective...
- 10/31/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Opening with Jim Jarmusch’s Only Lovers Left Alive the latest edition of the American Film Festival in Wroclaw, Poland (22-27 October 2013) has screened some of the most important American independent films of the year. Being the only festival of its class in Eastern and Central Europe the festival has become the most important venue to connect American filmmakers with European buyers and audiences through programs like U.S. in Progress Wrocław (23-25 October 2013).
This year's program taking place at the New Horizons cinema presented 80 movies out of which 42 are Polish premieres, 3 are European premieres and 1 is a World Premiere. Among them 10 documentaries and 17 feature films competed for cash prizes in the audience-vote competitions.
The first competitive section - Spectrum ($10,000 audience award for the Best Narrative Feature) included films that have been well-received here in the U.S such as A Teacher by Hannah Fidell, Blue Caprice by Alexandre Moors, Afternoon Delight by Jill Soloway, Short Term 12 by Destin Cretton, The Spectacular Now by James Ponsoldt, and Bluebird by Lance Edmands. The second competition - American Docs ($5,000 audience award for Best Documentary Feature) had a selection of films depicting varied current issues in American society including Gore Vidal: The United States of Amnesia by Nicholas Wrathall, The Armstrong Lie by Alex Gibney, Our Nixon by Penny Lane, Northern Light by Nick Bentgen, Big Joy: The Adventures of James Broughton by Eric Slade and Stephen Silha and Before You Know It by Pj Raval.
The American Film Festival also ran a retrospective of Shirley Clarke and presented Polish premieres of high-profile films such as As I Lay Dying by James Franco, Quentin Dupieux’s Wrong Cops, Jeffrey Friedman and Rob Epstein’s Lovelace, Much Ado About Nothing by Joss Whedon, Touchy Feely by Lynn Shelton, At Any Price by Ramin Bahrani, and Maladies by Carter. The festival also screened Joseph Gordon-Levitt's Sundance hit Don Jon along several U.S. in Progress participants and festival hits like I Used to be Darker by Matt Porterfier and Hide Your Smiling Faces by Daniel Patrick Carbone. Lastly, a special section titled 'Masterpieces of American Cinema 90 Years of Warner Bros." showed 14 digitally-remastered productions by the studio from The Jazz Singer by Alan Crosland (1927) through A Clockwork Orange ,The Exorcist and Christopher Nolan’s Inception
The festival will close on October 27th with Steven Soderbergh's Emmy Award-winning film Behind the Candelabra.
All competitions titles:
Spectrum
American Milkshake by David Andalman, Mariko Munro, USA 2012, 82'
Blue Highway by Kyle Smith, USA 2013, 70'
Coldwater by Vincent Grashaw, USA 2013, 104'
The Spectacular Now by James Ponsoldt, USA 2013, 95'
Drinking Buddies by Joe Swanberg, USA 2013, 90'
Lily by Matt Creed, USA 2013, 85'
A Teacher by Hannah Fidell, USA 2013, 75'
Blue Caprice by Alexandre Moors, USA 2013, 93'
Pearblossom Hwy by Mike Ott, USA 2012, 78'
Afternoon Delight by Jill Soloway, USA 2013, 105'
Stand Clear of the Closing Doors by Sam Fleischner, USA 2013, 102'
Short Term 12 by Destin Cretton, USA 2013, 96'
The Cold Lands by Tom Gilroy, USA 2013, 100'
In a World... by Lake Bell, USA 2013, 93'
A Song Still Inside by Gregory Collins, USA 2013, 82'
Bluebird by Lance Edmands, USA 2013, 90'
American Docs
Big Easy Express by Emmett Malloy, USA 2012
Off Label by Michael Palmieri, Donal Mosher, USA 2012
Gore Vidal: The United States of Amnesia by Nicholas Wrathall, USA, Italy 2013
Fall and Winter by Matt Anderson, USA 2013
The Armstrong Lie by Alex Gibney, USA 2013
Lenny Cooke by Ben Safdie, Joshua Safdie, USA 2012
Our Nixon by Penny Lane, USA 2013
Northern Light by Nick Bentgen, USA 2013
Big Joy: The Adventures of James Broughton by Eric Slade, Stephen Silha, USA 2013
Before You Know It by Pj Raval, USA 2012
U.S. Progress Projects
This year 6 projects in the final production stages were chosen to take part in the two-day workshop knows as U.S. in Progress Wroclaw (23-25 October, 2013). The event presents the American independent projects to European buyers, post-production houses and festivals in order to help them achieve completion and to foster the circulation and distribution of these films in Europe.
Selected from over 40 submission the chosen projects are the dramas Lake Los Angeles by Mike Ott (produced by Athina Rachel Tsangari), Happy Baby by Stephen Elliott (produced by Jessica Caldwell ) and Some Beasts by Cameron Nelson (produced by Ashley Maynor and Courtney Ware), crime story Wild Canaries by Lawrence Michael Levine (produced by Sophia Takal, Kim Sherman and McCabe Walsh), frontier black comedy Sun Belt Express by Evan Wolf Buxbaum (producers: Noah Lang and Iyabo Boyd) and Summer of Blood – a New York vampire comedy by director-producer Onur Tukel.
The prizes are awarded by a jury of professionals and include post-production services from European partner companies worth almost $60.000 and promotional services from other partners. Us in Progress’ partners are: Platige Image (Warsaw), Di Factory (Warsaw), Alvernia Studios (Krakow), composer Maciej Zielinski of Soundflower Studio (Warsaw), Soundplace (Warsaw), DCinex (Belgium), Vsi (Paris), Europa Distribution, Cicae and Cannes Marche du Film’s Producers Network.
U.S. in Progress Wrocław (formerly Gotham in Progress) was started in 2011 by the New Horizons Association and Black Rabbit Film. Previous films presented at the event included, among others: I Used To Be Darker by Matt Porterfield, American Milkshake by David Andalman (both shown at Sundance Ff in 2013), Hide Your Smiling Faces by Daniel Carbone (Berlinale Generation, Tribeca), Bluebird by Lance Edmands (Tribeca, Karlovy Vary), Jason Cortlund & Julia Halperin’s Now, Forager: a Film About Love and Fungi (Rotterdam, New Directors/New Films, Gotham Awards nominee), Amy Seimetz’s Sun Don’t Shine (SXSW, Edinburgh Iff, Gotham Awards nominee) and Devyn Waitt’s Not Waving But Drowning (Sarasota Ff).
U.S. in Progress Wrocław is supported by the City of Wrocław, American Embassy in Warsaw and Polish Ministry of Culture and National Heritage.
For more information on the American Film Festival and the U.S. in Progress projects visit Here...
This year's program taking place at the New Horizons cinema presented 80 movies out of which 42 are Polish premieres, 3 are European premieres and 1 is a World Premiere. Among them 10 documentaries and 17 feature films competed for cash prizes in the audience-vote competitions.
The first competitive section - Spectrum ($10,000 audience award for the Best Narrative Feature) included films that have been well-received here in the U.S such as A Teacher by Hannah Fidell, Blue Caprice by Alexandre Moors, Afternoon Delight by Jill Soloway, Short Term 12 by Destin Cretton, The Spectacular Now by James Ponsoldt, and Bluebird by Lance Edmands. The second competition - American Docs ($5,000 audience award for Best Documentary Feature) had a selection of films depicting varied current issues in American society including Gore Vidal: The United States of Amnesia by Nicholas Wrathall, The Armstrong Lie by Alex Gibney, Our Nixon by Penny Lane, Northern Light by Nick Bentgen, Big Joy: The Adventures of James Broughton by Eric Slade and Stephen Silha and Before You Know It by Pj Raval.
The American Film Festival also ran a retrospective of Shirley Clarke and presented Polish premieres of high-profile films such as As I Lay Dying by James Franco, Quentin Dupieux’s Wrong Cops, Jeffrey Friedman and Rob Epstein’s Lovelace, Much Ado About Nothing by Joss Whedon, Touchy Feely by Lynn Shelton, At Any Price by Ramin Bahrani, and Maladies by Carter. The festival also screened Joseph Gordon-Levitt's Sundance hit Don Jon along several U.S. in Progress participants and festival hits like I Used to be Darker by Matt Porterfier and Hide Your Smiling Faces by Daniel Patrick Carbone. Lastly, a special section titled 'Masterpieces of American Cinema 90 Years of Warner Bros." showed 14 digitally-remastered productions by the studio from The Jazz Singer by Alan Crosland (1927) through A Clockwork Orange ,The Exorcist and Christopher Nolan’s Inception
The festival will close on October 27th with Steven Soderbergh's Emmy Award-winning film Behind the Candelabra.
All competitions titles:
Spectrum
American Milkshake by David Andalman, Mariko Munro, USA 2012, 82'
Blue Highway by Kyle Smith, USA 2013, 70'
Coldwater by Vincent Grashaw, USA 2013, 104'
The Spectacular Now by James Ponsoldt, USA 2013, 95'
Drinking Buddies by Joe Swanberg, USA 2013, 90'
Lily by Matt Creed, USA 2013, 85'
A Teacher by Hannah Fidell, USA 2013, 75'
Blue Caprice by Alexandre Moors, USA 2013, 93'
Pearblossom Hwy by Mike Ott, USA 2012, 78'
Afternoon Delight by Jill Soloway, USA 2013, 105'
Stand Clear of the Closing Doors by Sam Fleischner, USA 2013, 102'
Short Term 12 by Destin Cretton, USA 2013, 96'
The Cold Lands by Tom Gilroy, USA 2013, 100'
In a World... by Lake Bell, USA 2013, 93'
A Song Still Inside by Gregory Collins, USA 2013, 82'
Bluebird by Lance Edmands, USA 2013, 90'
American Docs
Big Easy Express by Emmett Malloy, USA 2012
Off Label by Michael Palmieri, Donal Mosher, USA 2012
Gore Vidal: The United States of Amnesia by Nicholas Wrathall, USA, Italy 2013
Fall and Winter by Matt Anderson, USA 2013
The Armstrong Lie by Alex Gibney, USA 2013
Lenny Cooke by Ben Safdie, Joshua Safdie, USA 2012
Our Nixon by Penny Lane, USA 2013
Northern Light by Nick Bentgen, USA 2013
Big Joy: The Adventures of James Broughton by Eric Slade, Stephen Silha, USA 2013
Before You Know It by Pj Raval, USA 2012
U.S. Progress Projects
This year 6 projects in the final production stages were chosen to take part in the two-day workshop knows as U.S. in Progress Wroclaw (23-25 October, 2013). The event presents the American independent projects to European buyers, post-production houses and festivals in order to help them achieve completion and to foster the circulation and distribution of these films in Europe.
Selected from over 40 submission the chosen projects are the dramas Lake Los Angeles by Mike Ott (produced by Athina Rachel Tsangari), Happy Baby by Stephen Elliott (produced by Jessica Caldwell ) and Some Beasts by Cameron Nelson (produced by Ashley Maynor and Courtney Ware), crime story Wild Canaries by Lawrence Michael Levine (produced by Sophia Takal, Kim Sherman and McCabe Walsh), frontier black comedy Sun Belt Express by Evan Wolf Buxbaum (producers: Noah Lang and Iyabo Boyd) and Summer of Blood – a New York vampire comedy by director-producer Onur Tukel.
The prizes are awarded by a jury of professionals and include post-production services from European partner companies worth almost $60.000 and promotional services from other partners. Us in Progress’ partners are: Platige Image (Warsaw), Di Factory (Warsaw), Alvernia Studios (Krakow), composer Maciej Zielinski of Soundflower Studio (Warsaw), Soundplace (Warsaw), DCinex (Belgium), Vsi (Paris), Europa Distribution, Cicae and Cannes Marche du Film’s Producers Network.
U.S. in Progress Wrocław (formerly Gotham in Progress) was started in 2011 by the New Horizons Association and Black Rabbit Film. Previous films presented at the event included, among others: I Used To Be Darker by Matt Porterfield, American Milkshake by David Andalman (both shown at Sundance Ff in 2013), Hide Your Smiling Faces by Daniel Carbone (Berlinale Generation, Tribeca), Bluebird by Lance Edmands (Tribeca, Karlovy Vary), Jason Cortlund & Julia Halperin’s Now, Forager: a Film About Love and Fungi (Rotterdam, New Directors/New Films, Gotham Awards nominee), Amy Seimetz’s Sun Don’t Shine (SXSW, Edinburgh Iff, Gotham Awards nominee) and Devyn Waitt’s Not Waving But Drowning (Sarasota Ff).
U.S. in Progress Wrocław is supported by the City of Wrocław, American Embassy in Warsaw and Polish Ministry of Culture and National Heritage.
For more information on the American Film Festival and the U.S. in Progress projects visit Here...
- 10/26/2013
- by Carlos Aguilar
- Sydney's Buzz
A fast two days in Mexico City before the 11th Festival Internacional de Cine de Morelia was not intended to include any movie-going, but by happenstance my Mexico City hosts and executive producer Max St. Romain invite me to a delightful private screening of "Big Joy: The Adventures of James Broughton," about the poet and seminal independent filmmaker. It's in an interesting little avant-garde black box screening room with steep serried ranks of hard wooden benches, happily softened by cushions. The screening room is right next to a new restaurant, Yuban, that features Oaxacan cooking, and a prix-fixe meal has been arranged for the attendees that includes a number of delicious starters and a choice of grilled turkey covered in red mole or stewed beef in a broth enriched in yellow mole, my fortunate choice. I happen to sit next to a food writer who lived in Morelia for a half-dozen years,...
- 10/22/2013
- by Meredith Brody
- Thompson on Hollywood
Glenn here. After decades of trying to attain the same critical and cultural awareness as feature films, it appears documentaries are now suffering from a case of too much of a good thing. We’re in a day and age where documentaries are so common that it’s impossible for the Academy’s documentary branch to keep up. Apparently 151 docos have been submitted - an average of three a week! - for this year’s Oscars and just like Diane Keaton, something’s gotta give.
Last year the Academy set up a secret online forum of sorts for documentary branchmembers so they could post recommendations of titles to help whittle down the number of contenders. “Nobody’s recommended that anthopological documentary about North Atlantic fishermen? Fine, I’ll just watch Blackfish.” I like the idea in concept, but Leviathan was highly acclaimed so what then? Admittedly, it would be nice...
Last year the Academy set up a secret online forum of sorts for documentary branchmembers so they could post recommendations of titles to help whittle down the number of contenders. “Nobody’s recommended that anthopological documentary about North Atlantic fishermen? Fine, I’ll just watch Blackfish.” I like the idea in concept, but Leviathan was highly acclaimed so what then? Admittedly, it would be nice...
- 10/10/2013
- by Glenn Dunks
- FilmExperience
American Film Festival in Wroclaw to close with Steven Soderbergh’s Behind the Candelabra; competition and programme highlights announced.Scroll down for competition titles
The fourth American Film Festival (Aff) in Wrocław, Poland is to feature 80 films comprising 42 Polish premieres; three European premieres and one world premiere.
The event, which is focused on independent Us cinema, will run from Oct 22-27.
It will open with Jim Jarmusch’s Only Lovers Left Alive and close with Steven Soderbergh’s Behind the Candelabra, both of which played in competition at Cannes.
Liberace biopic Behind the Candelabra recently picked up 11 Emmy awards, including best television movie, best leading actor for Michael Douglas and best director.
Dutch experimental lutenist Jozef van Wissem will conduct a live performance of the soundtrack for Only Lovers Left Alive, which won the Cannes Soundtrack Award, on Oct 23 - the day after its opening night screening.
Competitions
A total of 10 documentaries and 16 narrative feature films will compete...
The fourth American Film Festival (Aff) in Wrocław, Poland is to feature 80 films comprising 42 Polish premieres; three European premieres and one world premiere.
The event, which is focused on independent Us cinema, will run from Oct 22-27.
It will open with Jim Jarmusch’s Only Lovers Left Alive and close with Steven Soderbergh’s Behind the Candelabra, both of which played in competition at Cannes.
Liberace biopic Behind the Candelabra recently picked up 11 Emmy awards, including best television movie, best leading actor for Michael Douglas and best director.
Dutch experimental lutenist Jozef van Wissem will conduct a live performance of the soundtrack for Only Lovers Left Alive, which won the Cannes Soundtrack Award, on Oct 23 - the day after its opening night screening.
Competitions
A total of 10 documentaries and 16 narrative feature films will compete...
- 10/8/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The 7th annual Sydney Underground Film Festival, which runs this year on September 5-8 at the Factory Theatre, opens with a real bang when they will screen cult filmmaker Alejandro Jodorowsky’s latest cinematic odyssey, The Dance of Reality. This is Jodorowsky’s first film in over twenty years and is an imaginative and playful quasi-autobiography.
The rest of the four-day celebration is packed with more film oddities and excursions into surreal and transgressive territory. One particular highlight that is not to be missed is Don Swaynos’ incredibly crowd-pleasing comedy Pictures of Superheroes, about a slacker cleaning woman’s descent into an absurd world she can’t escape. Read the Underground Film Journal’s review of Pictures of Superheroes here.
Other twisted fiction films screening include Drew Tobias’s sick and twisted See You Next Tuesday, Cody Calahan’s apocalyptic Antisocial and Lloyd Kaufman’s highly-anticipated sequel Return to Nuke ‘Em High: Vol.
The rest of the four-day celebration is packed with more film oddities and excursions into surreal and transgressive territory. One particular highlight that is not to be missed is Don Swaynos’ incredibly crowd-pleasing comedy Pictures of Superheroes, about a slacker cleaning woman’s descent into an absurd world she can’t escape. Read the Underground Film Journal’s review of Pictures of Superheroes here.
Other twisted fiction films screening include Drew Tobias’s sick and twisted See You Next Tuesday, Cody Calahan’s apocalyptic Antisocial and Lloyd Kaufman’s highly-anticipated sequel Return to Nuke ‘Em High: Vol.
- 8/15/2013
- by Mike Everleth
- Underground Film Journal
James Broughton refused to live an inauthentic life. And in fact he had many lives. He was a poet, a filmmaker, an artist, a gay man, a straight man and an all-around visionary.Already well-received at Tribeca, SXSW and Frameline, "Big Joy: The Adventures of James Broughton" traces the life and times of this man of many parts. In the mid-20th century, Broughton found himself at the intersection of many Bay Area art and social movements, from the San Francisco Renaissance to the Beat Generation that rose after Allen Ginsberg first performed "Howl," that barbaric yawp of unchained imagination, in 1955.Born and raised in Modesto, CA in 1913, Broughton moved to San Francisco to pursue a career in poetry until eventually he picked up a 16mm camera at a thrift store during one of many bouts of depression. Thus began a career in making poetic, lyrical, avant-garde short films that...
- 7/15/2013
- by Ryan Lattanzio
- Thompson on Hollywood
James Broughton turns 100 years old in November. Although the poet, filmmaker and writer passed away in 1999, it almost feels inaccurate to talk of him in the past tense. One of the biggest themes that runs through "Big Joy: The Adventures of James Broughton," the new documentary by Stephen Silha and Eric Slade is that there was (and is) a timeless element to his work. Whether it's his deceptively simple poetry or the emotional exuberance of some of his experimental short films, Broughton's work seems as much of the present as it does of the past. "In a way, his work is more relevant to the 21st century than it was to the 20th," Silha told Indiewire. "Big Joy" chronicles Broughton's personal journey as a member of the San Francisco Renaissance artistic movement and his individual achievements in the poetry and filmmaking fields. It also doesn't hesitate to show the various...
- 7/14/2013
- by Steve Greene
- Indiewire
New York -- James Broughton's mantra was "follow your own weird." Years before Jack Kerouac, Allen Ginsberg, or William S. Burroughs were starting the Beat Movement, artists like Broughton were already pushing the boundaries of art and literature during the postwar San Francisco Renaissance. In Big Joy: The Adventures of James Broughton, co-directors Stephen Silha, Eric Slade, and Dawn Logsdon take a celebratory approach towards the exploration of Broughton's life and work, which include such influential films as The Pleasure Garden (1953) and The Bed (1968). Through rare, archival footage and interviews with Broughton's friends and family members, including his last partner Joel Singer, his ex-wife Suzanna
read more...
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- 4/28/2013
- by Joshua Stecker
- The Hollywood Reporter - Movie News
Iconic artist, filmmaker, and poet, James Broughton
It is more than appropriate that the Big Joy: The Adventures of James Broughton made its world premiere at the SXSW Film Festival considering the documentary's subject, James Broughton can very well be considered a Godfather of independent film. More than that, he can be considered a pioneer of bizarre and expressive art that indirectly effects today's artists.
James Broughton is one of those names that, if you know it, marks you as a connoisseur of the obscure and cool. Broughton was a gay poet, filmmaker, and a shining example of West Coast weird. He embodied the life of the California bohemian and was a influential figure during the San Francisco Renaissance. In addition to that he influenced the Beat generation, and was considered a groundbreaking voice in the sexual revolution during the '60s and '70s.
Co-directed by journalist Stephen Siha and documentarian Eric Slade,...
It is more than appropriate that the Big Joy: The Adventures of James Broughton made its world premiere at the SXSW Film Festival considering the documentary's subject, James Broughton can very well be considered a Godfather of independent film. More than that, he can be considered a pioneer of bizarre and expressive art that indirectly effects today's artists.
James Broughton is one of those names that, if you know it, marks you as a connoisseur of the obscure and cool. Broughton was a gay poet, filmmaker, and a shining example of West Coast weird. He embodied the life of the California bohemian and was a influential figure during the San Francisco Renaissance. In addition to that he influenced the Beat generation, and was considered a groundbreaking voice in the sexual revolution during the '60s and '70s.
Co-directed by journalist Stephen Siha and documentarian Eric Slade,...
- 3/27/2013
- by Dino-Ray
- The Backlot
This morning, the Independent Filmmaker Project (Ifp) announced the 10 films selected to participate in its 2012 Ifp Documentary Lab, which takes place all this week in New York City. The slate for this eighth edition of the doc labs is very geographically diverse, with participants hailing from Washington, Kentucky and Berlin in addition to the usual indie strongholds of Los Angeles and New York City.
Each year, 20 indie films with budgets under $1 million — 10 documentary and 10 narrative — are selected for participation in the Ifp post-production labs, which gives filmmakers strategic help and guidance regarding the completion, marketing and distribution of their projects.
Commenting on the importance of the labs program, Ifp’s Executive Director Joana Vicente said, “The Labs are unique in our focus on guiding filmmakers to concretely and constructively plan for their films’ lives beyond post-production, and are tailored to maximizing their opportunities given the particular assets of each film.
Each year, 20 indie films with budgets under $1 million — 10 documentary and 10 narrative — are selected for participation in the Ifp post-production labs, which gives filmmakers strategic help and guidance regarding the completion, marketing and distribution of their projects.
Commenting on the importance of the labs program, Ifp’s Executive Director Joana Vicente said, “The Labs are unique in our focus on guiding filmmakers to concretely and constructively plan for their films’ lives beyond post-production, and are tailored to maximizing their opportunities given the particular assets of each film.
- 5/14/2012
- by Nick Dawson
- Filmmaker Magazine - Blog
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