MCN Originals

The Gurus O’ Gold Weigh The Acting Categories And Best Picture

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Hello, Glenn Close!

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The DVD Wrapup: Not A Witch, Jonathan, The Captain, Speed Kills, Room 304, Hippocrates, The Dark, Crimson Peak, Tea With Dames, Forbidden Photos, Addiction … More

I was reminded of Nǃxau while watching I Am Not a Witch, an offbeat dramedy by Rungano Nyoni. It depicts the ways women convicted of being witches in rural Zambia cope with ignorance, prejudice and forced labor.

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The Gurus o’ Gold Highlight Best Picture, Best Foreign Language, Best Documentary

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Checking in a week before Oscar nomination voting ends: predictions for documentary feature, foreign language film, and of course, best picture, with a good range of wiggling in the rankings after major guilds have announced their nominees.

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The DVD Wrapup: Mid90s, Oath, Obamaland, Bad Reputation, Hell Fest, Time Freak, Kusama, Oddsockeaters, Bent, Harry/Sally, Nemesis, Frontline, Cats … More

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Gurus Predict Globes Picks And Best Picture

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The DVD Wrapup: 2018’s Most Memorable Titles, Hobbyhorses, Martyr, CMA Live, Tailspin Tommy, Gilda, Miracle Worker … More

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The Gurus o’ Gold On Key Categories

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“We look for those films that have that Sundance ilk. A lot of times we’re looking for discoveries, and a good way to do this has been a lot of outreach. We’ve been doing that for years and we’re seeing the repercussions of that in this program. Especially when we go to places like Sundance Hong Kong and even London, you talk to more people outside the United States and you get that feeling they’re paying attention that Sundance is interested in the world.”
John Cooper

NEXT: The Gurus O’ Gold Weigh The Acting Categories And Best Picture

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“I’m not leaving to make films at another studio; instead, I look forward to spending much-needed time with my family and pursuing interests that have long been back-burnered.”
Unkrich Ankles Pixar After 25 Years

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“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno