Movie City Indie Archive for July, 2013

Master-Classing Mr. Wheatley’s A FIELD IN ENGLAND (20’20”)

“It’s black-and-white and it’s a period film, so it’s things like Culloden and Peter Watkins movies and general sixties stuff… and then I was thinking about psychedelia and The Trip and those kinds of student movies that don’t get made any more, where people take loads of drugs and go insane.” Ben Wheatley on the melting pot of influences stirred into A Field In England: Read the full article »

Teasing Godard’s 3D “Adieu au langage” (3’09”) NSFW


Godard employs the rough visual/technical vocabulary of contemporary amateur video, and it’s still J-LG through and through.
Read the full article »

Teasing INSIDE LLEWYN DAVIS (2’00”)

Trailering Karlovy Vary IFF 48 With Helen Mirren (1’16”)

Movie City Indie

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch