<?xml version='1.0' encoding='UTF-8'?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/'><id>tag:blogger.com,1999:blog-8216888371312428626</id><updated>2008-05-05T23:45:48.982-04:00</updated><title type='text'>Load &amp; Play</title><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/index.php'/><link rel='next' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default?start-index=26&amp;max-results=25'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default'/><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml'/><author><name>Webmaster</name></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>54</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-7403009798881091977</id><published>2008-05-05T21:44:00.009-04:00</published><updated>2008-05-05T23:45:49.008-04:00</updated><title type='text'>BELLA</title><summary type='text'>

Winner of the People's Choice Award at the Toronto Film Festival in 2006 followed by an impressive festival circuit run, Mexican director Alejandro Gomez Monteverde's moving debut feature follows the events that occur during one day in New York City to a former soccer star turned Mexican restaurant cook (Eduardo Verástegui) and a fired waitress (Tammy Blanchard), who recently learned she's </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/05/bella.php' title='BELLA'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=7403009798881091977' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7403009798881091977'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7403009798881091977'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-6566812200468781508</id><published>2008-03-23T23:18:00.018-04:00</published><updated>2008-03-24T17:20:21.009-04:00</updated><title type='text'>WHO IS HENRY JAGLOM?</title><summary type='text'>

A feminist voice, maverick filmmaker, or just an egomaniac? Filmmaker Henry Jaglom has been called many things and all of them are explored in Henry-Alex Rubin and Jeremy Workman's brief (only 58 minutes) but entertaining documentary. 

Armed with his trademark hat, loose tongue and nonstop-running camera, Jaglom explores the inner psyche of his actors and the audience by filming the "reality" </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/03/who-is-henry-jaglom.php' title='WHO IS HENRY JAGLOM?'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=6566812200468781508' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/6566812200468781508'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/6566812200468781508'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-3488717563781000609</id><published>2008-03-15T17:00:00.016-04:00</published><updated>2008-03-17T16:00:28.184-04:00</updated><title type='text'>TRIGGER MAN</title><summary type='text'>

Inspired by true events, director Ti West (The Roost) throws out the typical elements and traps of the horror genre to create what he calls an "experimental horror." Shot with one HD camera, West uses sparse dialogue, long takes and a haunting score to tell the story of three friends who travel from New York City to the woods of Delaware to hunt deer. Similar to films like Deliverance, The </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/03/trigger-man.php' title='TRIGGER MAN'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=3488717563781000609' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3488717563781000609'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3488717563781000609'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-2621960790460715052</id><published>2008-03-10T16:20:00.004-04:00</published><updated>2008-03-13T15:01:06.718-04:00</updated><title type='text'>NO COUNTRY FOR OLD MEN</title><summary type='text'>


Few films have had an effect of making people think differently about the world, or at least confirming their worst instincts about it. No Country For Old Men is one of those films. Set against the arid backdrop and sparsely populated tableau of West Texas, Joel and Ethan Coen paint a bleak depiction of human nature in which there is no country for good men, who are helpless to stop the evil </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/03/no-country-for-old-men.php' title='NO COUNTRY FOR OLD MEN'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=2621960790460715052' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/2621960790460715052'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/2621960790460715052'/><author><name>Rupert Chiarella</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-7390318392327641878</id><published>2008-02-21T00:29:00.003-05:00</published><updated>2008-02-21T01:21:48.861-05:00</updated><title type='text'>PAYDAY</title><summary type='text'>
Every once in a while you remember an old film and wonder if you actually saw it or just had this amazing dream of an incredible movie. And every once in a while an old film is mercifully released on DVD for a new generation to discover.

Today's dream DVD release is Payday (1973), starring the overboard Rip Torn as an overboard country singer on a three-day binge of life on the road. Torn is </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/02/payday.php' title='PAYDAY'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=7390318392327641878' title='1 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7390318392327641878'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7390318392327641878'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-4816457226601514570</id><published>2008-02-18T09:53:00.027-05:00</published><updated>2008-02-18T23:53:37.446-05:00</updated><title type='text'>FOR THE BIBLE TELLS ME SO</title><summary type='text'>

With more eye-catching docs coming out of Sundance in 2007 (Manda Bala (Send A Bullet), Crazy Love, My Kid Could Paint That, No End In Sight, War Dance, Zoo, ect.), Daniel Karslake's For The Bible Tells Me So was lost in the flurry, but this interesting look at how decades of religious anti-gay bias is based almost solely upon the misinterpretation of the Bible, the film should certainly be in </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/02/for-bible-tells-me-so.php' title='FOR THE BIBLE TELLS ME SO'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=4816457226601514570' title='1 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/4816457226601514570'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/4816457226601514570'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-7277246403774354031</id><published>2008-02-11T12:44:00.000-05:00</published><updated>2008-02-11T23:58:42.153-05:00</updated><title type='text'>THE MONASTERY</title><summary type='text'>

This heartfelt doc of one man's attempt to give something back to the world before he leaves it has gone on to win the hearts of festival goers all over the world. Following the journey of Mr. Vig, an elderly Danish man who's been a lifelong bachelor and recluse, he offers up his 50 year old castle to the Moscow Patriarchate so that they can turn it into a Russian Orthodox monastery. But seeing</summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/02/monastery.php' title='THE MONASTERY'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=7277246403774354031' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7277246403774354031'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7277246403774354031'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-234787033454842626</id><published>2008-02-04T13:32:00.000-05:00</published><updated>2008-02-05T00:37:12.967-05:00</updated><title type='text'>2 DAYS IN PARIS</title><summary type='text'>

In Julie Delpy's directorial debut she stars opposite Adam Goldberg in this intimate and funny look at a couple, Marion and Jack, who during a trip to Venice stop over in Paris for two days to visit Marion's parents (who in fact are Delpy's real parents) on their way home to New York. 

Delpy and Goldberg are perfect together as they argue over petty things like "black mold," their immune </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/02/2-days-in-paris.php' title='2 DAYS IN PARIS'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=234787033454842626' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/234787033454842626'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/234787033454842626'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-3883545495900945877</id><published>2008-01-28T13:58:00.000-05:00</published><updated>2008-01-29T00:02:07.384-05:00</updated><title type='text'>ROCKET SCIENCE</title><summary type='text'>

There were a number of teen angst movies this past year -- Eagle vs. Shark, Superbad -- but the one I thought brought the most originality to a very watered down genre was Jeffrey Blitz's Rocket Science, and seeing it again just reaffirms my belief. Armed with great writing, a humorous yet sensitive performance by the talented Reece Daniel Thompson as the film's unorthodox lead Hal Hefner, and </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/01/rocket-science.php' title='ROCKET SCIENCE'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=3883545495900945877' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3883545495900945877'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3883545495900945877'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-7241842612972381421</id><published>2008-01-05T01:31:00.000-05:00</published><updated>2008-01-08T13:26:24.857-05:00</updated><title type='text'>3:10 TO YUMA</title><summary type='text'>

In remaking the 1957 classic Western starring Van Heflin and Glenn Ford, director James Mangold (Walk The Line) thankfully doesn't bastardize the solid story or the sanctity of the original. Instead he returns to the source material (an Elmore Leonard short story) and creates this battle of wills between a struggling rancher and the notorious leader of a band of outlaws with respect to the </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2008/01/310-to-yuma.php' title='3:10 TO YUMA'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=7241842612972381421' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7241842612972381421'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7241842612972381421'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-7414847422041748631</id><published>2007-12-23T04:37:00.000-05:00</published><updated>2007-12-23T11:24:23.908-05:00</updated><title type='text'>CHAMELEON STREET</title><summary type='text'>In Chameleon Street, the enigmatic Doug Street goes through a series of cons, sometimes to make money, sometimes to prove he can do more than what the world expects of him. In short time he goes from a simple extortion plot to complex impersonations, including as a reporter from Time, a Yale student, a lawyer and even a surgeon. Yes, a surgeon – who performed 36 successful hysterectomies.

The </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/12/chameleon-street.php' title='CHAMELEON STREET'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=7414847422041748631' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7414847422041748631'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7414847422041748631'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-1618678158824310231</id><published>2007-12-13T20:20:00.000-05:00</published><updated>2007-12-13T20:46:03.665-05:00</updated><title type='text'>INTO GREAT SILENCE</title><summary type='text'>
In 1984, German filmmaker Philip Gröning wrote to the Carthusian order for permission to make a documentary about them. See, they live in a monastery in the French Alps, as mythic as you could think of. Sixteen year later the monks said ok. Living with them and a camera, Gröning created an amazing document of their world, what they see and do. To call it a documentary might suggest it is a </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/12/into-great-silence.php' title='INTO GREAT SILENCE'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=1618678158824310231' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/1618678158824310231'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/1618678158824310231'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-3022410177516394275</id><published>2007-12-03T20:58:00.000-05:00</published><updated>2007-12-06T13:10:18.713-05:00</updated><title type='text'>DRAMA/MEX</title><summary type='text'>
Drama/Mex is the bittersweet night-in-the-life tale of three intense, interlaced human relationships. Once a luxurious port but now in slow decline, Acapulco serves as the backdrop for the stories of a suicidal man, a 15-year-old runaway, and a young couple facing hardship after a tragic breakup. As we catch glimpses of a night that will change their lives, we are also given different </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/12/dramamex.php' title='DRAMA/MEX'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=3022410177516394275' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3022410177516394275'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3022410177516394275'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-975008610677472003</id><published>2007-12-03T11:30:00.000-05:00</published><updated>2007-12-03T11:58:15.304-05:00</updated><title type='text'>NOSFERATU: THE ULTIMATE DVD EDITION</title><summary type='text'>
Some DVD titles have been issued and re-issued to the point where it's a bit difficult to get excited when a new edition is announced. Such is the case with F.W. Murnau's expressionist horror masterpiece, NOSFERATU. We've seen crappy un-authorized versions, one with a goth-metal score by Type-O Negative, and even a nice authorized version by Kino, put out not too long ago. 

Which is another </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/12/nosferatu-ultimate-dvd-edition.php' title='NOSFERATU: THE ULTIMATE DVD EDITION'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=975008610677472003' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/975008610677472003'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/975008610677472003'/><author><name>André Salas</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-4959052561218354421</id><published>2007-11-28T20:40:00.000-05:00</published><updated>2007-11-28T20:49:31.158-05:00</updated><title type='text'>DEAR PILLOW</title><summary type='text'>
Close to his 18th birthday and living in a tiny apartment with his divorced Dad, Wes is tortured by his virginity. After getting fired for beating off at work, he befriends Dusty, an older neighbor who writes for porn mag Dear Pillow. (Sorry dude, those letters aren’t real.) Becoming an earnest writer himself and avid listener of other peoples’ sex phone calls, Wes partners up with Dusty and </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/11/dear-pillow.php' title='DEAR PILLOW'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=4959052561218354421' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/4959052561218354421'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/4959052561218354421'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-7731338893133419059</id><published>2007-11-18T21:32:00.000-05:00</published><updated>2007-11-28T23:00:39.486-05:00</updated><title type='text'>NEGATIVLAND: OUR FAVORITE THINGS</title><summary type='text'>
A compilation of videos/short films for the legendary "band" Negativland, made by themselves with collaborators. One of a few pioneers of culture jamming - attacking the notions of copyright laws and media conglomerates - Negativland has made incredible new songs from existing audio of songs and voice samples, ranging from U2 and irate wanna-be lawyers to the unforgettable bootlegged tape of </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/11/negativland-our-favorite-things.php' title='NEGATIVLAND: OUR FAVORITE THINGS'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=7731338893133419059' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7731338893133419059'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/7731338893133419059'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-5924099510746901287</id><published>2007-11-18T11:49:00.000-05:00</published><updated>2007-11-19T18:21:26.208-05:00</updated><title type='text'>IN BETWEEN DAYS</title><summary type='text'>

So Yong Kim's intimate debut feature about a young teenage Korean girl who tries to adapt to American life and the separation of her parents has been beloved by many since it premiered at Sundance in 2006 (the film caught our attention back then as well, as we named Kim one of our "25 New Faces of Independent Film" in '06). Shot handheld on DV with no score, the film uses its guerilla mentality</summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/11/in-between-days.php' title='IN BETWEEN DAYS'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=5924099510746901287' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/5924099510746901287'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/5924099510746901287'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-2825586299413845385</id><published>2007-11-12T16:04:00.000-05:00</published><updated>2007-11-12T23:11:58.647-05:00</updated><title type='text'>TIJUANA MAKES ME HAPPY</title><summary type='text'>

Winner of the 2007 Slamdance Grand Prize for Best Narrative Feature, Dylan Verrechia's look across the border is as much reality as it is fiction. Set in Tijuana, the film follows 14-year-old Indio (Pablo Tendilla Ortiz) as he journeys to become a man. I love the film's synopsis on its MySpace page, so I'll just quote directly. "Every man remembers how hard it is being 14 years old: Your voice </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/11/tijuana-makes-me-happy.php' title='TIJUANA MAKES ME HAPPY'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=2825586299413845385' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/2825586299413845385'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/2825586299413845385'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-9078849910911297463</id><published>2007-11-12T14:16:00.000-05:00</published><updated>2007-11-12T14:25:30.209-05:00</updated><title type='text'>BREATHLESS</title><summary type='text'>
An “independent” film is only so if it is independent minded. The most scrappy, handheld, no-budget, shot on stolen location, non-actors playing realistic characters can still reiterate the status quo and be dull and pointless. John Huston made more independent films than most and those were studio movies with Academy Award winning cast and crew. John Cassavetes tried for a year to fix the </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/11/breathless.php' title='BREATHLESS'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=9078849910911297463' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/9078849910911297463'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/9078849910911297463'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-4374766510118465816</id><published>2007-11-05T20:33:00.000-05:00</published><updated>2007-11-05T20:51:23.982-05:00</updated><title type='text'>FOUR SHEETS TO THE WIND</title><summary type='text'>
In the opening scene of Four Sheets to the Wind, a twenty-something guy gently pushes the lifeless body of an old man into a lake. Beautiful and more subtle than it sounds, this sets the tone for the story of a young man wanting to find a new world.

Cody Lightning does a wonderful job portraying Cufe, who finds his father has taken a lethal overdose of pills. After respecting his father’s </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/11/four-sheets-to-wind.php' title='FOUR SHEETS TO THE WIND'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=4374766510118465816' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/4374766510118465816'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/4374766510118465816'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-6446369707699077324</id><published>2007-11-02T13:26:00.000-04:00</published><updated>2007-11-02T13:48:56.015-04:00</updated><title type='text'>INTERKOSMOS</title><summary type='text'>
Part loving art-doc recreation, part comedic musical, Interkosmos may be the best communist propaganda since 1955, a genre that excelled in style and mathematic form. It revels in the Russian avant-garde cinematics that bled into its bombastic government documentaries. Once some human issues come up (birds and bees and astronauts), the film gets realistic and funny. Although you are never quite </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/11/interkosmos.php' title='INTERKOSMOS'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=6446369707699077324' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/6446369707699077324'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/6446369707699077324'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-5093175026306536938</id><published>2007-10-30T10:17:00.000-04:00</published><updated>2007-11-01T10:04:24.634-04:00</updated><title type='text'>TWIN PEAKS: THE DEFINITIVE GOLD BOX EDITION</title><summary type='text'>Who killed Laura Palmer? Why is the FBI here? Where can a man find a good cup of coffee? Infamous questions from David Lynch's cult classic Twin Peaks. This week the complete series became available in a gold box that should have Lynch buffs salivating, for this marks the first time the pilot (arguably the best episode) has been released on DVD.

When Twin Peaks first aired on Easter Sunday 1990 </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/10/twin-peaks-definitive-gold-box-edition.php' title='TWIN PEAKS: THE DEFINITIVE GOLD BOX EDITION'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=5093175026306536938' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/5093175026306536938'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/5093175026306536938'/><author><name>Benjamin Crossley-Marra</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-3857782820072971295</id><published>2007-10-29T10:53:00.000-04:00</published><updated>2007-10-30T00:28:11.643-04:00</updated><title type='text'>WE ARE THE STRANGE</title><summary type='text'>

Since showing his debut feature We Are The Strange at Sundance last January, M dot Strange has become the poster boy for DIY filmmaking as he's warded off all main stream avenues for theatrical distribution, concentrating instead on festival screenings, grassroots programs like MobMov (mobile movie drive-ins) and now a comprehensive 2-disc DVD package that is a must have for low-budget </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/10/we-are-strange.php' title='WE ARE THE STRANGE'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=3857782820072971295' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3857782820072971295'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/3857782820072971295'/><author><name>Jason Guerrasio</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-8241227833891434643</id><published>2007-10-23T21:11:00.000-04:00</published><updated>2007-10-24T00:21:04.382-04:00</updated><title type='text'>DAYS OF HEAVEN</title><summary type='text'>
The legendary Days of Heaven has finally gotten the Criterion Collection treatment. The second masterpiece by writer-director Terrence Malick after his debut Badlands, Heaven has long been a hallowed title of personal poetic cinema, even with its Paramount studio backing (ah yes, the 70s).

Set in wide-skyed Texas in the romantically naive turn of the (last) century, lovers on the run Richard </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/10/days-of-heaven.php' title='DAYS OF HEAVEN'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=8241227833891434643' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/8241227833891434643'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/8241227833891434643'/><author><name>Mike Plante</name></author></entry><entry><id>tag:blogger.com,1999:blog-8216888371312428626.post-1644455099909583058</id><published>2007-10-22T00:57:00.000-04:00</published><updated>2007-10-22T01:13:01.933-04:00</updated><title type='text'>APART FROM THAT</title><summary type='text'>

2006, written, directed and edited by Jennifer Shainin and Randy Walker.

Sometimes if you want your film to come out on DVD, you’ve got to do it yourself. And if you are DIY, then why not make it such a great package that it’s better than what any mainstream company would do.

In various overlapping stories and dialogue, Apart from That teaches you about people. Ella is a beautician who rents </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/loadandplay/2007/10/apart-from-that.php' title='APART FROM THAT'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8216888371312428626&amp;postID=1644455099909583058' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/loadandplay/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/1644455099909583058'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8216888371312428626/posts/default/1644455099909583058'/><author><name>Mike Plante</name></author></entry></feed>