“BROKEN ENGLISH”

By Admin

In this indie cross-cultural romance meets Sex and the City, Parker Posey is unexpectedly cast as heroine Nora Wilder, a New-Yorker in her thirties with a cynical outlook on life. Since we’re used to seeing Posey play odd-ball, unusual, quirky roles, she adds dimension and edge to Nora’s somewhat generic character. (After countless casual encounters with men — including a self-centered movie star played by Justin Theroux — Nora asks herself the cliché “what’s wrong with me” question regarding her unremitting singleness). We don’t immediately fall in love with this heroine — because we’re not used to falling in love with Parker Posey — but that’s okay. She grows on you. It makes Broken English more than the typical picture-perfect romantic comedy.

The film starts off slow. Whether intentionally or not, the pace parallels the slow drag of Nora’s daily life and routine. Fortunately, this drag is soon interrupted by a mysterious Frenchman, Julien (Melvil Poupaud), who appears in a prop-like cowboy hat: he’s charming, charismatic, cute, funny, sexy. Combined with his persistent pursuit of Nora despite her difficult, cold, and cynical attitude, Julien seems to be Mr. Perfect. She’s the opposite. He’s impulsive, spontaneous; she’s jaded, realistic. That is, until she decides to jump on a plane to France with her best friend Audrey (Drea De Matteo) in search of him.

Throughout the couple’s time together, Nora goes from rude and distant to panic-attacked and paranoid to clingy and crying. It’s hard to understand why European Mr. Perfect is so fond of Nora, who doesn’t seem to like anything about herself or her life. It takes a chat with a kooky old French lady and then a wise old man to give Nora some self-value. Like the Sex and the City characters, she grows on you.

Writer-director Zoe Cassavetes (the latest sibling of John’s to take the directing reigns) makes her debut with this stellar international cast, including her real-life mother (Gena Rowlands) as Nora’s overbearing mom. Though Nora’s life seems familiar, the film has a unique quality and an indie … Read the rest

EIFF: MIDNIGHT MOVIES

By Admin

Though the Edinburgh International Film Festival this year rebranded their Late Night Romps strand as Night Moves, the essential concept remains unchanged: great, unashamed entertainment for thrill-seeking movie lovers.

One of most enticing of the titles in this section is Shrooms, the latest from Irish helmer Paddy Breathnach, which has its world premiere here in Edinburgh tomorrow. Breathnach made his mark with the dark, literate gangster comedy I Went Down (1997), in which he proved what a smart and talented director he is. Though Shrooms is an unexpected career choice for him, it could quite possibly be a career-altering one. The movie takes five American college students and their English friend and puts them in an eerie wood in a deserted corner of Ireland, adds some near-lethal mushrooms, inbred locals and some seriously pissed-off ghosts and has a lot of fun with the situation.

This is very much genre fare, with strong echoes of The Blair Witch Project and Cabin Fever, and has some of the humor of the latter. Though the plot elements, characters and dialogue are very familiar, there is a vitality and enthusiasm that means that Shrooms never feels like it’s just going through the motions. It is shot and edited with an inventive vigor that manages to make it seem like a much bigger budget film than it is. Indeed the whole viewing experience is so enjoyable that, if it were to find the right U.S. distributor, Shrooms could be so successful that a potential franchise might even be in Breathnach’s reach.

Another film in the Night Moves strand which should be a big hit with Edinburgh audiences is Weirdsville. Canadian director Allan Moyle‘s movie, which opened Slamdance earlier in the year, is much more unconventional than Shrooms but has a sweet-natured, offbeat charm that I personally found irresistible. Though Moyle is 60, he has always shown an unusual ability to tap into a youthful mindset — particularly in such films as Empire Records and cult classic Pump Up the Volume — and here vividly portrays the lives of junkie best … Read the rest

FIRST WINNER OF SHORTNONSTOP

By Admin

Here’s a cool idea, a film festival that never ends. The shortnonstop festival is gearing up to be something pretty interesting and I would encourage any one with a good short to think about submitting.

The first film to win the grand prize of $1000 is the 3D animated THE RED KITE. (check this out it’s good)

Six times a year ten finalists will be selected for the grand prize, so shoot lots becasue the next deadline is October 5th. No specifics on what type of film you have to shoot, it can be a doc, sci-fi, reality-based…anything.

Here’s all the technical details:

SHORTSNONSTOP is a year-round online mobile film festival that you can experience anytime or anyplace. It is a showcase of short films produced for mobile and online platforms . The running time of films submitted to SHORTSNONSTOP cannot exceed more than three minutes.

The CFC Worldwide Short Film Festival has been presenting the best in short filmmaking from around the world for more than 13 years. SHORTSNONSTOP is a natural extension of this legacy – and thanks to TELUS, one of Canada’s leading mobile carriers, this festival will celebrate truly innovative short films produced for the third screen. All filmmakers and videomakers are encouraged to submit their work for consideration.

Unlike other film festivals, SHORTSNONSTOP is a year round festival that accepts entries on an ongoing basis, directly at its website – www.shortsnonstop.com.

Six times a year, 10 finalists will be selected by our programmers for promotion and distribution by TELUS on its mobile networks in Canada. Our esteemed Jury of industry professionals will select one filmmaker in each prize period to be awarded a cash prize of $1000 (that’s six $1000 prizes in 2007/08.)

The deadlines for the SHORTSNONSTOP submissions are August 5, 2007; October 5, 2007; December 5, 2007; February 5, 2008; April 5, 2008 and June 5, 2008.

… Read the rest

JOE SWANBERG, “HANNAH TAKES THE STAIRS”

By Nick Dawson

MARK DUPLASS AND GRETA GERWIG IN JOE SWANBERG’S HANNAH TAKES THE STAIRS. COURTESY IFC FIRST TAKE.

Whatever the merits or otherwise of the “mumblecore” tag, one positive thing it has certainly done is help bring deserved attention to filmmakers like Joe Swanberg. The precocious 25-year-old was born in Detroit, but moved around as a kid before attending Southern Illinois University Carbondale, where he studied film. After graduation, he used money he had made from web design work to fund his first feature, Kissing on the Mouth (2005), which played at the SXSW Film Festival at the time the concept of “mumblecore” was born. His sophomore effort, LOL — which features “noisehead” contributions from many fellow mumblecorers — followed the year after, and premieres on DVD August 28 through Benten Films.

Swanberg’s third feature, Hannah Takes the Stairs, is arguably the director’s breakthrough film. Hannah (Greta Gerwig) is a recent college grad working at a production company with two writers, Matt (Kent Osborne) and Paul (Andrew Bujalski), who both take an interest in her, despite the fact that she already has a boyfriend, Mike (Mark Duplass). A fascinating portrait of Gerwig’s chronically unhappy romantic, Hannah Takes the Stairs is a lot more linear and conventional than Swanberg’s previous work, despite the fact that it was almost entirely improvised. Gerwig gives a phenomenal, career-launching performance as Hannah, while the film itself reveals a new focus and maturity in Swanberg that promises much for the future.

Filmmaker spoke to Swanberg about directing directors, his continuing quest to make “the one,” and his desire to make a PG-13 romantic comedy.

JOE SWANBERG (R.) WITH ACTORS KENT OBSORNE AND GRETA GERWIG ON THE SET OF HANNAH TAKES THE STAIRS. COURTESY IFC FIRST TAKE.

Filmmaker: You were only 22 when you made Kissing on the Mouth. How did you go about making your first feature at such a young age?

Swanberg: I’d gotten out of film school and made some shorts, and I was like, “God, I’m 22 and I haven’t made a feature!” I graduated in March, and by … Read the rest

“DEXTER”: THE COMPLETE FIRST SEASON

By Admin

I’m all for a la carte cable. I would just subscribe to five channels: HBO, Sundance, IFC, FX and Showtime. What more could you need? It’s a sad day when television stations are willing to take greater risks then film studios and a show like Dexter is the perfect example. Based on the novel Darkly Dreaming Dexter by Jeff Lindsay the series focuses on a man who’s a forensic blood-specialist by day and a serial-killer hunter by night. That’s right, that means he’s a serial killer who kills serial killers.

This plot description turned me off at first too, but the tone of the show, bolstered by an amazing performance from Michael C. Hall really catapult this series into being one of the best released this year. The series takes place in Miami, which is looking very anti-Miami Vice and follows the Miami Homicide’s efforts to track down “the ice truck” killer. This is a reoccurring character/story arc throughout the first season as the killer becomes more obsessed with Dexter. Every episode also features another serial killer succumbing to Dexter, often operating unnoticed by the police.

The DVDs went on sale this week and if you don’t have Showtime like I don’t, you should find a way to get your paws on a copy. The DVDs feature a nice HD transfer but little else. There’s two audio commentaries and a featurette on a real life blood splatter analyst. It would be nice if Showtime would take the time to include more documentaries and special features on all of their DVD releases actually, but that’s how they keep them so cheap. You can own the entire first season for just $29.99.

Normally Filmmaker Magazine doesn’t cover television but could you imagine the pitch for this actually surviving anywhere else? Plus, it’s visually interesting to see a story sprawled out over twelve episodes. I really hope Showtime and HBO continue this trend of innovative programming, it could be our last resort to see something new.

See larger image

WELCOME TO THE BLOGOSPHERE, MIKE!

By Scott Macaulay

Filmmaker‘s former Managing Editor, Mike Jones, who is also a working screenwriter and director, has been tapped by Variety to head their new film festival blog and online section. Welcome, Mike, to the blogosphere and look forward to seeing you on the fest circuit this fall!… Read the rest

FESTIVAL STRATEGY

By Admin

As Filmmaker correspondent Nick Dawson braves the harsh Scottish terrain to bring us up-to-date coverage of the Edinburgh film festival one considers with so many festivals to choose from, how should a novice develop a cogent strategy for the festival circuit? Last night I was able to attend a festival strategy conference in New York produced by the IFP as part of its “Industry Connect” series and sponsored by Warner Independent. Mary Jane Skalski (producer, The Station Agent, Mysterious Skin), Steven Rapheal (sales agent, Pan’s Labyrinth, La Vie en Rose), Kerry Weldon (executive director, New Fest) and moderated by David Nugent (festival programmer, Newport, Hamptons) sat down at the SoHo house for a sobering panel on navigating the festival shark pit.

There was a general consensus among the panelists, that all aspiring filmmakers should remain aware of the Sundance schedule. “You really can’t ignore Sundance, it’s still the best strategy” stated Skalski. “It’s the place where distributors will take the biggest chances on American independent films.” Although they acknowledged that other festivals were good choices, they warned that if a film gets too much festival exposure, it wanes on distribution potential. Skalski also said that although lots of young filmmakers get jazzed about Cannes, the world-renowned festival is incredibly competitive, expensive and political. Toronto is also gaining momentum, but the line-up is gargantuan and faces lots of international competition.

“The first screening is always the most important” Mr. Raphael concurred. “So have all of your materials ready.” What materials might those be? “A solid press kit and top-notch stills” he answered. “I can’t stress the importance of having a great image that can be duplicated over and over again. It’s so crucial and a lot of first-time filmmakers overlook it.” He emphasized how essential having a professional photographer on set is, as well as hiring a professional to write the press-kit.

“Just because your film got into Sundance doesn’t mean your scott-free” Skalski stated. “The film still has to be screened, reviewed and sold, it’s a very nerve-wracking experience for everyone but the journalists.” They … Read the rest

I’M NOT THERE RELEASE DATE AND TRAILER

By Scott Macaulay

I’ll admit that it initially seemed a little weird when news broke that Todd Haynes’s I’m Not There would be opening on two screens at the Film Forum and also at Lincoln Plaza in late November. Decently budgeted (reportedly $13.5 million) and starring Cate Blanchett, Heath Ledger, Richard Gere and others, it hardly, as this piece by John Anderson in The New York Times points out, seems a likely candidate for a small arthouse opening.

But, it is a Todd Haynes film and the Film Forum is a great venue that carries cultural weight. I think, then, in the end there’s something refreshing about the choice, and I actually like Harvey Weinstein’s quotes and positioning of the film in Anderson’s piece:

But Harvey Weinstein, the company’s co-chairman, said the slow rollout was the best way to nurture an unconventional, nonlinear movie like “I’m Not There,” in which the above-mentioned stars play Mr. Dylan at particular stages of his life. Shot in styles that correspond to each Dylan epoch, “I’m Not There” sometimes looks like “A Hard Day’s Night,” elsewhere like “McCabe and Mrs. Miller,” with Mr. Dylan’s life being imbued with mythic American qualities.

“With a movie like this you have to build it,” said Mr. Weinstein, who founded the company with his brother, Bob, two years ago after an acrimonious split from the Walt Disney Company saw them relinquish control of Miramax. “I don’t think you can go out on 500 screens. The reason for Film Forum is you go where the best word of mouth is on the movie. I like the movie; I think it’s adventurous. The audience is going to have to work — work in a good way.”

For me, it feels like a nice throwback to the days when art films were a little bit special and not something to be decided upon while in line at the megaplex. In the meantime, here’s the trailer:

… Read the rest

EIFF: OLD FRIENDS, NEW FACES

By Admin

One of the fun things about going to film festivals is that you get to meet old acquaintances, and this has certainly been the case in the last few days at the Edinburgh International Film Festival.

Yesterday, I bumped into Mike White, who is here in support of his directorial debut, Year of the Dog, which I talked to him about a few months ago. We had a brief catch-up chat, and I was amused to notice that he was wearing exactly the same ski jacket as the cold spring day we had spoken in New York. (The Edinburgh weather has not been at its best, as the summer has seemingly still not arrived in the U.K.)

White was also at the Writing Comedy interview with Judd Apatow (above), part of the festival’s writing theme this year. The two former Freaks and Geeks collaborators greeted each other warmly before proceedings began, and later on in the event White was given a microphone so he could contribute to a discussion of the cult TV series. Apatow was typically charming and self-effacing in front of a very obviously appreciative audience: at one point, one of the audience questions was “Can I come and hug you?” Apatow obliged, and then pledged that he was now going to “hug every one of you motherfuckers before this is over!”

Later, I caught up with Apatow, who I also interviewed recently, at the party to celebrate the highly successful festival screening of Knocked Up – as well as, unofficially, Superbad being the current U.S. box office champ. We talked about Hal Ashby and Charles Bukowski, and he joked about a possible Best Actor Oscar nomination for Seth Rogen, who was also in attendance. (Quite bizarrely, while we were talking a man of Apatow’s age came up to me, and said, “Judd?! Judd, is that you?” I had to sheepishly say, “No, that’s Judd next to me…” It turned out that he was an old college mate of Apatow, and left me all the more certain that my festival fuzz beard … Read the rest

SUPERBAD’s GREG MOTTOLA SPEAKS

By Scott Macaulay

If you’re not in the habit of regularly checking out the main page, head over there now for this interview by Nick Dawson of Superbad director Greg Mottola. His debut feature, Daytrippers, was a great no-budget indie, and now, years later, he’s having a spectacular second act with the number one movie in America (and a smaller indie film just about to shoot). While you’re there, click on the RSS feed so all of Dawson’s interviews are sent directly to your feed reader.

A brief excerpt:

Filmmaker: You worked closely with Judd on Undeclared, but at what stage did he first talk to you about Superbad?

Mottola: We did a table read of a version of the script in 2001 or 2002 with all the people from Undeclared. Seth Rogen was reading the lead, and Jason Segel the other lead. I’ve always had a hard time wanting to direct other people’s writing, but this was one of the scripts that I immediately heard and said, “If you guys get this going, think of me as the director.” So I stayed in touch with Judd and we talked about the project over the years. Then one day last spring, Judd called me here in New York and said, “Do you remember Superbad? I think Sony is interested in making it. Would you still want to do it?” I started to launch into a kind of pretentious explanation as to why I thought I was the perfect director for it, and why it really suited me, and Judd was like, “Yeah, yeah, yeah. Anyway, OK, we’re going to fly you to L.A. next week.” We went through some rewriting hoops to make the studio happy, and then we were going, and by and large left alone by them. Well, supported but not really hassled.

… Read the rest