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Sony Crackle Create Your Story
Editor's Note

For me one of the great joys at SXSW this year was the presence of six films from the IFP Rough Cut Lab, an intensive mentoring program that I’ve been a part of for the past three years. The program’s aim is simple: to provide to new filmmakers who have finished production of their films the kind of expert post-production and finishing advice that is most often learned through the school of hard knocks. I along with fellow producer Gretchen McGowan and a great group consisting of, in part, a composer, music supervisor, two editors, a sound editor, sales agent and publicist try to provide filmmakers both support and a sounding board in order to help them make their films the best they can be. When devising the Lab, I thought about how studio films can often afford reshoots, countless test screenings and other forms of post-production surgery whereas cash-strapped indies have to do it as right as they can their first time out. Why am I mentioning all of this? Well, the Narrative Rough Cuts Lab, which takes place June 10 – 13, has a deadline coming up of April 11. If you have a film in post that you think could benefit from the program, please visit the IFP website and learn more.


Scott Macaulay


J. Hoberman has been a mainstay of the New York cinema scene for three decades, and now the Brooklyn Academy of Music is celebrating his anniversary with a film series that is a testament to the critic’s roving eye and eclectic taste. As interested in the broader currents of politics and popular culture as he is in the unexpected film tributaries that flow from them, Hoberman is known for a hip, deftly erudite style of criticism that always connects the film object back to the world it screens in. His various filmic obsessions are all represented: underground film movements (a fantastic retro of rarely seen No Wave films); transcendent auteurs (Andrei Tarkovsky’s Andrei Rublev); experimental film (works by Ernie Gehr and Craig Baldwin); cult movies (Eraserhead); and new cinema benchmarks (Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles). In addition to providing a schedule of the screenings, the BAM Web site reprints all of Hoberman’s reviews of these films. The series runs until April 3.


By Jason Guerrasio

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. read more

To read more posts on our favorite upcoming DVDs, click here.


This week on the blog, Jason Guerrasio reports from the inaugural Cinema Eye Honors (pictured left), Brandon Harris highlights the Canadian Front series at MoMA and Durier Ryan examines the strong female performances that came out of last week's SXSW.

To read more posts from our blog, click here.



Screening as part of the “Best of Slamdance” series at the IFC Center, Tom Quinn’s The New Year Parade plays on Monday, March 24th at 8pm. The film won the 2008 Grand Jury Award for Best Narrative Feature and was part of IFP’s 2007 Narrative Rough Cut Lab. Director Tom Quinn will be on hand for a Q&A following the film.

Click here for tickets.


By Brandon Harris

Over the course of eight feature films, Olivier Assayas has built a solid international reputation as a director of stylish, naturalistic thrillers and social dramas that team with sensuality. Assayas is a boundlessly resourceful director and in his most recent film, Boarding Gate, a lower key, appealingly absurd riff on the same erotic, globalization-era techno thriller he first brought us in 2002's explosive Demonlover, the fifty-two year old French filmmaker uses his signature loose, montage-y style to tell what is essentially a lurid and oblique crime story, full of people with secrets and double agendas, whose longings to fulfill the need for human intimacy and love come smack up against the system of international capital and wealth distribution that binds all of us to a sick and untenable game of craps, where we’re compelled to behave as both needy human actors and mere commodities to be traded or disposed of. read more

Festival Deadlines

Fulmarxx Shorts Fest
Submission Deadline: March 25
Festival Dates: April 26-27

Submission Deadline: March 31
Festival Dates: October TBA

Hollywood Film Festival
Submission Deadline: March 31
Festival Dates: Oct. 22-27

Hawaii International Film Festival
Submission Deadline: March 31 (early)
Festival Dates: Oct. 23-Nov. 1

Newport International Film Festival
Submission Deadline: April 1
Festival Dates: June 3-8

To see more fest deadlines, click here.

Narrative Rough Cut Lab
June 11 - 14, 2008
Submission deadline: April 11

For submissions criteria or to apply, log onto


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