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Well, no. I mean, as I've quasi-apologized the last two newsletters, I and our whole team have been really busy at Filmmaker. Our new issue -- our 20th anniversary edition -- goes to press this weekend. In it, I did an interview with Sean Baker about Starlet, one with editor Tim Squyres about cutting Life of Pi in 3D, another with documentary distributor and sales agent Annie Roney of ro*co films, and I wrote an article about how to do a film festival Q&A. We're also working on an iPad edition of the next issue, which we will hope will be ready this month, and we're relaunching the entire site in the next few weeks too, with a new design by Area 17. In a few minutes I'm heading up to Emerging Visions to do an onstage interview with Jonathan Demme. (And I also wrote a profile of Dean & Britta for the culture website The Aesthete. Dean & Britta's "13 Most Beautiful..." their live music theater performance of Andy Warhol's screen tests, will be staged this weekend at the Met.)
But, really, my friend was right. When I look back at these days, I'll remember, that's when I was reading 2666. I haven't felt that way about a book in a long time. And it's not like I'm shirking all my work to read it. I'm averaging about 30 pages a day on the subway. But its vibe is seeping into everything else.
Next week the issue will have shipped and I'll have more to say about film and other things. I hope something is pleasurably consuming you in your life too.
See you next week.
BIENNALE COLLEGE - CINEMA: CALL FOR PROJECTS This year the Biennale di Venezia, in partnership with Gucci, is launching Biennale College - Cinema, an exciting initiative to support teams of directors and producers to make their first or second microbudget audio-visual work. IFP, along with TorinoFilmLab and Dubai International Film Festival are collaborating to support this program. The Biennale College - Cinema will be a community of filmmakers, selected from around the world to work alongside an invited team of international experts and tutors to explore the aesthetics of microbudget filmmaking and the new integrated models of production which engage with an audience from the outset. After a first 10-day workshop in Venice for 15 selected projects in January 2013, up to three teams will be invited to a second 15-day workshop between February and March and supported with 150,000 euros in order to produce and screen the projects at the 2013 Venice International Film Festival. The call is open only to teams of directors of first or second features and producers with variable degrees of expertise who must have produced at least 3 short films distributed and/or presented at Festivals. For more information, and to apply, go here.
Wake in Fright
Ted Kotcheff on Wake in Fright
Beinnale College - Cinema: Call for Projects
SISTER Ursula Meier's Sister follows Simon (Kacey Mottet Klein), a 12-year old boy who spends his days selling ski equipment that he steals from a fancy resort in the Alps and taking care of his aimless older sister, Louise (Lea Seydoux). Their redundant lifestyle shifts when Simon starts teaming up with an employee at the resort (Martin Compston). This touching coming-of-age story, which has been described as akin to the work of the Dardenne brothers, received the Silver Bear award at this year's Berlin Film Festival and has been chosen as Switzerland's official submission for the Academy Awards. WAKE IN FRIGHT Ted Kotcheff's Wake in Fright focuses on John Grant (Gary Bond), an Aussie teacher on his way back to Sydney who ends up marooned in a small Outback town, where he has a horrific five-day odyssey of self-destruction. Based on Kenneth Cook's novel, Wake in Fright originally premiered at Cannes Film Festival in 1971 to rave reviews and made a big impression on a young Martin Scorsese. Called one of the most brutal and shocking Australian films in history, it received a disappointing U.S. release under the bland title of Outback but has been restored from its original prints for a revival by Drafthouse Films. Kotcheff discusses his film, and its second life, with Kevin Canfield. WUTHERING HEIGHTS The latest film by Fish Tank director Andrea Arnold, Wuthering Heights tells the story of Heathcliff (James Howson), a young black man who was taken in as a boy by a good natured farmer only to end up falling in love with, Cathy (Kaya Scodelario), the farmer's daughter. Their passionate relationship is put to the test when Cathy's brother, Hindley (Lee Shaw) starts intervening. The latest in many adaptations of Emily Brontë's novel, Arnold's Wuthering Heights is a fresh and highly immersive take on the material. Read Brandon Harris's interview with Arnold here. This week on the blog, Nick Dawson shares Julia Pott's new short, The Event, Michael Medaglia reports from Fantastic Fest 2012 (pictured left), and Scott Macaulay discusses the SAG controversy surrounding Beasts of the Southern Wild.
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ANDREA ARNOLD, WUTHERING HEIGHTS By Brandon Harris
Occasionally a period piece comes along that feels neither like the gauzy, ignorantly rendered, idealized versions of the past churned out by the Hollywood of yesteryear nor like the product of our grim, cynical and corporatist postmodern times, the maddening ideological manifestations of which are usually filtered through the perspective of some stooge director. I'm about to tell you about one such film.
As stark and unforgiving as her previous works, Andrea Arnold's new film finds her pondering the aftermath of a mysterious, multi-pronged trauma for yet another soulful, alienated loner. That this shatteringly potent adaptation of Emily Brontë's too-often-filmed 19th century English lit classic Wuthering Heights is an absolute provocation has little do with that bit of auteurist observation, however, even if the movie confirms Ms. Arnold to be one of the 21st century's most essential filmmakers.
Atlanta Film Festival
Regular Deadline: October 5
Late Deadline: December 7
WAB Deadline: December 14
Festival Dates: March 15 - 24
Glasgow Film Festival
Late Deadline: October 5
WAB Deadline: October 8
Festival Dates: February 3 - 24
Palm Springs International Film Festival
Regular Deadline: October 5
Festival Dates: January 3 - 14