Skip Navigation

Frame by Frame

Archive for the ‘Digital Cinema’ Category

Sofia Coppola Wins Best Director at Cannes for “The Beguiled”

Sunday, May 28th, 2017

Sofia Coppola wins Best Director at Cannes – click here to see an interview.

As Anthony D’Alessandro writes in Deadline, “Oscar-winner Sofia Coppola made Cannes Film Festival history tonight becoming the second woman in the event’s 70-year history to win best director for her Focus Features release The BeguiledPreviously, Soviet director Yuliva Solntseva won for her 1961 war drama Chronicle of Flaming Years about the Russian’s resistance to the 1941 Nazi occupation.

‘I was thrilled to get this movie made and it’s such an exciting start to be honored in Cannes. I’m thankful to my great team and cast and to Focus and Universal for their support of women-driven films,’ said Coppola in a statement. Coppola wasn’t the only woman being lauded at Cannes this year. Quite often, the festival has been criticized for not recognizing female filmmakers enough.

Coppola’s The Beguiled lead actress Nicole Kidman won a special 70th Anniversary award, while filmmaker Lynne Ramsay’s You Were Never Really Here tied for best screenplay with Yorgos Lanthimos’ The Killing of a Sacred Deer. Earlier this week while hosting the Cannes Film Festival 70th Anniversary celebration, Isabelle Huppert snarked, ’70 Years, 76 Palme d’ors, but only one has gone to a woman — no comment.’ She was of course referring to The Piano director Jane Campion, who still remains the only woman to win the Palme d’Or 24 years ago.

This year’s jury was obviously trying to revolutionize things after the George Miller-led jury from last year’s fest only bestowed wins to Andrea Arnold for her American Honey screenplay and the Camera d’Or (first feature film) award to French filmmaker Houda Benyaminia for her movie Divines. Last year when Miller was asked about the impact of female directors and stars at the 69th festival, he answered, “Without going into specifics, I don’t remember going to a film and assessing if a woman was in it or not . . . We were looking at other issues.”

Coppola’s The Beguiled premiered on Wednesday at the Grand Theatre Lumiere, receiving a five-minute standing ovation. The film is based on both Thomas Cullinan’s 1966 novel and the Don Siegel 1971 feature adaptation of that book about an injured Union soldier during the Civil War who takes refuge at a Virginia girls’ school located on the Confederate side.

Coppola convinced Universal to pull the film out of their archives as she wanted ‘to do the version of the same story from a woman’s point of view.’ The Beguiled marks Coppola’s third movie with Kirsten Dunst following The Virgin Suicides and Marie Antoinette, the latter winning the Cinema Prize of the French National Education System here at Cannes 11 years ago.”

Predictably, the backlash is already starting – people commenting that Don Siegel’s film is “perfect” and no one should touch it, but of course, that’s simply sexism. It astounds me that after all this time, people are so uncomfortable with the idea of a woman in the director’s chair, especially since the first person to make a narrative film in 1896 was Alice Guy Blaché. Along with Agnès Varda’s win for Best Documentary, this is a Cannes to remember.

Congratulations, Sofia! Well deserved, and great news!

Agnès Varda’s Cannes Winner – “Visages Villages”

Saturday, May 27th, 2017


Agnès Varda’s documentary Visages Villages Has Won The Golden Eye Prize at Cannes. 

As Rhonda Richford writes in The Hollywood Reporter, “Agnès Varda and JR’s documentary film Faces Places (Visages Villages) has taken the Golden Eye prize, which recognizes a documentary from across all sidebars.The film screened out of competition in the official selection.

The prize was awarded by a jury of French actress Sandrine Bonnaire, Oscar-nominated The Tsunami and the Cherry Blossom director Lucy Walker, Oscar-nominated The Gatekeepers director Dror Moreh, Toronto Film Festival programmer Thom Powers and film critic Lorenzo Codelli.

“Our jury has been deeply moved by Agnès and JR’s decision to meet local people, aimed by this movie-tale about consideration for Human throughout Art. This combined perspectives, are delicate and generous,” the jury said. The documentary follows the two directors as they travel through rural France in a van photographing and interviewing rural and working-class people. JR is best known as a graffiti artist and street photographer.

The Golden Eye, or L’Oeil d’Or, is awarded to the best documentary across all official selections with the French Writers Society. It was initiated in 2015 with the support of the festival and awards the winning director €5000 prize.”

In his review of the film for Variety, critic Owen Gleiberman was ecstatic and unstinting in his praise: “she’s 88, and makes films like she’s 28. Her movies are [. . .] a tonic — just watching them makes you feel younger. Her new one, Visages Villages (which does indeed take place in villages, though the idiomatic translation is Faces Places), is another roving personalized documentary made in the cinematic thrift-shop spirit of The Gleaners and I (2000) and The Beaches of Agnès (2008).

Both those films were enchanting, and this one is too, though here Varda raises the bar on what she’s doing, because her premise is so slender that she appears, at times, to be conjuring the film out of thin air. Agnès Varda, in the glory of her golden years, has become a humanist magician.

In Visages Villages she teams up with the renegade French graffiti-artist-turned-outsize-street-photographer known as JR, who could be characterized as a rough Gallic equivalent to Banksy. He and Varda met in 2015 and quickly recognized each other as kindred spirits, despite their rather dramatic differences: He’s a prankish and supremely laid-back 33-year-old millennial hipster who never takes off his pork-pie hat and sunglasses, and she’s a venerable New Wave legend whose face still expresses the beautiful gravity that always defined her. Yet both are outsider artists, committed to visualizing life by making up their own rules. ‘Chance has always been my best assistant,’ says Varda, and she’s not kidding. In this movie, she leaves nearly everything to chance.

Varda and JR, who share directing credit, begin to travel around, with a single liberating agenda: In each place they visit, they’ll meet the people there, and JR will produce his epic-size black-and-white portraits of them, which they will then plaster on houses, barns, storefronts: any available surface. In doing so, they will render the people large. Larger than life? No. As large as life.

Varda, who tends to blurt out whatever’s on her mind, says that JR’s refusal to remove his sunglasses reminds her of Godard in the ’60s, who also kept his gaze hidden. She flashes clips from her five-minute 1961 burlesque short Les Fiancés du pont Mac Donald ou (Méfiez-vous des lunettes noires), which starred Godard and Anna Karina, and in that movie Godard looked almost innocent, but by the end of Visages Villages he will come back to haunt her [ . . .]

There is no mention of politics, yet Visages Villages may be the most profound political movie to play at Cannes this year. Its ‘message’ is simplicity itself: Everyone is who they are. Yet in capturing anonymous workers as images of transcendent individuality, Visages Villages makes a powerful statement about the kind of society we’re becoming, in which the one percent don’t just own too much of everything; they get all the attention too. Our addiction to wealth and celebrity has begun to suck the air out of the appreciation for ordinary life, and this film offers a sublime rebuke to that.

Varda and JR are bumptious companions who tease each other into confessions and flights of fancy. Varda won’t stop bugging JR about his sunglasses, to the point that they become an active annoyance for her. She also uses shots she took decades ago to meditate on her friendship with the late fashion photographer Guy Bordin, and she muses upon her own death, summing up her feelings about it with the perfect cosmic retort: ‘I’m looking forward to it. Because that’ll be that.’

And then there’s Godard. He’s an old friend of Varda’s, a long-time comrade of her and her late husband, the director Jacques Demy (The Umbrellas of Cherbourg), and near the end of the movie she and JR take a train to visit him. When Godard fails to show up at a café at the appointed time, they wind up in front of his house, where he has scrawled a cryptic message in magic marker that leaves Varda in tears.

She’s wounded, and calls him a ‘dirty rat.’ Yet if Godard, in this movie, represents the weight of the past, Varda’s communion with JR suggests the promise of the future, never more so than when he proves his friendship by giving her what feels, for a moment, like the ultimate gift. He takes off his sunglasses.”

Can’t wait to see this; I wonder what kind of distribution it will get? Only at Cannes!

Luchino Visconti’s Adaptation of Camus’ “The Stranger”

Friday, May 26th, 2017

Luchino Visconti’s stunning adaptation of Camus’ The Stranger gets a rare screening.

As Jim Hoberman writes in The New York Times, ” the Marcello Mastroianni retrospective at the Film Society of Lincoln Center includes a work that is itself rare: Luchino Visconti’s adaptation of Albert Camus’s novel “The Stranger.”

The movie, in which an ordinary Pied-Noir (Algerian-born Frenchman) irrationally murders an Arab in broad daylight on a Mediterranean beach, was made in 1967 with Mastroianni in the lead. It has long been without an American distributor and, owing to complicated rights issues, was never released here on DVD. It’s showing on Saturday and Tuesday in an excellent 35-millimeter print from the Istituto Luce Cinecittà.

Shot in Technicolor entirely in Algeria, with Jean-Luc Godard’s favored actress, Anna Karina, as the protagonist’s lover, Visconti’s The Stranger makes the senseless sensuous — even sybaritic — in its blazing light and palpable heat [ . . . ]

Visconti originally planned to set it in independent Algeria, a transposition vetoed by Camus’s widow, Francine Camus. The time frame was pushed back to the late 1930s, intensifying the emphasis on French colonial rule. The novel necessarily focuses on its antihero’s internal world; the movie effortlessly calls attention to the situation of the Pied-Noir, living amid a sea of subjugated natives [ . . . ]

The first half of The Stranger depicts a shabby idyll. Visconti’s anticlerical, anti-bourgeois politics become overt only in the trial sequence, broadly staged in a real, seemingly stifling Algiers courtroom. The movie reaches its existential apotheosis in the confrontation between Mastroianni’s character and a priest in a dark prison cell.”

While bootleg pan and scan copies of the film proliferate on the web, all apparently ripped from the same VHS release, now resolutely out of print, dubbed into English, German, and in the original Italian and French without English subtitles, we can still use them to get some idea of the power of this work.

Whoever is holding this film hostage should think twice about the decision to do so, and turn it over to Kino Lorber, Criterion Eclipse or another solid distributor; more irritating is the fact that, in the film’s absence, a host of self – appointed Visconti “experts” have taken to the message boards of the web to denounce the film, which, without a decent proper aspect ratio release, has no chance of reaching a contemporary audience.

Yet another film that’s fallen between the cracks, and if you’re lucky enough to be in New York tomorrow, the 28th, and find yourself at the Walter Reade Theater in Lincoln Center, you should certainly go to see it; it runs again on the 30th of May. But for the rest of us, there are just these tantalizing fragments of the film – grainy, atrociously dubbed, uploaded in countless inferior copies – when what we need is the real thing in a quality DVD / Blu-ray release.

Such is always the way with film; now you see it, now you can’t. 

A Great Idea: Women Only Screening of “Wonder Woman”

Friday, May 26th, 2017

The Alamo Drafthouse Theater in Austin, TX is hosting a “women only” screening of Wonder Woman.

As Lorena O’Neil writes in The Hollywood Reporter, “It’s time to pour one out for the countless male tears that are being shed in Austin, Texas over a grave injustice they feel is being committed against the fragile male species. A movie theater in Austin is daring to host — gasp — a women-only screening of Wonder Woman.

This potential threat to world order is tremendous and truly terrifying for some men in Texas (or at least, trolls on Facebook) who are absolutely aghast that the Alamo Drafthouse theater is trying to celebrate the biggest female icon in the comic book world. Where will we be able to watch the movie? the men sob. At the same exact theater, which is also of course showing regular screenings as well. But will we ever get our own, male comic book superhero? the men despair. Yeah, try almost every other superhero ever.

In reality, the reactions are much more predictable.

The Drafthouse event invitation reads: ‘Apologies, gentlemen, but we’re embracing our girl power and saying “No Guys Allowed” for one special night at the Alamo Ritz. And when we say “People Who Identify As Women Only,” we mean it. Everyone working at this screening — venue staff, projectionist, and culinary team — will be female.’

‘I hope someone sues this is discrimination based on sex,’ remarked one man on Twitter. ‘Great, let us know when you have guys-only screenings of Thor, Spider-Man, Star Wars, etc. Let’s see you walk the walk now that you set this precedence,” said a Facebook commentator, who meant to say precedent.

The Drafthouse is replying to many of the complaints. When one man asked if they had ever held a men-only screening, the Drafthouse said, ‘We’ve never done showings where you had to be a man to get in, but we *did* show the the Entourage movie a few years ago.’ They also encouraged someone else to host a private men-only event if they so desired.

There were also some men who voiced their support of the event. ‘This is a great idea and I will see it another time!’ said one commenter. ‘Wow, that was easier than deciding to feel persecuted!’

The theater company has already sold out of both women-only screenings and told Mashable it is planning to bring the idea to other locations. ‘That providing an experience where women truly reign supreme has incurred the wrath of trolls only serves to deepen our belief that we’re doing something right,’ creative manager Morgan Hendrix told the publication. ‘As a result, we will be expanding this program across the country and inviting women everywhere to join us as we celebrate this iconic superheroine in our theaters.’

As Gizmodo‘s Beth Elderkin points out, ‘Since 1920, there have been about 130 superhero and comic book films with solo protagonists in the United States, both on the big and small screens.’ She adds, ‘Do you know how many of those 130 films had female leads? Eight.'”

Sounds like a great idea to me!!

Indiewire’s Cannes 2017 Roundup

Wednesday, May 24th, 2017

There’s lots of great films at Cannes. Most will never get real distribution.

Cannes is still going on until May 28th, but the coverage provided by Indiewire above gives one an idea of the embarrassment of riches on display at the fest, even if it has been marred – ever so slightly – be tech snafus and some less than stellar entries and sidebars.

But consider: the festival offered a superb restoration of Belle de Jour, as well as a new documentary on Stanley Kubrick’s long and illustrious career; animated films from Iran; talks by Wim Wenders and Spike Lee at the American Pavilion; the premiere of Todd Haynes’ new film Wonderstruck; a wealth of technical information for aspiring and practicing filmmakers; the first two episodes of David Lynch’s Twin Peaks reboot; a seminar on how VOD and theaters will continue to co-exist; as well as new films by Arnaud Desplechin, Vanessa Redgrave in her directorial debut, Takashi Miike’s 100th feature film, Bruno Dumont’s “heavy metal” Joan of Arc film Jeanette, Sofia Coppola’s take on The Beguiled and so much more.

There’s so much going on here – so much more than what’s going at your local multiplex. If you’re lucky enough to live in a town that supports an art theater, please go and see the more adventurous films there. They won’t be coming to the main commercial houses, who are too busy prepping for Top Gun 2 (seriously). For all the expense and crowds and security and other inconveniences of Cannes, it remains a magnet for talent and controversy in the cinema, all the more important in an era that doesn’t value art as an essential aspect of human existence, which it absolutely is.

Follow all of Indiewire‘s coverage of Cannes by clicking here, or on the image above.

New Video – Mystery Train

Wednesday, May 24th, 2017

Here’s a new video entitled Mystery Train. Click here, or on the image above, to view.

Wheeler Winston Dixon’s films have been screened at The Maryland Institute College of Art, The Museum of Modern Art, The Whitney Museum of American Art, Anthology Film Archives, The Microscope Gallery, The British Film Institute, The Jewish Museum, and The Millennium Film Workshop.

In addition, his works have been shown at The San Francisco Cinématheque, The New Arts Lab, The Collective for Living Cinema, The Kitchen Center for Experimental Art, The Filmmakers Cinématheque, Film Forum, The Amos Eno Gallery, Sla 307 Art Space, The Gallery of Modern Art, The Oberhausen Film Festival and at numerous universities and film societies throughout the world.

In 2003, Dixon was honored with a retrospective of his films at The Museum of Modern Art, and his films were acquired for the permanent collection of the Museum, in both print and original format. More recently, he has been working in HD video with such films as An American Dream, Instant Replay, and The Shapes of Things, and continues to create new work, with some two hundred plus videos to date available for viewing on his Vimeo website.

To see more of Dixon’s video and film work, just click here.

Cannes 2017 – 12 Feature Films By Women Directors

Friday, May 19th, 2017

As Ella Wilks-Harper reports in The Independent, Cannes 2017 has 12 feature films by women in the line up.

Which isn’t exactly earth-shattering, but it’s a start. However, the festival has also taken some much deserved flack – in my opinion – for the official poster for the 2017 season, not reproduced here, which as Wilks notes uses “a heavily photoshopped image of Italian actress Claudia Cardinale.” Still, as Wilks-Harper writes, “The line-up for the highly anticipated Cannes Film Festival 2017 has been announced, unveiling a notable rise in female directors making the list. A total of twelve will have films screened at the prestigious festival, up from 2016’s nine and a significant change from 2012’s festival, where no films by female directors were shown.

In a press conference, festival president Pierre Lescure – alongside General Thierry Frémaux – announced the Official Selection, including the eighteen films that will be in competition this year, including Naomi Kawase’s Radiance and Lynne Ramsay’s You Were Never Really Here. Kristen Stewart’s directorial short film, Come Swim, will also premiere at Cannes. Last year the actress starred in Olivier Assayas’ film Personal Shopper, which was booed by the audience at Cannes, despite positive reviews. Also at the festival, two episodes of the eagerly anticipated reboot of David Lynch’s Twin Peaks will be shown.”

The full schedule is as follows:

Competition

Ismael’s Ghosts – Arnaud Desplechin (opening film)

Loveless – Andrey Zvyagintsev

Good Time – Benny Safdie and Josh Safdie

You Were Never Really Here – Lynne Ramsay

A Gentle Creature – Sergei Loznitsa

Jupiter’s Moon – Kornél Mundruczó

L’Amant Double – François Ozon

The Killing of a Sacred Deer – Yorgos Lanthimos

Radiance – Naomi Kawase

The Day After – Hong Sang-soo

Le Redoutable – Michel Hazanavicius

Wonderstruck – Todd Haynes

Rodin – Jacques Doillon

Happy End – Michael Haneke

The Beguiled – Sofia Coppola

120 Battements Par Minute – Robin Campillo

Okja – Bong Joon-ho

In the Fade – Fatih Akin

The Meyerowitz Stories (New and Selected) – Noah Baumbach

Un Certain Regard

Barbara – Mathieu Amalric

The Desert Bride – Cecilia Atan and Valeria Pivato

Closeness – Kantemir Balagov

Beauty and the Dogs – Kaouther Ben Hania

L’Atelier – Laurent Cantet

Lucky – Sergio Castellitto

April’s Daughter – Michel Franco

Western – Valeska Grisebach

Directions – Stephan Komandarev

Out – Gyorgy Kristof

Before We Vanish – Kiyoshi Kurosawa

The Nature of Time – Karim Moussaoui

Dregs – Mohammad Rasoulof

Jeune Femme – Léonor Serraille

Wind River – Taylor Sheridan

After the War – Annarita Zambrano

Out of Competition:

Blade of the Immortal – Takashi Miike

How to Talk to Girls at Parties – John Cameron Mitchell

Visages, Villages – Agnès Varda & JR

Midnight Screenings

The Villainess – Jung Byung-Gil

The Merciless – Byun Sung-Hyun

Special Screenings

An Inconvenient Sequel – Bonni Cohen and Jon Shenk

12 Jours – Raymond Depardon

They – Anahita Ghazvinizadeh

Clair’s Camera – Hong Sang-soo

Promised Land – Eugene Jarecki

Napalm – Claude Lanzmann

Demons in Paradise – Jude Ratman

Sea Sorrow – Vanessa Redgrave

Special Screenings – Events

Twin Peaks – David Lynch (first two episodes)

24 Frames – Abbas Kiarostami

Come Swim – Kristen Stewart

Top of the Lake: China Girl – Jane Campion, Ariel Kleiman

Carne y arena – Alejandro González Iñárritu

It’s nice to see so many familiar names on the list, such as Agnès Varda, but at the same time, a number of people are making the point that perhaps participating in Cannes isn’t the greatest way to launch a difficult, indie film. If everything goes well, then fine – it certainly can’t hurt. But if the audience doesn’t like a film – and Cannes viewers are typically quite open for their disdain for a film, if it fails to catch their fancy – you’re pretty much doomed from the start, and chances of getting a theatrical distribution deal drop dramatically. The festival, which got underway a few days ago, has already been marred by technical glitches and various controversies about “what constitutes a film” – does it need a theatrical opening to compete?

As Elsa Keslassy wrote in Variety on May 10th, “the Cannes Film Festival said Wednesday that it would keep Netflix movies Okja and The Meyerowitz Stories in competition despite opposition from French exhibitors but that, in future, all competition titles ‘will have to commit…to being distributed in French movie theaters.’ The festival’s board had convened a meeting Tuesday to discuss the possibility of yanking both films from competition, as recommended by France’s exhibitors’ association, which is represented on the board. Although the idea was rejected, the festival issued a statement Wednesday expressing regret over Netflix’s decision not to release the films widely in French cinemas.

‘Cannes is aware of the anxiety aroused by the absence of the release in theaters of those films in France. The Festival de Cannes asked Netflix in vain to accept that these two films could reach the audience of French movie theaters and not only its subscribers,’ the statement said, adding: ‘The festival regrets that no agreement has been reached.’ The festival said it had decided to ‘adapt its rules’ for the future. Starting next year, ‘any film that wishes to compete in competition at Cannes will have to commit itself to being distributed in French movie theaters.'”

There will be much more on this, but sadly, most of the films in the festival will never see general release – a drastic change from the days when every film in the festival was guaranteed a theatrical opening, if only because of the prevailing technology of the era. And the glitz and glamour amp up every year, so that in a sense, the movies themselves become almost incidental. Still, it’s a celebration of the cinema – with many diverging opinions – and it’s nice to see a festival which honors the art of the cinema, while at the same time being one of the most competitive cinematic marketplaces on the face of the planet.

You can see a complete rundown the festival, which runs from May 17 to 28, by clicking here.

The Collapsing Theatrical Window for Films

Thursday, May 18th, 2017

As Anthony D’Alessandro notes in Deadline, theatrical release windows for movies are in jeopardy.

There’s been a lot of talk recently that film distribution is moving away from theaters, and towards PVOD – Premium Video on Demand – viewing a film at home on the day of release for as much as $50 a pop. It’s been tried before, and except for big ticket sporting events, it hasn’t really worked out. But that may be changing.

As  D’Alessandro reports, “The urban myth feared by many is that if the per-title rental price in the PVOD window drops down to $20, consumers ultimately will realize that it’s cheaper to watch a movie at home then in cinemas, forgoing costs that come with a night out, i.e. babysitter, parking, dinner, etc. Some studio executives claim their talks with exhibition over PVOD aren’t contentious, but many insiders say that both parties’ working relationship is best described as ‘frenemies.’

Says one distribution veteran: ‘Exhibitors are freaking out. They can’t make money unless they grow their companies, and it’s hard to build these $40M multiplexes. If you have your investors hearing about windows closings, what incentive is there for them to hold on to their stocks?’ The former executive adds that PVOD, if not managed properly, could cause ‘a slowdown in exhibitions’ luxury-seat remodeling and force the mom-and-pop theaters out of business.’ Some also forecast that the domestic supply will shrink, that moviegoing will be relegated to tentpoles with mid- to low-budget fare relegated to in-home streaming.

However, these are doomsday theories, and there’s some positive evidence that the majors aren’t going to cannibalize their own business. Here they are:

The Theatrical Window Will Be Protected: ‘The last thing studios would want to do is threaten that lucrative revenue stream by encroaching on the theatrical window,’ says Tony Wible, Media & Entertainment Senior Analyst at Drexel Hamilton. ‘Theatrical plays a role in pricing the TV licenses for films, and there’s an incentive for studios to maintain the theatrical window.’

Despite Their Bullishness, Studios Haven’t Figured Out a PVOD Formula Yet: There’s buzz that Warner Bros. will come to terms on a PVOD solution by Q4 or Q1 2018, but they’re not going to act alone in the marketplace without another studio. In addition, there are too many moving parts to the PVOD equation, and the whole notion of it goes beyond the Monday-morning haggling between a distributor and exhibitor to hold a film on screens. Other windows like electronic sell-through [EST, when the consumer purchases a permanent video download, either in the cloud or on their computer] would be impacted, and that’s another discussion studios need to have with digital partners including iTunes and Vudu.

If PVOD Becomes a Reality, It Will Face Its Own Challenges: Home consumers already have committed their [money] to cable bundles, Netflix, Hulu and Amazon Prime. When it comes to content in the home, they have way too much of it, not to mention VOD menus are already crowded. So, where’s the incentive to rent one title for [as an example] $30? ‘If you have a $30 VOD product, it’s going to be too expensive for the home consumer when it’s priced against these services,’ says Wible, ‘There’s a value trade-off.’

In Addition, Exhibition Claims That In-Home Streaming Services Aren’t Their Direct Competition: According to Alamo Drafthouse and Neon label chief Tim League,’Theaters are more in competition with restaurants and comedy clubs and the types of entertainment that gets you out of the house.’ Currently, exhibitors such as Regal, Cinemark and AMC are barreling forward with luxury modeling and food/alcohol amenities, and these efforts have led to increased capacity and B.O. revenue upticks, with increased cash-on-cash returns.

Mid- and Low-Budget Movies Can Remain in the Theatrical Space: Some have screamed that economically budgeted fare doesn’t have a chance going forward in an event-driven theatrical marketplace, but the success of Get Out, Split, Fifty Shades Darker, Hidden Figures, John Wick: Chapter 2 and even La La Land have proved otherwise; that’s all about how a studio positions and sells a film. ‘There’s not a clear delineating line of what is meant for theatrical and what’s intended for streaming,’ says Amazon’s distribution and marketing chief Bob Berney.

Whether a mid-budget or indie film winds up on streaming or theatrical has a lot to do with a film’s financiers, and when there’s a company like Netflix willing to pony up big bucks for the smaller screen, money talks. In addition, mid-level and low-budget films ‘need to be event-ized,’ says Berney. Whether they thrive on the big screen boils down to several factors, i.e. a distributor’s passion for the film, how far they’re willing to go with it, a pic’s critical and festival reactions. Not to mention, as long as there are Oscars, there will be smart, upscale specialty movies on the big screen.”

There’s much more to this excellent article; you can read the whole piece by clicking here.

Maybe VR Isn’t The Future of Cinema – Just a Gimmick?

Friday, May 5th, 2017

Many Best Buy VR pop-up stores closed in February; now Facebook is shutting down its Oculus Story Studio.

As Janko Roettgers reported in Variety, “Oculus Story Studio, the award-winning studio behind virtual reality (VR) short films like Dear Angelica and Henry is being shut down, Facebook announced Thursday afternoon. The studio’s 50 staffers are encouraged to apply for new jobs within Oculus, but all ongoing projects of the studio are being cancelled.

‘We’ve been looking at the best way to allocate our resources to create an impact on the ecosystem,’ said Oculus VP of Content Jason Rubin in a blog post. ‘After careful consideration, we’ve decided to shift our focus away from internal content creation to support more external production. As part of that shift, we’ll be winding down Story Studio.’

Oculus officially unveiled Story Studio to the world in early 2015, when it also premiered Lost as the studio’s first narrative piece. In 2016, Story Studio followed up with Henry, an animated VR short about a lovable hedgehog that won an Emmy for Outstanding Original Interactive Program later that year. And earlier this year, Oculus Story Studio premiered its most ambitious project with Dear Angelica, a VR film that was animated entirely within VR itself and that featured Geena Davis voicing one of the two main characters.

All three films will continue to be available on the Oculus Store, Rubin said Thursday. For Dear Angelica, the Story Studio team also developed an entire authoring tool called Quill that allows animators to draw 3-D scenes while wearing a headset and that has been available for free on the Oculus Store. Quill could be open sourced, according to a spokesperson, but Oculus is not going to provide any active support for it anymore.

That could be bad news for animators looking to explore new forms of storytelling in VR; the Story Studio team had in recent months been looking to venture into 3-D comics, and debuted a collection of VR comics at the Tribeca Film Festival last month. At the time, it announced that these comics would be released on the Oculus Store later this year, but that seems less certain now.”

This comes on the heels of an announcement in February 2017 that roughly 200 “pop up” Oculus demo booths located in Best Buy stores in the United States were being shuttered due to lack of consumer interest. As Michael Rougeau reported in Digital Trends, “just under half of the Oculus Rift demo kiosks in Best Buy stores across the U.S. are being shut down, according to a report from Business Insider. The reason? It could be a lack of interest from shoppers.

Apparently, it wasn’t uncommon for Best Buy employees ‘to go days without giving a single demonstration,’ the website said. A memo between a third-party company and store employees reportedly confirmed that the move is due to poor ‘store performance.’ An Oculus spokesperson later confirmed with the website that the Best Buy Rift pop-ups are closing, but said the shift is due to ‘seasonal changes’ and that Oculus is ‘prioritizing demos … in larger markets.’

The move will reportedly affect 200 of the 500 Best Buy locations in the U.S. that currently have Oculus Rift demo stations. ‘We still believe the best way to learn about VR is through a live demo,’ the spokesperson, Andrea Schubert, said. ‘We’re going to find opportunities to do regular events and pop-ups in retail locations and local communities throughout the year.’ She mentioned that stores in Canada will still have the demo kiosks as well.

Business Insider’s report cited multiple unnamed sources who said that the demo stations were often too buggy to use and demos were infrequent even during the holidays. Another of the site’s sources said that Facebook, which owns Oculus, has considered opening dedicated storefronts to sell the headset, but that those talks are still in the early stage.” Summing up the move, Rougeau noted that “the removal of Oculus Rift kiosks from Best Buy stores may be a signal of the product’s declining status.”

It will be interesting to see how this plays out in the coming months.

The Ghost of Frankenstein: The Monster in the Digital Age

Monday, April 17th, 2017

I have a new article out today: “The Ghost of Frankenstein: The Monster in the Digital Age.”

As I note in the article, “this essay takes its title from Erle C. Kenton‘s 1942 film The Ghost of Frankenstein, one of the last credible films in the original Universal series, and asks the question, ‘What are we to do with, or make of, the Frankenstein monster in the 21st century?’ Tracing the monster in film from its beginnings to the present, we see a disturbing but not altogether unexpected trend. Newer iterations of the classic tale feature more special effects, but less real content.

Universal is rebooting their stable of classic monsters with yet another version of The Mummy in Alex Kurtzman’s 2017 film of the same name starring Tom Cruise, with revamped versions of Frankenstein and Dracula to follow if the film is successful. Significantly, the 2017 Mummy is more of an action film than anything else; it seems that mood and menace will no longer hold an audience. But will any of these versions have lasting impact, or value?”

You can read the article by clicking here, or on the image above.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

RSS Recent Frame by Frame Videos