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New Article – Kelly Reichardt: Working Against The Grain

Thursday, June 9th, 2016

I have a new article on the films of Kelly Reichardt in Quarterly Review of Film and Video.

As I write in the article on her film River of Grass, ”like so many of Reichardt’s protagonists, Cozy and Lee want to leave the lives they’re drifting through behind, but they have no clear idea – indeed no idea at all, what to do about it. They have no money, no real aim, in life, but they’re not so much hopeless as they are bereft of imagination. There’s a world out there beyond Florida, but somehow, home is home, and that’s where they seem to be stuck, in a state of permanent stasis.

And, of course, the film has many stylistic and thematic debts, which Reichardt is all too willing to acknowledge. As she told Iain Blair, in River of Grass ‘I can clearly see Godard’s influence, and noir and early Terrence Malick. It’s all laid quite bare.’ The film was recently restored as part of a Kickstarter campaign by Oscilloscope Laboratories, and released as an extra on Oscilloscope’s DVD of Reichardt’s ultra-realistic, almost existential Western Meek’s Cutoff (2010). It’s a solid first effort, and certainly offers an early clue to the direction her career was heading in.

Reichardt followed this up with two shorter films, Ode (1999), clocking in at 48 minutes, which is a sort of riff on the plot of the 1960s pop song hit Ode to Billy Joe, and then two very short films: Then A Year (2001), dealing with the consequences of a ‘crime of passion,’ and Travis (2004), centering on the human cost of Iraq war. But at the same time, Reichardt’s enthusiasm for making films had dwindled; these newer films were shorter, less ambitious, and she was clearly backpedaling in her career – indeed, she wondered if she had any real future as a filmmaker in any realistic sense, even working at the margins of the industry.

River of Grass has made something of a splash on the festival circuit, being nominated for Best First Feature, Best First Screenplay, and Best Debut Performance (Lisa Bowman), as well as the rather enigmatically named Someone to Watch Award at the 1996 Independent Spirit Awards, as well as being nominated for the Grand Jury Prize at the Sundance Film Festival in 1994, and for Best Feature Film at the Torino International Festival of Young Cinema – but none of those nominations translated into a win, and gradually, the ‘heat’ surrounding Reichardt began to wear off.

As she admitted to Iain Blair, ‘making [River of Grass] was a real eye-opener, and even going to Sundance and all of it – that was my first realization that it was different for women in this business. There were just two of us women filmmakers at Sundance in ’94, and there was no sense of camaraderie or welcoming – no fault of Sundance. And I took it really personally and it took me a long time to get over it. That was a part of my retreating afterwards.

The other part was, I just couldn’t get financing, and it was so frustrating. I tried so hard to be a more avant-garde, less narrative filmmaker, but it just didn’t come naturally to me. I went to L.A. for a while, and Jodie Foster was going to produce a film I was doing, but it never got made. I simply didn’t have the social skills needed to operate in the business. So I went back to Super 8, which is what I’d done in college.

It seemed like nothing happened during my time in L.A., but I’d worked – in the art department – on Poison, and I became friends with (director) Todd Haynes. And he introduced me to (novelist) Jonathan Raymond, and one of his stories became the basis for Old Joy (2006) – but I had no idea when we did it that it’d even become a feature.’”

In short, it’s a tough world out there, but Kelly Reichardt keeps working, which is the only way to get anything to happen, no matter what your chosen field. Unfortunately, the article is behind a paywall, but you can gain access through Love Library Reference, if you’re interested, and in the meantime, check out some of Reichardt’s superb films – she’s one of the most truly original directors working in America today.

That’s Kelly Reichardt – working against the grain.

Robert Reed’s Hugo Nominated Novella “Truth” Is Now A Movie

Tuesday, April 12th, 2016

Robert Reed’s Hugo Nominated Novella “Truth” Is Now A New Movie – And It’s Hot!

As the film’s official website notes, “on a cold February night, a young man is found unconscious at the wheel of a crashed vehicle in Montana not far from the Canadian border and a lump of weapons-grade Uranium is recovered from the trunk. He is immediately thrown into a high-security prison and tortured relentlessly for months. But apart from a few vicious-sounding curses in an unknown language, he utters nothing.

Then one day out of the blue, he gives his interrogators a list of numbers and letters, which turn out to be astronomical coordinates of upcoming Supernova explosions. The very next day the first of those celestial events occurs exactly as predicted, sending shock-waves through the security establishment. It’s obvious; the man in custody is no ordinary terrorist. He is a time-traveller from the future.

Fifteen years later, Ramiro still sits in the same secret prison two kilometers under the ground, but much has changed in the world above. Based on the information he has provided over the years, the US has waged a relentless war on terror in an attempt to neutralize the remaining ninety-eight ‘temporal jihadists’ Ramiro claims arrived with him. Several countries in the Middle-East have been invaded, Pakistan has been wiped off the map and India is next on the list. But the terrorists, led by their enigmatic leader Abraham, remain at large.

Such are the state of affairs the day CIA agent Carmen Reese arrives at the prison. Her immediate task is to investigate the mysterious death of her predecessor – a talented interrogator, who had successfully secured Ramiro’s cooperation for years. Was it suicide as the evidence suggests? Or was it murder? Carmen knows that the answers to these questions are linked to bigger, more important questions: Is Ramiro who he claims to be? And what is his real agenda?

As the world slips further into chaos and destruction and the threat of nuclear holocaust looms large, Carmen engages in an intense psychological battle with Ramiro, who seems to have a window into her inner world and is ready to exploit her emotional vulnerabilities to achieve his goal.”

The film, directed by Gaurav Seth, is already burning up the European film festival circuit, winning the Critics Choice Award (Prêmio da Crítica) at the Fantasporto Festival earlier this year, and opens in Canada on April 15th – in a just a few days. It seems like a promising bet for release in selected cities in the United States, with a national rollout a distinct possibility.

As one critic writes, “Seth keeps the film tight, tense, and claustrophobic, while his adaptation of Reed’s novella gets very big picture, while maintaining the intimate vibe. He effectively hides some twists in plain sight, ultimately building to a dramatic but logically consistent conclusion. Altogether, it is an excellent example of indie science fiction,” while Mario Trono of the CBC adds that the film is best described as “Zero Dark Thirty meets The X Files.” It’s a great example of a modestly made film that absolutely clicks on every level – and you can see the trailer by clicking here, or on the image above.

Good to see some small scale, intelligent sci-fi for a change!

Ramin Bahrani’s 99 Homes (2015)

Saturday, September 26th, 2015

Michael Shannon as real estate predator Rick Carver in Ramin Bahrani’s new film 99 Homes.

Mixed in with the recent wave of ultraviolent films like Eli Roth’s Green Inferno, and feelgood Capraesque fantasies like Nancy Meyers’ The Intern, there are occasionally a few really good American films that get released, but they don’t get much of a theatrical run. That’s because they’re independent films, and so they have to compete with the majors for theater screens. So, now playing in just a few cities, and breaking a bit wider in October – but still not “in theaters everywhere” as it should be – Ramin Bahrani’s brutal drama 99 Homes brings the current US housing crisis into sharp focus, offering Americans a bleak landscape made up of winners or losers, with no ground inbetween.

Michael Shannon absolutely inhabits the role of Rick Carver, a real estate broker who makes a fortune repossessing homes and then flipping them, without even the slightest vestige of humanity, decency, or compassion. Indeed, he throws away his most threatening lines with such utter indifference that it almost seems as if the camera isn’t there – Shannon takes up the entire screen with his presence. Utterly cold and calculating, Shannon’s Carver is the bottom-line nightmare writ large, as people cease to matter, and all that counts are financial transactions, taking advantage of others’ misfortunes, and the ruthlessness to exploit and ultimately destroy those who can’t fight back.

As David Edelstein noted on NPR in an excellent review of 99 Homes, “the most powerful morality plays work like drama instead of melodrama, so you’re not just on the side of the victim, you also see the world through the eyes of the oppressor. Wall Street did that, although Oliver Stone made the devil-mentor of the wide-eyed protagonist, Gordon Gekko, so charismatic that a generation of moneymen adopted him as a role model. Ramin Bahrani’s 99 Homes works on the same principle, with one key difference. The villain is Rick Carver, a predatory Florida real estate agent played by Michael Shannon, but the guileless apprentice he corrupts begins as one of his victims.

That victim is Dennis Nash, played by Andrew Garfield. Nash is a skillful builder, but the market has fallen out of the construction business and he barely gets work. He takes out a loan he can’t repay on the house in which he lives with his mom, played by Laura Dern, and his young son. Early on, he fights foreclosure before a brusque judge. Then comes a knock at the door: the sheriff and, behind him, Carver. In the scene that follows, a hand-held camera swerves with the characters as the mother cries out in grief and Nash pleads and argues. Bahrani presents this as a primal violation. Owning a home in the U.S. is hugely freighted with issues of self-worth. I found the scene so excruciating I had to get up and walk around the back of the theater.”

In an America in which 1% of the populace control 99% of the nation’s wealth, and apartment sales in Manhattan routinely list in the high seven-figure bracket, the middle class is being increasing squeezed out, and only those who have the education, and the skills to survive will prevail – and as 99 Homes makes clear, at the same time navigate through a wilderness of payday loans, indifferent social systems, and an increasingly detached citizenry, who just sit by and watch these things happen – as long as they’re happening to someone else. Shannon, who was so remarkable in the offbeat drama Take Shelter does some of the finest work of his career here, and director Bahrani, whose earlier films – such as the much admired Chop Shop (2007) – always have a cutting edge, also delivers – at least in my opinion – his most unrelenting work to date.

This is one of the most powerful films of the year. See the trailer here.

Interview with Sean Price Williams

Saturday, September 12th, 2015

Here’s a great interview with Sean Price Williams by Matt Mulcahey from Filmmaker Magazine.

In the 1960s, it was cinematographer Raoul Coutard who revolutionized the cinema; in 2015, Sean Price Williams is also pushing the limits of the known into new and interesting places. As Williams’ Wikipedia entry notes, “the New Yorker film critic Richard Brody described Williams (in a memorial appraisal of documentary filmmaker Albert Maysles, for whom Williams served extensively as cameraman), as ‘the cinematographer for many of the best and most significant independent films of the past decade, fiction and documentary — including Frownland, Yeast, Fake It So Real, The Color Wheel, Young Bodies Heal Quickly, Listen Up Philip, the Safdie brothers’ Heaven Knows What, and Alex Ross Perry’s new feature Queen of Earth.’

In a 2013 article for Film.com, critic Calum Marsh deemed Williams ‘micro-budget filmmaking’s most exciting cinematographer.’ Marsh would go on to write in a 2014 article in Toronto’s National Post that ‘Williams, in particular, has proven indispensable to the [2010s American independent film] movement, and over the past several years has distinguished dozens of the films with his all but peerless talent for photography, from experimental nonfiction work like Maiko Endo’s Kuichisan to more conventional comedies like Bob Byington’s Somebody Up There Likes Me.” Williams has also worked several times with the director Abel Ferrara, whom he greatly admires.” And refreshingly, he prefers to shoot film, and not digital, and loves it.

Here’s part of Mulcahey’s interview:

Filmmaker: We’re roughly the same age and my love of movies really developed at the video store. Did you have a similar experience?

Williams: Oh yeah. Where I grew up there wasn’t much, but I got a VideoHound and just started calling and writing to all the distributors in the back to get catalogues because I wanted to see all these foreign films and I didn’t know how else to see them. And I would get these catalogues and everything was like $90. (laughs) I was just so anxious to see these movies. Then I discovered this video store in Delaware and it was one of those amazing moments in my life that I can’t believe is real. I walked into this place and there was an entire shelf of Fassbinder tapes. It was this totally curated art film store in Delaware. It enabled me to basically get an education in movies, which is what I devoted my entire high school experience to. I didn’t go to parties. Didn’t do any sports really. I just watched movies.

Filmmaker: I remember as a teenager, before the days of IMDB, if I saw a movie by a director I liked, I would search either the Leonard Maltin or Roger Ebert review books to find other films by that person.

Williams: Ephraim Katz’s The Film Encyclopedia was the big resource for me. They had it in my library and I had it checked out pretty much four straight years.

Filmmaker: How’d you end up heading to New York?

Williams: I went to college in Baltimore and then I dropped out because all of the film equipment there started breaking and they started changing over to video, which I wasn’t interested in. I had an opportunity to move in with a girl in New York, so I did. I just sort of made the leap. I started working for this internet company doing video content. I had no intentions of being a cinematographer or anything.

Filmmaker: And you met Alex Ross Perry while working at Kim’s Video in New York?

Williams: I started working at Kim’s in 2000 and then in 2005 Alex started coming in and begging for a job. No one else would talk to him, but I said, ‘Yeah, I’ll see what I can do.’ And then every day he’d come in and I’d be like, ‘Look, I’ll try.’ Every day. Finally I got him a job on the second floor — I was on the third floor. Then I got fired really soon after I got him the job — not because of him though. (laughs)

Filmmaker: Was there a specific director you bonded over?

Williams: There was a big moment where we all went and saw Out 1, the 13-hour Jacques Rivette film, at the Museum of the Moving Image. It showed over two days during the weekend and that’s when we were all like, “You know what, Alex is pretty cool.” We became buddies then. I think it was around that time, too, that he did his thesis film and I thought it was terrible and I told him so. I said, “You’ve got good taste in movies, but this is really bad.” And he said, “Well, the next one we’ll make together.” And then we made Impolex maybe a year after that.”

Read the entire interview by clicking here; who knows what he’ll do next?

Infinitely Polar Bear

Tuesday, August 18th, 2015

Zoe Saldana, Mark Ruffalo and Director Maya Forbes on the set of Forbes’ Infinitely Polar Bear.

Here’s a beautiful little film that needs much more attention; it opened and closed in a matter of weeks, but it’s one of the best American films of the year; tender, daring, accomplished, with some terrific acting by the leads, as well as the supporting cast. In a detailed interview with San Francisco’s public television station KQED, the interviewer asked “what if you could go back in time to one of those moments that presaged your parents’ temporary separation or ugly divorce?

As an adult, what exactly do you remember about the fights they had, the struggles they went through to take care of their own lives and put food on the family table? Would you be more sympathetic to their flaws and failings if you could overhear those heated conversations and arguments? Could you forgive them, at last, after all these years?

Maya Forbes stages and recreates those moments in her debut feature film Infinitely Polar Bear [child speak for "infinitely bipolar"]. Like Kramer vs. Kramer and Shoot the Moon — films that depict marriages in turmoil — Forbes’s movie is generously empathetic to all the players involved, if not especially so to the character of her manic depressive father, as played by Mark Ruffalo.

For Forbes, the impulse to make the film was rooted, lovingly, during a moment of her childhood when her father was, briefly, the primary caregiver: ‘When I was little, I just so wanted to fix everything and solve everything and make everything okay.’ For 90 minutes, in her own cinematic way, she has.”

As Forbes herself noted, “My mother wanted to be a theater producer, and she was for a while. But then, when my father had his breakdown, she had to figure out how to make a living. A theater producer wasn’t going to pay the bills — it was like being an independent filmmaker. I saw that decision as a double sacrifice. She was doing this because she really wanted us to have an education, and she was giving up her dream of being in the world of arts, which is where she wanted to be.

She was very successful, but I saw the sadness in that, which was compelling to me. When I got older, because I knew I wanted to be an artist, I also had this conflict about motherhood and career and ambition. Career and ambition are often not even the same in some ways. I had a really good career as a Hollywood writer. But I wasn’t fulfilling my ultimate ambition, which was to make a movie that was very personal . . .

I didn’t want to do something that was either cartoonish or overly dangerous. My father certainly had a temper. He also had the ability to apologize. He had a lot to apologize for and he apologized a lot. Somehow, that was something he could do, which isn’t to say he could get away with all sorts of terrible things.

What was so fascinating to me was this period of stability for him. The only stable time of his life, really. My mother knew that he was a very loving father and I think she also knew that he needed responsibility, he needed some kind of anchor and he was better when he was with the family. He was better when she wasn’t around because then he was the responsible adult. When there’s another responsible adult there, you can be the crazy one . . .

My father died in 1998 so I was saying goodbye to this experience of being with him. What I also realized was, of course, that all he wanted was to take care of us. At the same time, all he was ever trying to say to us was, ‘You go out into the world and conquer.’ He was a feminist too and he had that conflict in him. That’s the whole sacrifice he has, which really hurt. I feel that every time thinking about him.”

You can read the entire interview here; this is a superb film, that should not be missed.

Roberty Downey Sr.’s Pound (1970)

Sunday, May 3rd, 2015

Robert Downey Sr. (center) with cast members on the set of his film Pound.

As readers of this blog know, I’m a friend and fan of the work of Robert Downey Sr., whose best known film after all these years is Putney Swope. I first met Bob back in 1969, right after the success of Putney, when he was editing Pound in a cutting room in the West 50s in Manhattan. We hit it off, and remain friends to this day, but although I’ve written about a lot of his other work, I’ve never really tacked Pound, which is simultaneously one of his most disturbing and ambitious films, and was – at least in my mind – a highly unlikely follow-up to Putney Swope. But at this point in his career, Bob could write his own ticket, and the result is one of the darkest, most unsettling visions of humanity in crisis that ever hit the screen – yet to this day, Pound is almost impossible to see.

As Rich Drees noted in a 2006 article on Pound, the plot of the film is simple: “set in a New York City dog pound, 18 dogs, played by human actors, wait to be adopted. Part existential comedy, part allegory, the dogs include a punch drunk Boxer (Stan Gottlieb), a hyperactive Mexican Hairless (a scene stealing Lawrence Wolf) and a sleek Greyhound (Antonio Fargas). Meanwhile, the city is being terrorized by a serial killer dubbed The Honky Killer (James Green). Pound also features the debut of performance of Downey’s son Robert Jr. as a puppy temporarily held at the pound.”

But that’s just the set-up. Hovering over all the characters is the continual threat of death from “the needle” – they’re not so much waiting to be adopted, as waiting to be executed. A terrier advises that they should revolt against their captors and escape, while an airedale argues that their deaths are not imminent, and a pardon is forthcoming. Throughout the film, there a number of mournful musical numbers which verge on nihilistic vaudeville, interspersed with a series of philosophical diatribes on the nature of existence, the transience of life, and the ways in which we’re all in a prison of one sort or another, whether we wish to admit it or not.

The end of the film is terrifying, as all of their ranting against the caprices of fate comes to naught. Without warning, a guard peremptorily pulls a switch that sends poisonous gas into the holding chamber, and one by one, the animals die an agonizing death, with each “dog” given a last, wistful closeup as they expire. Downey then cuts to a final sequence on a train to nowhere, as the “dogs” sit in their seats, bound for who knows where – heaven? hell? limbo? – and a candy barker walks through the aisle with a megaphone singing the 1930s song “Just One More Chance,” the lyrics of which, in part, lament that “we spend our lives in groping for happiness / I found it once and tossed it aside / I paid for it with hours of loneliness / I’ve nothing to hide.” And on this unresolved note, the film ends.

Not surprisingly, Pound was summarily rejected by the sponsoring studio, MGM, who for some reason, Downey told me, thought that the film would be an animated cartoon. When they saw the finished result, MGM dumped it on the bottom half of a double bill with Federico Fellini’s Satryicon, to Downey’s delight. Yet not surprisingly, given the film’s incredibly bleak outlook on life, Pound has never had a VHS or DVD release, although it was available as a streaming download on Netflix for a time, but has now been withdrawn.

Indeed, as Drees notes, it’s a miracle that the film exists at all, since “the only print of the film that Downey could locate was found in his ‘cameraman’s ex-wife’s closet . . . a 35mm print that was dead.’ Although the print itself was deemed unprojectable, it was able to be digitally scanned and restored. ‘So they put the color back in,’ says Downey. ‘They cleaned up the sound a bit too. Technology is great, it’s just the movies aren’t getting any better. It’s only because of digital technology that some of this stuff can be saved, because most of the colors just go. Most of my stuff in color other than Greasers Palace (1972), I hate the color. I love black and white.’”

Based on a play Downey wrote very early in his career, The Comeuppance, which was produced Off-Off Broadway in 1961, Pound betrays its theatrical origins, and has strong links to Sartre’s play No Exit, as well as to Downey’s even earlier efforts, such as his first play about two nuclear missiles in a silo, waiting go off, talking to each other about the destruction they will inevitably inflict on humankind. Pound can certainly be seen as an extension of that, and it’s no wonder that it was so roundly rejected by the general public, and got an NC-17 rating – it’s a real warning that the only one you can really trust in life is yourself.

There are bootlegs of the film, of course, drifting around on the web, and today, the film’s major curiosity draw seems to be the brief appearance of Bob Downey Jr. in a small role as a puppy – but the film is much more than that. It’s certainly not a masterpiece, and Downey himself has expressed definite reservations about Pound, but all in all, it’s one hell of a scary vision of life, and a real outlier in film history – the work of someone chasing not success, but his own vision, consequences be damned. As Downey said of his work as a filmmaker, “after being thrown out of the house, four schools and the United States Army, I discovered that I was on the right track.”

“I just think he’s one of our great American directors” — Paul Thomas Anderson

Artist Run Film Labs – A New Phenomenon

Tuesday, March 31st, 2015

In the digital era, as the number of film labs decline, real artists are taking the lead.

As Genevieve Yue writes in the March 30, 2015 online issue of Film Comment, “there are roughly 65 film labs left in the world, of which around 20 are in North America. These ranks, along with the number of film stocks being manufactured, dwindled as digital technologies have saturated the realm of production and studios have moved away from film. When it comes to labs that process 16mm film—a mainstay of experimental film—and small-gauge stocks, only a few commercial options exist, mostly in the United States: Cinelab, in Boston; ColorLab in Maryland; Deluxe in New York City; Dwayne’s Photo in Kansas; and Fotokem in Burbank. One of the most recent casualties of this technological shift has been Pac Lab, which closed in New York, screening its unclaimed films at Anthology Film Archives.

The decline in commercial film production, however, has been countered by a rebirth in the phenomenon of artist-run film laboratories. What in the early Nineties was limited to a handful of cooperatively owned, independent labs, mostly in France, has grown into an international network of over 30, many of them formed within the last several years. The decline of film processing created a surplus of cheap, unwanted equipment that, in the right hands, could be repurposed for the smaller-scale operation of an artist-run lab. Saved from the scrap heap, many discarded contact printers and processing tanks have begun a second life as artists’ tools.

For many, this historical juncture between film and digital media has been cause for lament. But among those in the growing artist-run film lab community, the view is considerably more sanguine. Many are younger filmmakers drawn to the creative possibilities of hand-processing in workshops at places like Mono No Aware, in Brooklyn, or Big Mama’s Cinematheque in Philadelphia. For these artists, film offers a range of textures and expressive possibilities not available in digital formats. Others are drawn to the ‘home-brew’ DIY spirit that celebrates the autonomy of artist-run labs. Josh Lewis, who in 2012 founded the Negativland lab in Ridgewood, Queens, describes it as ‘a more involved way of being a filmmaker. You can’t rely on an industry that serves Hollywood. You need to be a technician and a filmmaker.’

For filmmakers like Lewis, the current moment offers the opportunity to sever cinema from its industrial tether. In many ways, this is the culmination of the avant-garde dream to become fully independent. Experimental film, at least at the level of materials, has been invariably tied to the commercial conditions of the film industry at large, though its output may have more in common, aesthetically and culturally, with the types of objects that circulate in the art world. Now, in response to a collapsing apparatus for the production of film, avant-garde filmmakers are developing the means and momentum to adapt and design their own methods of making films.”

This is a fascinating development – you can read the entire article by clicking here.

Filmmaking Tips from Mike Leigh

Tuesday, February 10th, 2015

Landon Palmer offers six filmmaking tips from master British realist Mike Leigh in Film School Rejects.

As Palmer writes, “Mike Leigh is one of few filmmakers who could say something like, ‘given the choice of Hollywood and poking steel pins in my eyes, I’d prefer steel pins’ without suggesting even a hint of hyperbole. Leigh is deeply principled in terms of the dramatics, process, and politics of filmmaking, and we’re all the better off for it. The filmmaker made a name for himself with acutely humanist works of British social realism that bore some inheritance to the ‘kitchen sink’ tradition, but imbue drama with a type of wit, spontaneity, and empathy that is simply inimitable. Leigh’s patient, improvisatory, and collaborative process appears seriously counterintuitive from the perspective of commercial filmmaking, and as a result produces human dramas that are deeply felt and strikingly insightful.

And in his early seventies – after making a dozen feature films and even more TV programs – Leigh is still finding new, seemingly unlikely means of representing life through the moving image. His most recent film, Mr. Turner, was his first to be shot digitally. It’s a surprising move for a period piece, but Leigh and longtime cinematographer Dick Pope use the relatively new technology of capturing 21st century images in order to depict how painter J.M.W. Turner found new ways of capturing 18th century images. So here is a bit of free film school (for fans and filmmakers alike) from the guy who has realized the best performances by your favorite British character actors.”

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

New Filmmakers, New Works – The Film Makers’ Cooperative

Thursday, January 22nd, 2015

Looking for something new in the way of filmic visions?

The Film Makers’ Cooperative has been around since the early 1960s, when it was founded by Jonas Mekas and a host of other filmmakers; I myself was a member of the Coop for many years. It remains perhaps the most egalitarian distribution company in the United States, which is in itself a remarkable achievement. The Coop is open to all; anyone can submit a film, there are regular screenings throughout the year, and here’s one such example above. Of course, you have to be in Manhattan to take advantage of this, but The Coop stands alone as a beacon for independent film -willing to take any risk to bring more cutting edge works before the public. So if you’re in New York City at the end of the month, why not check out this screening, and see what some new people in the field are up to? I’m so tired of writing about the hegemony of the mainstream cinema; here’s your chance to supportive an alternative series of visions, and young filmmakers, and at a cost of just $10 – what you would pay for an ordinary film.

The Film Makers’ Cooperative is keeping the spirit of truly independent cinema alive.

Godard Directs Breathless

Saturday, May 24th, 2014

This astonishing shot of Jean-Luc Godard directing his first feature, Breathless (1960), has just surfaced.

What’s so amazing about it? This is the sequence in which Patricia Franchini (Jean Seberg) interviews the writer Parvulesco (in real life, director Jean-Pierre Melville) at the airport; what’s impressive and inspirational here is the simplicity of the working crew, stripped down to the bare essentials. Other than Godard, seated, gesturing towards the off-screen actors, the only other person directly involved in the shooting is camera operator Claude Beausoleil (Raoul Coutard was the director of cinematography, but Beausoleil did much of the actual shooting) – one cameraman, one director, to shoot the scene – that’s all.

The sound was all post-synchronized, so there’s no need for a Nagra and a boom mike. Natural sunlight provides all the illumination Godard needs. The resulting film reinvented the cinema, and established Godard as a director of the first rank. Filmmaking should be this simple; there’s no need for thirty people to supervise a simple scene such as this. If film is to reinvent itself again, it must return to the basics; a camera, some actors, a director, and the power of the direct image – above all else.

Click here, or on the image above, to see the trailer for Breathless.

About the Author

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.

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