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Culling Premiere Editing Services | 50 % OFF
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youreditingteamfr · 2 years
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yourediting · 2 years
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itsfinancethings · 5 years
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December 04, 2019 at 09:53PM
(NEW YORK) — A documentary on Taylor Swift will kick off the next Sundance Film Festival, where new films including the Will Ferrell-Julia Louis Dreyfus remake of the Swedish film “Force Majeure” and Benh Zeitlin’s long-awaited follow-up to “Beasts of the Southern Wild” are set to premiere.
Programmers for the preeminent showcase for independent cinema, founded by Robert Redford and set annually in the mountains of Park City, Utah, announced the lion share of the lineup for its 2020 edition on Wednesday. The lineup of 118 feature-length films, culled from a record 15,100 submissions, come from 27 countries, includes 44 first-time filmmakers and is among the most diverse in the festival’s 37-year history. In the four competition categories, 46% of the directors are women, 38% are people of color and 12% are LGBTQ.
The coming Sundance, set for Jan. 23-Feb. 2, follows a 2019 festival that saw big-pocketed streaming services set off an avalanche of high-priced acquisitions, some of which notably fizzled at the box office. Amazon paid large sums for “Late Night” and “The Report” but neither made much of a dent in theaters; Amazon is now shrinking its exclusive theatrical window for some releases. Warner Bros.’ paid $15 million for the Bruce Springsteen-infused coming-of-age tale “Blinded by the Light,” but it failed to catch on.
The biggest hit to emerge from last year’s crop was Lulu Wang’s “The Farewell,” which has grossed $17.7 million for A24. It’s been one of the bright spots in a trying marketplace this year for indie film. Still, Sundance, where movies like “Get Out,” “Little Miss Sunshine” and “The Big Sick” first debuted, remains the premier factory for breakout hits. Lately, that’s increasingly meant documentaries, too, including “RBG,” “Won’t You Be My Neighbor?” and, from this year’s Sundance, “Apollo 11.”
Sure to add extra frenzy this year is Lana Wilson’s “Taylor Swift: Miss Americana,” which the festival describes as “a raw and emotionally revealing look at one of the most iconic artists of our time during a transformational period in her life.”
Netflix has acquired the film and plans to release it in early 2020. It is also set to distribute seven more, including new films from “Mudbound” filmmaker Dee Rees and the fictional debut of “What Happened, Miss Simone” director Liz Garbus — an early sign that Netflix will play a prominent role in this year’s Sundance.
Apple, too, has already gotten in on the act, a year after making its first acquisition at Sundance (“Hala”). On Monday, it picked up a high-profile documentary headed to Park City: Amy Ziering and Kirby Dick’s untitled film about a former music executive grappling with the decision to go public with a story of sexual assault by a notable figure in the music industry. Oprah Winfrey is an executive producer.
“This year’s festival is full of films that showcase myriad ways for stories to drive change, across hearts, minds, and societies,” Redford, president and founder of the Sundance Institute, said in a statement.
Among the films debuting in Sundance’s Premieres section is Nat Faxon and Jim Rash’s “Downhill,” the English-language remake of Ruben Ostlund’s “Force Majeure,” starring Louis-Dreyfus and Ferrell as a couple whose relationship is altered after they escape an avalanche.
Zeitlin will unveil “Wendy,” a “Peter Pan”-inspired adventure shot in the West Indies. It’s his first movie since his Oscar-nominated debut, “Beasts of the Southern Wild,” a sensation at 2012’s Sundance.
Also on tap for are Rees’ Joan Didion adaptation “The Last Thing He Wanted,” with Anne Hathaway and Ben Affleck; Michael Almereyda’s Nikola Tesla biopic “Tesla,” starring Ethan Hawke as the engineer-inventor; Florian Zeller’s “The Father,” with Anthony Hopkins as an aged man who moves to Paris, co-starring Olivia Colman; and Garbus’ debut “Lost Girls,” a missing-child drama with Amy Ryan and Thomasin McKenzie.
Other notables include Julie Taymor’s nontraditional Gloria Steinem biopic, with Julianne Moore, Alicia Vikander, Bette Midler and Janelle Monae; Justin Simien’s horror satire “Bad Hair”; Dominic Cooke’s Cuban Missile Crisis drama “Ironbark,” with Benedict Cumberbatch; Emerald Fennell’s “Promising Young Woman,” a revenge tale led by Carey Mulligan; Sean Durkin’s ’80s-set marriage tale “The Nest,” with Jude Law and Carrie Coon; Josephine Decker’s Shirley Jackson biopic “Shirley,” starring Elisabeth Moss as the “The Lottery” author; Viggo Mortensen’s directorial debut “Falling”; and Miranda July’s “Kajillionaire.”
Other documentaries coming to Sundance include Ron Howard’s “Rebuilding Paradise,” about the aftermath of the devastating 2018 California wildfire; “The Fight,” about the ACLU’s legal battles with President Donald Trump; the Deepwater Horizon oil spill expose “The Cost of Silence”; and Kim A. Snyder’s “Us Kids,” about the teenage survivors of Parkland, Florida.
This will be the last Sundance overseen by its longtime director, John Cooper. He is stepping down next year to take on the role of emeritus director.
“​The program this year, my last as director, is a celebration: of art and artists, yes, but also of the community that makes the annual pilgrimage to Park City to see the most exciting new work being made today,” said Cooper.
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newstechreviews · 5 years
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(NEW YORK) — A documentary on Taylor Swift will kick off the next Sundance Film Festival, where new films including the Will Ferrell-Julia Louis Dreyfus remake of the Swedish film “Force Majeure” and Benh Zeitlin’s long-awaited follow-up to “Beasts of the Southern Wild” are set to premiere.
Programmers for the preeminent showcase for independent cinema, founded by Robert Redford and set annually in the mountains of Park City, Utah, announced the lion share of the lineup for its 2020 edition on Wednesday. The lineup of 118 feature-length films, culled from a record 15,100 submissions, come from 27 countries, includes 44 first-time filmmakers and is among the most diverse in the festival’s 37-year history. In the four competition categories, 46% of the directors are women, 38% are people of color and 12% are LGBTQ.
The coming Sundance, set for Jan. 23-Feb. 2, follows a 2019 festival that saw big-pocketed streaming services set off an avalanche of high-priced acquisitions, some of which notably fizzled at the box office. Amazon paid large sums for “Late Night” and “The Report” but neither made much of a dent in theaters; Amazon is now shrinking its exclusive theatrical window for some releases. Warner Bros.’ paid $15 million for the Bruce Springsteen-infused coming-of-age tale “Blinded by the Light,” but it failed to catch on.
The biggest hit to emerge from last year’s crop was Lulu Wang’s “The Farewell,” which has grossed $17.7 million for A24. It’s been one of the bright spots in a trying marketplace this year for indie film. Still, Sundance, where movies like “Get Out,” “Little Miss Sunshine” and “The Big Sick” first debuted, remains the premier factory for breakout hits. Lately, that’s increasingly meant documentaries, too, including “RBG,” “Won’t You Be My Neighbor?” and, from this year’s Sundance, “Apollo 11.”
Sure to add extra frenzy this year is Lana Wilson’s “Taylor Swift: Miss Americana,” which the festival describes as “a raw and emotionally revealing look at one of the most iconic artists of our time during a transformational period in her life.”
Netflix has acquired the film and plans to release it in early 2020. It is also set to distribute seven more, including new films from “Mudbound” filmmaker Dee Rees and the fictional debut of “What Happened, Miss Simone” director Liz Garbus — an early sign that Netflix will play a prominent role in this year’s Sundance.
Apple, too, has already gotten in on the act, a year after making its first acquisition at Sundance (“Hala”). On Monday, it picked up a high-profile documentary headed to Park City: Amy Ziering and Kirby Dick’s untitled film about a former music executive grappling with the decision to go public with a story of sexual assault by a notable figure in the music industry. Oprah Winfrey is an executive producer.
“This year’s festival is full of films that showcase myriad ways for stories to drive change, across hearts, minds, and societies,” Redford, president and founder of the Sundance Institute, said in a statement.
Among the films debuting in Sundance’s Premieres section is Nat Faxon and Jim Rash’s “Downhill,” the English-language remake of Ruben Ostlund’s “Force Majeure,” starring Louis-Dreyfus and Ferrell as a couple whose relationship is altered after they escape an avalanche.
Zeitlin will unveil “Wendy,” a “Peter Pan”-inspired adventure shot in the West Indies. It’s his first movie since his Oscar-nominated debut, “Beasts of the Southern Wild,” a sensation at 2012’s Sundance.
Also on tap for are Rees’ Joan Didion adaptation “The Last Thing He Wanted,” with Anne Hathaway and Ben Affleck; Michael Almereyda’s Nikola Tesla biopic “Tesla,” starring Ethan Hawke as the engineer-inventor; Florian Zeller’s “The Father,” with Anthony Hopkins as an aged man who moves to Paris, co-starring Olivia Colman; and Garbus’ debut “Lost Girls,” a missing-child drama with Amy Ryan and Thomasin McKenzie.
Other notables include Julie Taymor’s nontraditional Gloria Steinem biopic, with Julianne Moore, Alicia Vikander, Bette Midler and Janelle Monae; Justin Simien’s horror satire “Bad Hair”; Dominic Cooke’s Cuban Missile Crisis drama “Ironbark,” with Benedict Cumberbatch; Emerald Fennell’s “Promising Young Woman,” a revenge tale led by Carey Mulligan; Sean Durkin’s ’80s-set marriage tale “The Nest,” with Jude Law and Carrie Coon; Josephine Decker’s Shirley Jackson biopic “Shirley,” starring Elisabeth Moss as the “The Lottery” author; Viggo Mortensen’s directorial debut “Falling”; and Miranda July’s “Kajillionaire.”
Other documentaries coming to Sundance include Ron Howard’s “Rebuilding Paradise,” about the aftermath of the devastating 2018 California wildfire; “The Fight,” about the ACLU’s legal battles with President Donald Trump; the Deepwater Horizon oil spill expose “The Cost of Silence”; and Kim A. Snyder’s “Us Kids,” about the teenage survivors of Parkland, Florida.
This will be the last Sundance overseen by its longtime director, John Cooper. He is stepping down next year to take on the role of emeritus director.
“​The program this year, my last as director, is a celebration: of art and artists, yes, but also of the community that makes the annual pilgrimage to Park City to see the most exciting new work being made today,” said Cooper.
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houstonlocalus-blog · 7 years
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SXSW Film 2017 – Wet Edition
A steady rainy mist that lasted from Friday through Sunday during opening weekend of the SXSW Film Festival did little to dampen the spirits of those attending this year. If anything, it strengthened the resolve to brave the elements and long lines to catch world premieres of instant renown.
My hipster suede shoes were soaked by wet murk by Saturday afternoon. It was synchronicity in motion that random freebies being handed out on street corners included socks. At one point Saturday night I donned a spare pair of hiking shoes that I keep in my car trunk and never wear. Had I ever worn them I would know they were a half-size too small, although they were definitely waterproof.
Sunday’s strategy saw a return to the still damp suede shoes with a sock change every four hours. The sun eventually came out in full force on Monday just after noon. At that time I was scheduled to participate in a paintball war with other journalists and Sharlto Copley, a promotion for the film Free Fire, but the ground was soaking with mud and even with the protective clothing there was no respite for the shoes. So I wussed out and returned to Hicksville.
The shoes were the least of my cares. SXSW is all about new contacts and discoveries, seeing forgotten friends, breakfast parties and complimentary rubbing of the flesh. Some of the best conversations I’ve ever had occurred in a SXSW film premiere line. This year one exchange of words resulted in a participant culling a video on his smartphone that depicted bees learning. Everyone around pulled in to watch. A fake bee on a stick shows a real bee how to put a ball into a hole and get a sugar reward. Then the bee is putting the ball in the hole, and then the alpha bee is teaching another bee the same thing. And we haven’t even gotten to the real movies yet.
World Premiere Capsules:
Like Me revolves around an outcast young femme that uses social media to document an ever-increasing crime spree. At first Kiya (Addison Timlin) video captures a convenience store robbery, but soon resorts to kidnapping and putting her captive in bizarre sexual tableaus. This could well be an extended episode of Black Mirror.
Song to Song evokes Austin in the multiple uses of locations set in the capital city, some of which are long gone. The film was shot in 2012, but Terrence Malick is known for taking years to edit a film as well as an idiosyncratic style that consists of voice-over narration of the dialogue. There’s a sense that the characters that populate this universe have no souls, and at the same time the filmmaking excels in production value.
Alien: Covenant was teased by Sir Ridley Scott, who previewed about twenty-minutes of footage from the May release. Katherine Waterston, Danny McBride and Michael Fassbinder also participated in the stage presentation. Spoilers included the suggestion that the space craft the crew has landed on the planet gets destroyed during an alien infiltration, and the hint that the new cast meets up with characters from Prometheus.
Baby Driver has Edgar Wright in Walter Hill mode. A tightly constructed car heist film with an accelerated cast that delivers its narrative beats in time to the soon-to-be-talked-about soundtrack. Opens 11 August.
Lucky stars Harry Dean Stanton as a drinking and smoking 90-year-old in a California desert town populated by other eccentric types. Co-starring David Lynch, Tom Skerritt, James Darren and Beth Grant. Stanton anchors the film with his solid performance.
Atomic Blonde features Charlize Theron as a double agent on a mission in Berlin during the fall of the wall (1989). A high body count follows. At the screening Q&A, Theron talked about the extensive training she did for the role, admitting she “cracked two rear teeth” while clenching her jaws during certain exercises. Open late July.
Becoming Bond centers on the only actor to play Bond in a motion picture once – George Lazenby. More than one Bond aficionado considers On Her Majesty’s Secret Service to be at the top of the two-dozen Bond films extant. Lazenby worked as a car salesman and his good looks and strong personality got him the audition that sealed the deal. In addition to select clips from the Bond film, BB recreates moments from Lazenby’s life with help from co-stars like Dana Carvey and Jane Seymour.
Bill Nye: Science Guy documents Nye debating with people who believe the Earth is 6,000 years old and deny climate change. Nice balance of science and Nye’s personal life.
La Barracuda mixes the Austin music scene with the tale of a bastard child of a popular and now deceased folksinger. Sophie Reid plays Sinaloa, the haunted lead as who hitchhikes into Austin straight from Brighton ready to meet her half-sister and extended family. Tension ensues when Sinaloa reveals nasty anger management issues. Butch Hancock, The Mastersons and Colin Gilmore appear in supporting roles during concert sequences.
SXSW Film 2017 – Wet Edition this is a repost
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youreditingteam · 1 month
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youreditingteam · 1 month
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youreditingteam · 1 month
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youreditingteam · 1 year
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youreditingteam · 2 years
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youreditingteam · 4 days
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youreditingteam · 1 month
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youreditingteam · 2 years
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youreditingteam · 2 years
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