Close to a decade after American Zoetrope announced that the company had acquired the screen rights to Alysia Abbott’s “Fairyland: A Memoir of My Father,” the film adaptation has finally been made with the help of Safe Space Pictures Foundation.
The newly-launched funding entity was founded by producer Nicole Shipley to champion women and underrepresented voices in the entertainment industry by providing support to issue-driven documentary and narrative projects via equity, debt, and grant funding. Safe Space is currently working on ten nonfiction and narrative projects at various stages in production. The foundation’s investments in film or television projects range between 250,000 and 2 million.
“We take risks just like other investors, but our returns are measured in lasting, positive change,” says Jeff Sobrato, the foundation’s co-founder, and board chair. “Our model gives our collaborators the latitude to tell stories no one else will.”
Shipley and Sobrato will serve as executive producers on “Fairyland,...
The newly-launched funding entity was founded by producer Nicole Shipley to champion women and underrepresented voices in the entertainment industry by providing support to issue-driven documentary and narrative projects via equity, debt, and grant funding. Safe Space is currently working on ten nonfiction and narrative projects at various stages in production. The foundation’s investments in film or television projects range between 250,000 and 2 million.
“We take risks just like other investors, but our returns are measured in lasting, positive change,” says Jeff Sobrato, the foundation’s co-founder, and board chair. “Our model gives our collaborators the latitude to tell stories no one else will.”
Shipley and Sobrato will serve as executive producers on “Fairyland,...
- 6/22/2022
- by Addie Morfoot
- Variety Film + TV
When you think about Pepe the Frog, what comes to mind? In all likelihood, it’s either something tied to an internet meme, or more recently, the alt-right political movement. For many, that’s the only thing that they’ve been exposed to, in regards to the cartoon frog. However, the drawing began far more harmlessly, which is detailed in the new documentary Feels Good Man. A look not just at how Pepe was co-opted, but how his creator is fighting to reclaim his creation and give it back a purer identity, this is really interesting stuff. An unusual topic for a doc, it winds up being a reasonably thorough dive into both the danger and power of internet culture. The documentary follows underground cartoonist Matt Furie, who created Pepe the Frog, both as we learn about how the cartoon character came to be, as well as how he became an internet meme.
- 9/2/2020
- by Joey Magidson
- Hollywoodnews.com
Looking for funding for your next documentary short or series? Itvs, which produces the PBS series “Independent Lens,” will launch its latest funding initiative February 17 for projects under 30 minutes. Short-Form Open Call (previously known as Digital Open Call) considers projects about any topic, and they can be in development or production.
The initiative seeks projects that spark dialogue and can engage a young and diverse online audience. Topics of particular interest include exploring American identity, arts and humanities, criminal justice, disability, health, and rural life.
For nonfiction series, Itvs will accept applications for projects either in the research and development phase, which will be eligible for up to $25,000 to help creators bring their ideas to pilot. The organization will work with creators to develop stories and determine the length and number of episodes. For series in early-to-mid-production, Itvs will provide production support and funding that varies based on the project.
The initiative seeks projects that spark dialogue and can engage a young and diverse online audience. Topics of particular interest include exploring American identity, arts and humanities, criminal justice, disability, health, and rural life.
For nonfiction series, Itvs will accept applications for projects either in the research and development phase, which will be eligible for up to $25,000 to help creators bring their ideas to pilot. The organization will work with creators to develop stories and determine the length and number of episodes. For series in early-to-mid-production, Itvs will provide production support and funding that varies based on the project.
- 2/16/2020
- by Chris Lindahl
- Indiewire
Albert Maysles never got to watch his last film with an audience, passing away just a month before “In Transit” premiered at the 2015 Tribeca Film Festival, but simply completing the documentary marked the realization of a long-held dream. Maysles had wanted to shoot a film about passengers on a train for decades, but had trouble finding funding for a documentary whose subjects could only be discovered after shooting began.
Now, the film is finally released — but its future remains uncertain.
“In Transit” played at roughly a dozen film festivals and was being prepped by Al Jazeera America for a theatrical run with the help of sales agent Submarine Deluxe when Al Jazeera’s U.S. arm was abruptly shuttered in 2016, leaving the rights to the film in legal limbo. Part of the problem was that Al Jazeera had agreed to finance a 50-minute documentary for TV, not a feature film, so determining who had the rights to the feature-length version was a legal quandary.
The Maysles Documentary Center has been trying to purchase the rights to the documentary themselves, a more than two-year process that remains unresolved; in the meantime, they’ve been able to arrange for one-week runs at the organization’s own cinema and at New York’s Metrograph, starting on Friday. The team behind the film hopes to introduce the documentary to more audiences in the future, whether through traditional distribution or self-distribution.
Read More: Review: Albert Maysles’ Intimate Iris Apfel Documentary ‘Iris’
These prolonged efforts are only the latest chapter in a project that, decades before its completion, had taken on a mythological quality. “People refer to it as his white whale,” said co-director Lynn True. “It just never came together for a lot of reasons, one being that it’s rather unwieldy just boarding a train and spontaneously meeting people and capturing their stories.”
In 2013, Maysles finally attracted the financial backing of Al Jazeera America, and with the help of co-directors True, David Usui, Nelson Walker and Ben Wu, began interviewing passengers on on Amtrak’s Empire Builder, the busiest long-distance train route in America, which makes the three-day trip between Seattle and Chicago.
The movie marked the first original production of the Harlem-based Maysles Documentary Center, which has its own 55-seat cinema. That wound up working in its favor — the original contract with Al Jazeera included the right to screen the film at the theater that carried the director’s name, so “In Transit” was always destined to show in at least one theater. (The Metrograph screenings were set up in negotiation between the theater and the film’s producers, not Al Jazeera, which is unaffiliated with the release; the producers declined to comment on the arrangement with the broadcaster, and Al Jazeera did not return requests for comment.)
Shot in the tradition of Direct Cinema, the documentary is made up of a series of interconnected vignettes, where passengers share their fears, hopes and dreams, or simply let the filmmakers capture conversations with friends, family and new acquaintances on the train.
“We just had to board the train cross our fingers that we would find interesting people who would let us film them,” said True. As she and the other filmmakers soon discovered, the simple act of asking where someone is going could be all it took to stumble upon fascinating documentary subjects. The “characters” in the film range from a young woman who opened up about being raised by crackheads to an elderly woman who had just visited a daughter she gave up for adoption 47 years earlier.
Shot during the height of the U.S. oil boom, the filmmakers frequently found workers traveling to and from the oil fields in North Dakota, or wives and partners of these workers, most of whom talked about the challenges of being away from loved ones for extended periods of time.
One of the central figures of the documentary is a pregnant passenger who was already passed her due date upon boarding the train, creating a uniquely stressful situation for the Amtrak crew, which had to monitor her on a daily basis and became something like an extended family. “That was just documentary magic,” said True.
Though Maysles had no way of knowing whether his decades-long ambition of shooting passengers on a train would lead to footage that could be edited into a compelling narrative, he was always drawn to how trains could bring strangers together, according to True. “He loved trains because of this unique ability they had to kind of support these unlikely friendships and interactions,” she said. “It was pretty interesting to me how many of the stories played into Albert’s vision so precisely — this idea that trains afford strangers the opportunity to connect in a way that they wouldn’t necessarily if they were just passing on the street.”
During segments in which single individuals speak directly to the camera, “In Transit” reveals that, regardless of age, gender or background, most people have a natural inclination to show their own vulnerability. “If you give people the chance to really be honest, people are so much more similar than we all give them credit for,” True said.
One of the key components to Maysles approach to documentary filmmaking was to avoid entering any situation with preconceived ideas or any sort of end goal. “He was such a proponent of observing quietly and listening and allowing stories to unfold on their own terms and follow things wherever they led,” True said.
According to Maysles’ daughter Rebekah Maysles, who served as a producer on his 2014 documentary “Iris,” about fashion icon Iris Apfel, one of her father’s original ideas for the film was to follow passengers off the train and continue shooting footage in their homes. As with most of his documentaries, however, formulating a strict plan was not part of the equation. “He didn’t really prepare himself at all,” she said. “I think it worked.”
Read More: Film Community Pays Tribute to Albert Maysles
Maysles wasn’t around to celebrate when “In Transit” won a special mention in the documentary feature category at Tribeca, but more important to Rebekah Maysles was her father’s reaction to seeing the finished film. “He loved it,” she said.
“In Transit” opens Friday, June 23 at the Metrograph and Maysles Documentary Center.
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related stories'Documentary Now!': The Secrets to Recreating Film History the Right WayDaily Reads: How Hollywood Disrespects Respect Melissa McCarthy's Success, 'Unbreakable Kimmy Schmidt's' Post-Identity Comedy Utopia, and MoreMetrograph and Criterion Team Up to Bring You Criterion Live! With D.A. Pennebaker...
Now, the film is finally released — but its future remains uncertain.
“In Transit” played at roughly a dozen film festivals and was being prepped by Al Jazeera America for a theatrical run with the help of sales agent Submarine Deluxe when Al Jazeera’s U.S. arm was abruptly shuttered in 2016, leaving the rights to the film in legal limbo. Part of the problem was that Al Jazeera had agreed to finance a 50-minute documentary for TV, not a feature film, so determining who had the rights to the feature-length version was a legal quandary.
The Maysles Documentary Center has been trying to purchase the rights to the documentary themselves, a more than two-year process that remains unresolved; in the meantime, they’ve been able to arrange for one-week runs at the organization’s own cinema and at New York’s Metrograph, starting on Friday. The team behind the film hopes to introduce the documentary to more audiences in the future, whether through traditional distribution or self-distribution.
Read More: Review: Albert Maysles’ Intimate Iris Apfel Documentary ‘Iris’
These prolonged efforts are only the latest chapter in a project that, decades before its completion, had taken on a mythological quality. “People refer to it as his white whale,” said co-director Lynn True. “It just never came together for a lot of reasons, one being that it’s rather unwieldy just boarding a train and spontaneously meeting people and capturing their stories.”
In 2013, Maysles finally attracted the financial backing of Al Jazeera America, and with the help of co-directors True, David Usui, Nelson Walker and Ben Wu, began interviewing passengers on on Amtrak’s Empire Builder, the busiest long-distance train route in America, which makes the three-day trip between Seattle and Chicago.
The movie marked the first original production of the Harlem-based Maysles Documentary Center, which has its own 55-seat cinema. That wound up working in its favor — the original contract with Al Jazeera included the right to screen the film at the theater that carried the director’s name, so “In Transit” was always destined to show in at least one theater. (The Metrograph screenings were set up in negotiation between the theater and the film’s producers, not Al Jazeera, which is unaffiliated with the release; the producers declined to comment on the arrangement with the broadcaster, and Al Jazeera did not return requests for comment.)
Shot in the tradition of Direct Cinema, the documentary is made up of a series of interconnected vignettes, where passengers share their fears, hopes and dreams, or simply let the filmmakers capture conversations with friends, family and new acquaintances on the train.
“We just had to board the train cross our fingers that we would find interesting people who would let us film them,” said True. As she and the other filmmakers soon discovered, the simple act of asking where someone is going could be all it took to stumble upon fascinating documentary subjects. The “characters” in the film range from a young woman who opened up about being raised by crackheads to an elderly woman who had just visited a daughter she gave up for adoption 47 years earlier.
Shot during the height of the U.S. oil boom, the filmmakers frequently found workers traveling to and from the oil fields in North Dakota, or wives and partners of these workers, most of whom talked about the challenges of being away from loved ones for extended periods of time.
One of the central figures of the documentary is a pregnant passenger who was already passed her due date upon boarding the train, creating a uniquely stressful situation for the Amtrak crew, which had to monitor her on a daily basis and became something like an extended family. “That was just documentary magic,” said True.
Though Maysles had no way of knowing whether his decades-long ambition of shooting passengers on a train would lead to footage that could be edited into a compelling narrative, he was always drawn to how trains could bring strangers together, according to True. “He loved trains because of this unique ability they had to kind of support these unlikely friendships and interactions,” she said. “It was pretty interesting to me how many of the stories played into Albert’s vision so precisely — this idea that trains afford strangers the opportunity to connect in a way that they wouldn’t necessarily if they were just passing on the street.”
During segments in which single individuals speak directly to the camera, “In Transit” reveals that, regardless of age, gender or background, most people have a natural inclination to show their own vulnerability. “If you give people the chance to really be honest, people are so much more similar than we all give them credit for,” True said.
One of the key components to Maysles approach to documentary filmmaking was to avoid entering any situation with preconceived ideas or any sort of end goal. “He was such a proponent of observing quietly and listening and allowing stories to unfold on their own terms and follow things wherever they led,” True said.
According to Maysles’ daughter Rebekah Maysles, who served as a producer on his 2014 documentary “Iris,” about fashion icon Iris Apfel, one of her father’s original ideas for the film was to follow passengers off the train and continue shooting footage in their homes. As with most of his documentaries, however, formulating a strict plan was not part of the equation. “He didn’t really prepare himself at all,” she said. “I think it worked.”
Read More: Film Community Pays Tribute to Albert Maysles
Maysles wasn’t around to celebrate when “In Transit” won a special mention in the documentary feature category at Tribeca, but more important to Rebekah Maysles was her father’s reaction to seeing the finished film. “He loved it,” she said.
“In Transit” opens Friday, June 23 at the Metrograph and Maysles Documentary Center.
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related stories'Documentary Now!': The Secrets to Recreating Film History the Right WayDaily Reads: How Hollywood Disrespects Respect Melissa McCarthy's Success, 'Unbreakable Kimmy Schmidt's' Post-Identity Comedy Utopia, and MoreMetrograph and Criterion Team Up to Bring You Criterion Live! With D.A. Pennebaker...
- 6/23/2017
- by Graham Winfrey
- Indiewire
Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we look at the final work of Albert Maysles, In Transit.
Last week we looked at Chantal Akerman's final film, and this week completely by accident I am reviewing another final film by another towering name in documentary filmmaking. In a career that includes Grey Gardens, Salesman, Gimme Shelter, and Monterey Pop, Albert Maysles has made many films that are considered among the greatest non-fiction titles ever made. And while last year’s glimpse into the life of aging fashion icon Iris Apfel, Iris, was billed as his last work, it is in fact this deeply searching piece of cinema verite made in collaboration with Lynn True, David Usui, Nelson Walker III, and Benjamin Wu that is his last work and an incredibly fitting one, too. It’s the...
Last week we looked at Chantal Akerman's final film, and this week completely by accident I am reviewing another final film by another towering name in documentary filmmaking. In a career that includes Grey Gardens, Salesman, Gimme Shelter, and Monterey Pop, Albert Maysles has made many films that are considered among the greatest non-fiction titles ever made. And while last year’s glimpse into the life of aging fashion icon Iris Apfel, Iris, was billed as his last work, it is in fact this deeply searching piece of cinema verite made in collaboration with Lynn True, David Usui, Nelson Walker III, and Benjamin Wu that is his last work and an incredibly fitting one, too. It’s the...
- 6/7/2016
- by Glenn Dunks
- FilmExperience
Above: Us poster for Salesman (Maysles Brothers & Charlotte Zwerin, USA, 1968). Designer: Henry Wolf. Courtesy of Film/Art Gallery.Starting today, Film Forum in New York is hosting The Maysles & Co., a comprehensive two-week long retrospective of the work of the legendary “Direct Cinema” documentarians Albert and David Maysles—best known for Gimme Shelter (1970) and Grey Gardens (1976)—and their various collaborators, most especially Charlotte Zwerin. Grey Gardens, a film whose title has entered the lingua franca, is the only documentary ever to be turned into a Tony-winning Broadway musical, an Emmy-winning TV dramatization, and an SNL-alumni parody, but its poster, a simple framing of a photograph by Herb Goro, doesn’t really do the film justice. Gimme Shelter, on the other hand—the Maysles’ biggest international success—has inspired a wide variety of designs. For me, the stand-out is the stark black and white one sheet with all-Helvetica type, the first one featured below.
- 4/16/2016
- by Adrian Curry
- MUBI
You’re forgiven if you didn’t know much about the Denver Film Festival. Nevertheless, there’s a lot to talk about in the aftermath of the ten day affair. Highlights included very interesting industry panels (a new addition this year), a few films slated for a wide release, and a local debut for a major Colorado-produced film, The Boat Builder. In a state where most of the money for films was recently devoured by Tarantino’s The Hateful Eight, it was nice to see a Colorado-made film get a warm reception.
I wasn’t able to finagle my way into every film I wanted to; such is the tragedy of any festival. But, I was able to see a variety of films big and small and elbow my way into a few industry panels. Below are brief reviews of every film I saw, from the incredible — to the barely edible.
I wasn’t able to finagle my way into every film I wanted to; such is the tragedy of any festival. But, I was able to see a variety of films big and small and elbow my way into a few industry panels. Below are brief reviews of every film I saw, from the incredible — to the barely edible.
- 11/27/2015
- by Max
- SoundOnSight
The Look Of Silence, Meru, The Wolfpack and Amy all received multiple nominations for this year’s non-fiction awards.Scroll Down For Full List
The 9th Cinema Eye Honours, the international non-fiction awards, were revealed last night at the Cph:dox festival in Copenhagen.
Cartel Land, Matthew Heineman’s film about violence on both sides of the Us-Mexico border, leads the pack with five nominations, including the top prize - Outstanding Achievement in Non-fiction Feature Filmmaking.
Also competing for the main award are: Joshua Oppenheimer’s The Look Of Silence, which received four nominations; Asif Kapadia’s Amy, which received three; Crystal Moselle’s The Wolfpack, which also received three; Stevan Riley’s Listen To Me Marlon, which received two; and Camilla Nielsson’s Democrats, which also received two nominations.
This year’s Cinema Eye Honours nominations committee included: Claire Aguilar from Sheffield Doc/Fest; Charlottee Cook from Hot Docs; David Courier from Sundance; and Cara Cusumano from Tribeca...
The 9th Cinema Eye Honours, the international non-fiction awards, were revealed last night at the Cph:dox festival in Copenhagen.
Cartel Land, Matthew Heineman’s film about violence on both sides of the Us-Mexico border, leads the pack with five nominations, including the top prize - Outstanding Achievement in Non-fiction Feature Filmmaking.
Also competing for the main award are: Joshua Oppenheimer’s The Look Of Silence, which received four nominations; Asif Kapadia’s Amy, which received three; Crystal Moselle’s The Wolfpack, which also received three; Stevan Riley’s Listen To Me Marlon, which received two; and Camilla Nielsson’s Democrats, which also received two nominations.
This year’s Cinema Eye Honours nominations committee included: Claire Aguilar from Sheffield Doc/Fest; Charlottee Cook from Hot Docs; David Courier from Sundance; and Cara Cusumano from Tribeca...
- 11/12/2015
- ScreenDaily
Aferim!This year, Tribeca moved back home, swapping out the East Village’s AMC Loew’s 7 for the venue they once used, the nearly invisible Regal Battery Park Stadium 11 as one of the festival’s main theater locations. Whether it is coincidence or just one of the festival’s grand themes, the finest films I saw were about movement. Characters search high and low for someone or something. While carrying strange cargo, they journey to the West, to the East, wherever, going from point A to point B. If not travelling, then characters are stuck, stranded, or even trapped in a spot, but desiring to move, move, move. There’s a whole lotta riding and talking going on in Radu Jude’s Aferim! Shot on black-and-white film (Kodak Double-x), the film is set in 1855 Wallachia, a time in which the Romani people had subhuman status, being slaves to landowning Boyars,...
- 5/4/2015
- by Tanner Tafelski
- MUBI
The Tribeca Film Festival of 2015 closed the books on Sunday as it always does, with a day full of screenings of the prize-winning films. And, as I noted on Day Three, it bears noting that the festival’s reputation of being for “indies that aren’t really indies” almost never bears out during the awards ceremony. All of the films that played on Sunday will be launching new talent into American arthouses, rather than showing a new dimension for established stars.
The Tribeca jury gives awards to Actor, Actress, Screenplay, Editing, Cinematography, New Director for each of narrative and documentary, Director for each of narrative and documentary, a special Nora Ephron prize honoring new female filmmakers, Best Documentary Feature, and Best Narrative feature. The Tribeca Audience Awards cover the best narrative film and best documentary as well. I confess to being completely unable to judge good editing, but I will...
The Tribeca jury gives awards to Actor, Actress, Screenplay, Editing, Cinematography, New Director for each of narrative and documentary, Director for each of narrative and documentary, a special Nora Ephron prize honoring new female filmmakers, Best Documentary Feature, and Best Narrative feature. The Tribeca Audience Awards cover the best narrative film and best documentary as well. I confess to being completely unable to judge good editing, but I will...
- 4/29/2015
- by Mark Young
- SoundOnSight
Virgin Mountain and Bridgend were among the winners at the 14th annual Tribeca Film Festival; King Jack and Transfatty Lives take the audience awards.
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T were King Jack, directed by Felix Thompson, in the narrative category, and TransFatty Lives, directed by Patrick O’Brien, in the documentary category .
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress...
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T were King Jack, directed by Felix Thompson, in the narrative category, and TransFatty Lives, directed by Patrick O’Brien, in the documentary category .
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress...
- 4/24/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Virgin Mountain and Bridgend were among the winners at the 14th annual Tribeca Film Festival’s New York awards show at Spring Studios on Thursday night.
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T will be announced on April 25.
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress in a Narrative Feature Film – Hannah Murray as Sara in Bridgend (Denmark, pictured). Winner...
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T will be announced on April 25.
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress in a Narrative Feature Film – Hannah Murray as Sara in Bridgend (Denmark, pictured). Winner...
- 4/24/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Virgin Mountain and Bridgend were among the winners at the 14th annual Tribeca Film Festival’s New York awards show at Spring Studios on Thursday night.
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T will be announced on April 25.
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark, pictured), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress in a Narrative Feature Film – Hannah Murray as Sara in Bridgend (Denmark). Winner receives $2,500 sponsored by Citrin Cooperman...
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T will be announced on April 25.
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark, pictured), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress in a Narrative Feature Film – Hannah Murray as Sara in Bridgend (Denmark). Winner receives $2,500 sponsored by Citrin Cooperman...
- 4/24/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Virgin Mountain and Bridgend were among the winners at the 14th annual Tribeca Film Festival’s New York awards show at Spring Studios on Thursday night.
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T will be announced on April 25.
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark, pictured), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress in a Narrative Feature Film – Hannah Murray as Sara in Bridgend (Denmark). Winner receives $2,500 sponsored by Citrin Cooperman...
It was also announced that, starting this year, the new name of the Best New Documentary Director Award is The Albert Maysles New Documentary Director Award, which was awarded on Thursday by the filmmaker’s children Philip Maysles and Sara Maysles.
The winners of the audience awards sponsored by At&T will be announced on April 25.
World Narrative Competition Categories
The Founders Award for Best Narrative Feature – Virgin Mountain (Iceland-Denmark, pictured), dir Dagur Kári. Winner receives $25,000 sponsored by At&T and the art award Ash Eroded Film Reel by Daniel Arsham.
Best Actor in a Narrative Feature Film – Gunnar Jónsson as Fúsi in Virgin Mountain. Winner receives $2,500 sponsored by Citrin Cooperman.
Best Actress in a Narrative Feature Film – Hannah Murray as Sara in Bridgend (Denmark). Winner receives $2,500 sponsored by Citrin Cooperman...
- 4/24/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Read More: Meet the 2015 Tribeca Filmmakers In advance of this year's Tribeca Film Festival, Indiewire sent out a questionnaire to the filmmakers taking their work to Tribeca. Below you'll find a selection of their responses to the question of which films inspired them. Andrew Renzi ("Franny") "I'm inspired by all sorts of films, but among the ones I already mentioned, for 'Franny,' I was inspired by 'The Great Beauty,' 'The Leopard,' 'The Cable Guy' and 'Divorce Italian Style.'" Lynn True, Nelson Walker, Ben Wu and David Usui ("In Transit") Lynn True: "There are too many to name, but I'll admit being totally inspired by 'The Making of Michael Jackson's Thriller,' which I saw when I was about seven years old when I probably didn't even know what a documentary was." Nelson Walker: "It's sort of cheating, but I'd...
- 4/21/2015
- by Travis Clark
- Indiewire
Read More: Meet the 2015 Tribeca Film Festival Filmmakers Numerous documentaries have attempted to create a diverse portrait of the United States of America, but none has ever achieved this solely by boarding our country's busiest long-distance train, the Empire Builder. In the documentary "In Transit," filmmakers Lynn True, Nelson Walker, Ben Wu and David Usui take the ride to hear stories from the train's various passengers and learn about the dreams and desires that are universal among us, regardless of where we come from or where we're going.What's your film about in 140 characters or less? "In Transit" is a portrait of America told through the stories of passengers aboard the Empire Builder, our nation's busiest long-distance train route. Now what's it Really about?"In Transit" is about finding common ground with our fellow passengers, and recognizing that we share many of the same hopes, fears and dreams, regardless of where we've come from or.
- 4/21/2015
- by Zack Sharf
- Indiewire
As beautiful spring weather moves into New York City for the first time this year, the lines for TriBeCa movies only get longer. And, for all of the talk that TriBeCa is a festival for “indies that aren’t really indies” because of the A-list stars in their casts, the greatest masters’ films always draw the longest lines.
In this case, the great master is the late, legendary documentarian Albert Maysles, whose final film In Transit made its world premiere. Maysles had been wanting to make a movie about passenger trains for decades, but an actual opportunity to do so only appeared in the last year and a half. Over that period, Maysles and his four collaborators (Nelson Walker, Lynn True, David Usui, and Ben Wu are listed as directors, but an opening title card announces “an Albert Maysles film”) observed the Empire Builder line between Chicago and Seattle, interviewing...
In this case, the great master is the late, legendary documentarian Albert Maysles, whose final film In Transit made its world premiere. Maysles had been wanting to make a movie about passenger trains for decades, but an actual opportunity to do so only appeared in the last year and a half. Over that period, Maysles and his four collaborators (Nelson Walker, Lynn True, David Usui, and Ben Wu are listed as directors, but an opening title card announces “an Albert Maysles film”) observed the Empire Builder line between Chicago and Seattle, interviewing...
- 4/21/2015
- by Mark Young
- SoundOnSight
Albert Maysles at Simon Trevor's White Gold premiere at MoMA Photo: Anne-Katrin Titze
Documentary filmmakers Morgan Neville (2014 Oscar winner for 20 Feet From Stardom), Fabien Constant (Mademoiselle C), Varon Bonicos (A Man's Story) and Keyhole director Guy Maddin share their thoughts on the passing of the great documentarian Albert Maysles at the age of 88, Thursday, March 5, in New York City.
Author and journalist Gay Talese on an American Assignment for the New York Times in Selma, Alabama, sent a note, upon hearing the news, from the place where Gay had covered the civil rights march and "Bloody Sunday" 50 years ago.
Albert Maysles with Iris Apfel, the subject of his film Iris
Tribeca Film Festival Artistic Director Frédéric Boyer wrote "…this is very sad to lose a master of Cinema. We are playing his last film in the Tribeca [World Documentary] Competition,..." In Transit, co-directed by Maysles with Nelson Walker, Lynn True, David Usui,...
Documentary filmmakers Morgan Neville (2014 Oscar winner for 20 Feet From Stardom), Fabien Constant (Mademoiselle C), Varon Bonicos (A Man's Story) and Keyhole director Guy Maddin share their thoughts on the passing of the great documentarian Albert Maysles at the age of 88, Thursday, March 5, in New York City.
Author and journalist Gay Talese on an American Assignment for the New York Times in Selma, Alabama, sent a note, upon hearing the news, from the place where Gay had covered the civil rights march and "Bloody Sunday" 50 years ago.
Albert Maysles with Iris Apfel, the subject of his film Iris
Tribeca Film Festival Artistic Director Frédéric Boyer wrote "…this is very sad to lose a master of Cinema. We are playing his last film in the Tribeca [World Documentary] Competition,..." In Transit, co-directed by Maysles with Nelson Walker, Lynn True, David Usui,...
- 3/7/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Andrew Renzi‘s directorial debut about a third wheel starring Richard Gere, Dakota Fanning and Theo James, Reed Morano‘s relationship testing drama featuring Olivia Wilde and Luke Wilson, Onur Tukel‘s secret unleashed on the airwaves and Gregory Kohn‘s hallucinatory tale with Eléonore Hendricks topling are part of the American independent offerings at the 14th Tribeca Film Festival. Renzi’s Franny and Morano’s Meadowland will be competing in the dozen selected in the World Narrative Competition while Tukel’s Applesauce and Kohn’s Come Down Molly are among the in the Viewpoints sidebar. Here are the selected titles below sans synopsis.
World Narrative Feature Competition (12)
The Adderall Diaries, directed and written by Pamela Romanowsky. (USA) – World Premiere.
Bridgend, directed by Jeppe Rønde, co-written by Jeppe Rønde, Torben Bech, and Peter Asmussen. (Denmark) – North American Premiere.
Dixieland, directed and written by Hank Bedford. (USA) – World Premiere
Franny, directed and written by Andrew Renzi.
World Narrative Feature Competition (12)
The Adderall Diaries, directed and written by Pamela Romanowsky. (USA) – World Premiere.
Bridgend, directed by Jeppe Rønde, co-written by Jeppe Rønde, Torben Bech, and Peter Asmussen. (Denmark) – North American Premiere.
Dixieland, directed and written by Hank Bedford. (USA) – World Premiere
Franny, directed and written by Andrew Renzi.
- 3/3/2015
- by Eric Lavallee
- IONCINEMA.com
Top brass at the 2015 Tribeca Film Festival (Tff) presented by At&T have announced the World Narrative and Documentary Competition and Viewpoints selections.
Organisers also said that At&T’s Film For All Friday will return with free screenings on April 24. The festival is set to run in New York City from April 15-26 and the festival hub is Spring Studios.
Tuesday’s announcement covers 51 films out of a total 97 features at the upcoming 14th edition. As previously announced, Tribeca will open with the documentary Live From New York!
The line-up includes world premieres of Andrew Renzi’s Franny starring Richard Gere, Pamela Romanowsky’s The Adderall Diaries with James Franco, Amber Heard, Ed Harris and Cynthia Nixon and documentaries In My Father’s House by Ricki Stern and Annie Sundberg and In Transit from Albert Maysles and four co-directors.
Thirty of the festival’s feature film directors are women –the highest percentage in Tribeca history. Nine of...
Organisers also said that At&T’s Film For All Friday will return with free screenings on April 24. The festival is set to run in New York City from April 15-26 and the festival hub is Spring Studios.
Tuesday’s announcement covers 51 films out of a total 97 features at the upcoming 14th edition. As previously announced, Tribeca will open with the documentary Live From New York!
The line-up includes world premieres of Andrew Renzi’s Franny starring Richard Gere, Pamela Romanowsky’s The Adderall Diaries with James Franco, Amber Heard, Ed Harris and Cynthia Nixon and documentaries In My Father’s House by Ricki Stern and Annie Sundberg and In Transit from Albert Maysles and four co-directors.
Thirty of the festival’s feature film directors are women –the highest percentage in Tribeca history. Nine of...
- 3/3/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
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