Remember Quibi? The short-lived streaming service-turned-punchline, which vastly overestimated how many people felt compelled to watch bite-sized shows and movies on their phones, seems to have done one thing right before being folded into the Roku Channel: allowing creators to retain ownership of their work after a two-year exclusivity window. Not content to let her 13-part thriller series “The Stranger” disappear along with the platform on which it debuted, “The Killing” creator Veena Sud recut the project into a feature film alongside editor Philip Fowler. Gone are the 8-minute episodes named after the hour in which they take place (beginning with 7 p.m. and ending at 7 a.m.), replaced by a 98-minute Hulu feature that shows no sign of having been overhauled.
Six days after moving to Los Angeles with her dog Pebbles, rideshare driver Clare (Maika Monroe) picks up Carl E. (Dane DeHaan) from a mansion that doesn’t belong to him.
Six days after moving to Los Angeles with her dog Pebbles, rideshare driver Clare (Maika Monroe) picks up Carl E. (Dane DeHaan) from a mansion that doesn’t belong to him.
- 4/16/2024
- by Michael Nordine
- Variety Film + TV
When you make your living in production, the relationship between work and time off can be a complicated one. After months of Fraturdays and Second Meal pizza at 2 a.m., you need to rest, decompress and resume the parts of your life that have been essentially paused during shooting. But stay off set too long and dread can fester—a fear of dwindling bank accounts, falling short on days for insurance and being usurped in your market’s hiring hierarchy. Cinematographer Paul Yee is acutely aware of that delicate balance and how it feels when the equilibrium becomes askew. He took a self-imposed […]
The post “I Spent Nearly 14 hours Staring At That Lamp”: Dp Paul Yee on Joy Ride first appeared on Filmmaker Magazine.
The post “I Spent Nearly 14 hours Staring At That Lamp”: Dp Paul Yee on Joy Ride first appeared on Filmmaker Magazine.
- 8/9/2023
- by Matt Mulcahey
- Filmmaker Magazine - Blog
When you make your living in production, the relationship between work and time off can be a complicated one. After months of Fraturdays and Second Meal pizza at 2 a.m., you need to rest, decompress and resume the parts of your life that have been essentially paused during shooting. But stay off set too long and dread can fester—a fear of dwindling bank accounts, falling short on days for insurance and being usurped in your market’s hiring hierarchy. Cinematographer Paul Yee is acutely aware of that delicate balance and how it feels when the equilibrium becomes askew. He took a self-imposed […]
The post “I Spent Nearly 14 hours Staring At That Lamp”: Dp Paul Yee on Joy Ride first appeared on Filmmaker Magazine.
The post “I Spent Nearly 14 hours Staring At That Lamp”: Dp Paul Yee on Joy Ride first appeared on Filmmaker Magazine.
- 8/9/2023
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
It is almost parodically apt that the first whistle-blower of the Trump era should be named Reality Winner. But Reality genuinely is the birth name of the government contractor and translator who reached her breaking point with the firing of James Comey and leaked an intelligence report about Russian interference in the 2016 US elections to the news website The Intercept which would later be read into evidence on the Senate floor.
Writer/director Tina Satter has recreated the interrogation of Reality in a tightly coiled and meticulously paced thriller; adapted from her 2019 stage play and lifted directly from the FBI’s own transcript. Playing out in Winner’s house and garden, in bright daylight, the film’s deceptively plodding start belies its sinister undertow meaning the audience is already trapped in the serpentine loops of its narrative before we understand that the tension is crushing us.
Reality (Sydney Sweeney) returns...
Writer/director Tina Satter has recreated the interrogation of Reality in a tightly coiled and meticulously paced thriller; adapted from her 2019 stage play and lifted directly from the FBI’s own transcript. Playing out in Winner’s house and garden, in bright daylight, the film’s deceptively plodding start belies its sinister undertow meaning the audience is already trapped in the serpentine loops of its narrative before we understand that the tension is crushing us.
Reality (Sydney Sweeney) returns...
- 6/2/2023
- by Emily Breen
- HeyUGuys.co.uk
Adele Lim’s debut film Joy Ride will make you cry your eyes out, in addition to showing the audience that women know how to party hard.
Written by Cherry Chevapravatdumrong & Teresa Hsiao, the film stars Ashley Park, Stephanie Hsu, Sherry Cola and Sabrina Wu as four friends on a global adventure of self-discovery — but also drugs, sex and comedy. I expected nothing less from a movie that was originally titled Joy F**k Club, which I find hilarious.
Audrey (Park) is an adoptee growing up in an all-white household, and Lolo’s (Cola) parents just moved from China. Their friendship starts on the playground when Audrey is approached by a bully and Lolo punches him in the face.
Related Story SXSW 2023: All Of Deadline’s Movie Reviews Related Story With 'Jesus Revolution,' The Faithful Are Back In Their Movie Theater Pews Related Story 'Air' Review: Ben Affleck...
Written by Cherry Chevapravatdumrong & Teresa Hsiao, the film stars Ashley Park, Stephanie Hsu, Sherry Cola and Sabrina Wu as four friends on a global adventure of self-discovery — but also drugs, sex and comedy. I expected nothing less from a movie that was originally titled Joy F**k Club, which I find hilarious.
Audrey (Park) is an adoptee growing up in an all-white household, and Lolo’s (Cola) parents just moved from China. Their friendship starts on the playground when Audrey is approached by a bully and Lolo punches him in the face.
Related Story SXSW 2023: All Of Deadline’s Movie Reviews Related Story With 'Jesus Revolution,' The Faithful Are Back In Their Movie Theater Pews Related Story 'Air' Review: Ben Affleck...
- 3/18/2023
- by Valerie Complex
- Deadline Film + TV
In the widely covered story of the U.S. intelligence operative harshly sentenced in 2018 for leaking a confidential report on Russian election interference to The Intercept, the accidental (in)appropriateness of the operative’s name was always an eyecatching detail. Could one of recent reality’s most highly public losers actually be called Reality Winner? Playwright Tina Satter’s enormously compelling film-directing debut adds another layer of cosmic irony to that nominative determinism. In using the title “Reality,” and being scripted verbatim from exchanges recorded by the FBI during Winner’s 2017 surprise interrogation, Satter not only vividly revisits the story, she also makes us question the very relationship between a narrative film and the truth it claims to expose. Reality can be stranger than fiction, but “Reality” fuses the two to become stranger, and more riveting, still.
One major, electrifying connection between the facts of the case and their dramatization...
One major, electrifying connection between the facts of the case and their dramatization...
- 2/18/2023
- by Jessica Kiang
- Variety Film + TV
Populated by characters who rarely raise their voices, much less engage in anything that might qualify as “action,” “Colewell” is a character study that’s almost too subdued for its own good. Fortunately, writer-director Tom Quinn has a keen eye for telling details, as well as a superb lead actress in Karen Allen, who stars as a postal worker facing an uncertain future. In an era of louder-than-loud tentpoles, it’s not clear that this small-scale drama has steadier prospects than its protagonist. Discerning audiences, however, should warm to its understated charms, should it be picked up from among the titles in the San Francisco Int’l Film Festival’s acquisitions-oriented “Launch” section, where it made its world premiere.
In the tiny enclave of Colewell, Penn., Nora (Allen) follows a daily routine of making coffee, feeding her chickens, cooking eggs, and opening the post office that she oversees — and which is located,...
In the tiny enclave of Colewell, Penn., Nora (Allen) follows a daily routine of making coffee, feeding her chickens, cooking eggs, and opening the post office that she oversees — and which is located,...
- 4/14/2019
- by Nick Schager
- Variety Film + TV
A project that he developed through the Biennale College – Cinema, alongside The Fits cinematographer Paul Yee, Tom Quinn probably shot his sophomore film in 2017 somewhere in Pennsylvania. Most recently, Colewell visited the in 2018 Sundance Institute Music and Sound Design Lab – probably the final touches were put in in the fall. The Filmmaker Magazine 25 New Faces of Independent Film personality got his start with The New Year Parade, an Independent Spirit Award and Gotham Award nominee. This stars Karen Allen and Kevin J. O’Connor.
Gist: For thirty-five years, Nora Pancowski (Karen Allen) has run the Colewell community post office from her home.…...
Gist: For thirty-five years, Nora Pancowski (Karen Allen) has run the Colewell community post office from her home.…...
- 11/20/2018
- by Eric Lavallée
- IONCINEMA.com
“Krisha” was the big winner at the inaugural American Independent Film Awards, taking home the prizes for Best Film, Director (Trey Edward Shults), Original Screenplay (Shults) and Lead Performance (Krisha Fairchild). Anna Rose Holmer’s “The Fits” was the Best Film runner-up and was nominated in 12 different categories, while Robert Greene won two different awards for “Kate Plays Christine.”
The Aifa’s voting body consists of festival programmers and film critics, who cast their ballots in 14 different categories online. Full results below.
Read More: ‘It Comes at Night’ Teaser Trailer: The Director of ‘Krisha’ Returns with More Psychological Madness
Best Film
10) “White Girl” (Elizabeth Wood)
09) “Always Shine” (Sophia Takal)
08) “The Other Side” (Roberto Minervini)
07) “Henry Gamble’s Birthday Party” (Stephen Cone)
06) “The Eyes of My Mother” (Nicolas Pesce)
05) “Little Sister” (Zach Clark)
04) “The Invitation” (Karyn Kusama)
03) “Kate Plays Christine” (Robert Greene)
02) “The Fits” (Anna Rose Holmer)
01) “Krisha” (Trey Edward Shults)
Best Director
Trey Edward Shults,...
The Aifa’s voting body consists of festival programmers and film critics, who cast their ballots in 14 different categories online. Full results below.
Read More: ‘It Comes at Night’ Teaser Trailer: The Director of ‘Krisha’ Returns with More Psychological Madness
Best Film
10) “White Girl” (Elizabeth Wood)
09) “Always Shine” (Sophia Takal)
08) “The Other Side” (Roberto Minervini)
07) “Henry Gamble’s Birthday Party” (Stephen Cone)
06) “The Eyes of My Mother” (Nicolas Pesce)
05) “Little Sister” (Zach Clark)
04) “The Invitation” (Karyn Kusama)
03) “Kate Plays Christine” (Robert Greene)
02) “The Fits” (Anna Rose Holmer)
01) “Krisha” (Trey Edward Shults)
Best Director
Trey Edward Shults,...
- 2/20/2017
- by Michael Nordine
- Indiewire
As the definition of an independent film has shifted with the ever-expanding budget divide in American filmmaking — particularly Hollywood cutting back on its mid-range projects — when it comes time for awards season, it’s often only the highest profile of “indie films” that get recognized. While we do our best to recognize the films that often get unfortunately, a new awards has launched that honors the best of truly independent American cinema, featuring films all under a $1 million budget.
Aptly titled the American Independent Film Awards (aka AIFAs), they were voted on by international film festival programmers, U.S. based film festival programmers, and North American film critics (including yours truly.) “First and foremost, we would like to thank all film producers and distribution companies who helped us identify qualifying films and outline the categories. We’d also like to thank the international and American based film festival programmers, and...
Aptly titled the American Independent Film Awards (aka AIFAs), they were voted on by international film festival programmers, U.S. based film festival programmers, and North American film critics (including yours truly.) “First and foremost, we would like to thank all film producers and distribution companies who helped us identify qualifying films and outline the categories. We’d also like to thank the international and American based film festival programmers, and...
- 2/20/2017
- by Jordan Raup
- The Film Stage
“A cinematographer is a visual psychiatrist — moving an audience through a movie […] making them think the way you want them to think, painting pictures in the dark,” said the late, great Gordon Willis. As we continue our year-end coverage, one aspect we must highlight is, indeed, cinematography, among the most vital to the medium. From talented newcomers to seasoned professionals, we’ve rounded up the examples that have most impressed us this year. Check out our rundown below and, in the comments, let us know your favorite work.
Arrival (Bradford Young)
At this point, it would be unfair to call Bradford Young an up-and-coming cinematographer. While it’s an accurate description in terms of his relative years behind the camera, the caliber of his work already feels like one of the most accomplished in the genre. Ahead of a Han Solo prequel, he got his first taste with sci-fi thanks to Denis Villeneuve‘s Arrival.
Arrival (Bradford Young)
At this point, it would be unfair to call Bradford Young an up-and-coming cinematographer. While it’s an accurate description in terms of his relative years behind the camera, the caliber of his work already feels like one of the most accomplished in the genre. Ahead of a Han Solo prequel, he got his first taste with sci-fi thanks to Denis Villeneuve‘s Arrival.
- 12/28/2016
- by The Film Stage
- The Film Stage
An exploration of movement, motion, liminality, childhood and racial politics, The Fits is a fascinating psychological study of Toni (fearlessly played by Royalty Hightower), an 11-year0old living in Cincinnati’s West End. Set almost entirely within the walls of the neighborhood Lincoln Rec Center, we first find Toni taking up boxing, trained by older brother Jermaine (Da’Sean Minor). Abandoning the rigor of the boxing — requiring sprints across an overpass after hitting the speed-bag — Toni finds herself drawn to the dance troop practicing across the hall, where what she finds is nothing short of her voice.
First-time filmmaker Anna Rose Holmer keeps an intimate distance from her subject, creating a restrained, nuanced portrait of childhood: equal parts social realism, ethnographic narrative and poetic character study. The film veers into body horror briefly when several young women from the troop start to have convulsions, a response its thought by the...
First-time filmmaker Anna Rose Holmer keeps an intimate distance from her subject, creating a restrained, nuanced portrait of childhood: equal parts social realism, ethnographic narrative and poetic character study. The film veers into body horror briefly when several young women from the troop start to have convulsions, a response its thought by the...
- 1/23/2016
- by John Fink
- The Film Stage
Editor's Note: As we get ready for Sundance, we asked cinematographer Paul Yee to tell us how he created the unique look of "The Fits." The film, which will premiere at Sundance on Friday, tells the story of Toni (Royalty Hightower), an 11-year-old tomboy, who joins the dance drill team she watches tirelessly practice next door to the boxing gym where she trains. Toni is drawn to the dancers' strength and confidence, but her desire for acceptance becomes complicated when members of the tight-knit group start experiencing mysterious fits of shaking and fainting. Read More: Oscilloscope Picks Up Sundance Next Drama 'The Fits' in Pre-Festival Deal "The Fits" is the first feature length film that I’ve shot and the first narrative feature that Anna [Rose Holmer] has directed, so I went into it nervous about our ability to establish a visual language and continuity. After I read the first draft of the script,...
- 1/20/2016
- by Paul Yee
- Indiewire
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