Exclusive: Lvmh has launched 22 Montaigne Entertainment, a platform to percolate film, TV and audio format productions for its portfolio of 75+ luxury brands. Named for the address of Lvmh’s Paris headquarters, 22 Montaigne has been created in partnership with Superconnector Studios. Co-founders Jae Goodman and John Kaplan will work with Lvmh North America Chairman/CEO Anish Melwani to find the right match between its brands, and creators, producers and distributors. Lvmh will co-develop, co-produce and co-finance these entertainment properties.
There is a relatively unmined treasure trove here with brands that go back to the 14th Century. The brands represented here are cream of the crop, including Louis Vuitton, Bulgari, Dior, Fendi, Givenchy, Guerlain, Kenzo, Marc Jacobs, Tiffany & Co, Moët & Chandon, Veuve Clicquot, Krug, Dom Pérignon, Maison Ruinart, Le Bon Marché, Bulgari, Tag Heuer, and Séphora.
“At Lvmh, we view each Maison as a house of stories, a distinct creator of culture,...
There is a relatively unmined treasure trove here with brands that go back to the 14th Century. The brands represented here are cream of the crop, including Louis Vuitton, Bulgari, Dior, Fendi, Givenchy, Guerlain, Kenzo, Marc Jacobs, Tiffany & Co, Moët & Chandon, Veuve Clicquot, Krug, Dom Pérignon, Maison Ruinart, Le Bon Marché, Bulgari, Tag Heuer, and Séphora.
“At Lvmh, we view each Maison as a house of stories, a distinct creator of culture,...
- 2/20/2024
- by Mike Fleming Jr
- Deadline Film + TV
Frédéric Tcheng on celebrating Bethann Hardison: “I think it’s really important to see what Bethann did and the historical movement she created.” Photo: Oliviero Toscano, courtesy of Magnolia Pictures
When I spoke with Tribeca Film Festival Artistic Director Frédéric Boyer on Zoom from Paris, months before the 22nd edition, he noted Frédéric Tcheng and Bethann Hardison’s Invisible Beauty (produced by Lisa Cortes of Harold Crooks and Judd Tully’s The Melt Goes on Forever: The Art & Times of David Hammons) as one of the highlights to see and commented: “We play all the films by Frédéric Tcheng (Halston and the World première of Dior And I). He’s a great person, very elegant.” Frédéric also co-directed Diana Vreeland: The Eye Has To Travel with Lisa Immordino Vreeland and Bent-Jorge Perlmutt and was a co-editor with Bob Eisenhardt for Matt Tyrnauer’s Valentino: The Last Emperor.
Frédéric Tcheng...
When I spoke with Tribeca Film Festival Artistic Director Frédéric Boyer on Zoom from Paris, months before the 22nd edition, he noted Frédéric Tcheng and Bethann Hardison’s Invisible Beauty (produced by Lisa Cortes of Harold Crooks and Judd Tully’s The Melt Goes on Forever: The Art & Times of David Hammons) as one of the highlights to see and commented: “We play all the films by Frédéric Tcheng (Halston and the World première of Dior And I). He’s a great person, very elegant.” Frédéric also co-directed Diana Vreeland: The Eye Has To Travel with Lisa Immordino Vreeland and Bent-Jorge Perlmutt and was a co-editor with Bob Eisenhardt for Matt Tyrnauer’s Valentino: The Last Emperor.
Frédéric Tcheng...
- 10/14/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
There is much that is lovely to gaze upon in the elegantly tailored documentary “Invisible Beauty,” about fashion maverick Bethann Hardison, whose role in her industry, starting in the late ’60s and continuing into the present, has been remarkable personally and game-changing culturally.
Those five decades — hers and the industry’s — are expertly woven together by co-directors Hardison and Frédéric Tcheng, using a cache of personal photos, a wealth of archival images, clips and interviews sewn together by Hardison’s sharing of recollections and insights. The film is also buoyed by a delicate, sometimes moody piano-led score courtesy of Marc Anthony Thompson, with some additionally vivid musical choices that match the energy of the late, “Black is Beautiful” ’60s and the fashion-fast-forward ’70s.
When there were shifts in how the fashion industry viewed models of color, Hardison was there as participant but more often catalyst. She was one...
Those five decades — hers and the industry’s — are expertly woven together by co-directors Hardison and Frédéric Tcheng, using a cache of personal photos, a wealth of archival images, clips and interviews sewn together by Hardison’s sharing of recollections and insights. The film is also buoyed by a delicate, sometimes moody piano-led score courtesy of Marc Anthony Thompson, with some additionally vivid musical choices that match the energy of the late, “Black is Beautiful” ’60s and the fashion-fast-forward ’70s.
When there were shifts in how the fashion industry viewed models of color, Hardison was there as participant but more often catalyst. She was one...
- 9/15/2023
- by Lisa Kennedy
- Variety Film + TV
Emily Atef, who is presenting her latest film, “Someday We’ll Tell Each Other Everything,” in competition at the Berlin Film Festival, just moved to Paris to direct “La Maison,” a series depicting a fictional family-owned French luxury fashion empire.
While discussing “Someday We’ll Tell Each Other Everything” ahead of its world premiere, Atef told Variety that “La Maison” will be filled with a lot of drama and tragicomedy. “It’s very Shakespearean. There’s so much beauty and luxury with old mansions in Brittany, Parisian ‘hotel particuliers,’ and then behind all that there’s so much human poverty, and you see them ripping each other appart for power,” said Atef, who will direct the pilot and three more episodes.
The series was created and penned by Jose Caltagirone (“Les Combattantes”) and Valentine Milville (“The Bureau”), and will star a high-profile French ensemble cast, including Lambert Wilson (“Benedetta”), Carole Bouquet (“En Therapie...
While discussing “Someday We’ll Tell Each Other Everything” ahead of its world premiere, Atef told Variety that “La Maison” will be filled with a lot of drama and tragicomedy. “It’s very Shakespearean. There’s so much beauty and luxury with old mansions in Brittany, Parisian ‘hotel particuliers,’ and then behind all that there’s so much human poverty, and you see them ripping each other appart for power,” said Atef, who will direct the pilot and three more episodes.
The series was created and penned by Jose Caltagirone (“Les Combattantes”) and Valentine Milville (“The Bureau”), and will star a high-profile French ensemble cast, including Lambert Wilson (“Benedetta”), Carole Bouquet (“En Therapie...
- 2/17/2023
- by Elsa Keslassy
- Variety Film + TV
Sundance 2023: ‘Invisible Beauty’ Directed by Bethann Hardison and Frédéric Tcheng
Premieres
How to write and how to make a film about one’s life is an ongoing discussion between Bethann Hardison and Frédéric Tcheng as Bethann’s life reveals itself. She is new to writing and filmmaking but she has the confidence to go forward without putting obstacles in front of herself. Her procrastination or preparation for writing takes a role in the film as well. This immediately allies me to her. Don’t we all procrastinate about the most important things in our lives?
Raised by her mother and grandmother in the South til the age of 12, she then moved in with her father in Bedford–Stuyvesant, Brooklyn. Her mother was very social; her father was very intellectual. He was an Iman at the local mosque and was a mentor to Malcolm X himself. He made her aware of things poltically and socially as well as directing her reading about the Moslem religion and the Koran. Raising consciousness was most important to her father. When she turned 18 she yearned for teen freedom and her father returned her to her mother and grandmother. Subsequently she attended NYU.
Bethann Hardison
Over the five decades of her career, from working in New York City’s Garment District, modeling and founding her eponymous modeling agency, she has become an advocate, mentor and muse. To hear her honest and forthwright assessment of the state of her own life is inspirational.
She was a fashion revolutionary, but to her, fashion was merely the vehicle for her revolutionary ideas which changed the fashion industry’s diversity of models to include people of all colors. Her main concern was changing the world. “I always know — because I have lived life long enough — you can change things.”
From walking runway shows alongside Iman to discovering supermodels like Tyson Beckford (that gorgeous black model for Ralph Lauren) and mentoring icons like Naomi Campbell, Hardison has been at the epicenter of major representational shifts in fashion. Catalyzing change requires continuous championing, and as the next generation takes the reins, Hardison reflects on her personal journey and the cost of being a pioneer.
She has received many awards in recognition of her decades of advocacy work .See Naomi Campbell present Bethann with the Founders Award at 2014 Cfda Fashion Awards award and her acceptance speech.
In tandem with Frédéric Tcheng (Halston, Dior and I), the co-directors trace Hardison’s impact on fashion from runway shows in New York and Paris in the ’70s to roundtables about lack of racial diversity in the early 2000s. Hardison’s audaciousness and candor are inspiring and inviting. Interviews with industry speak to the state of fashion, while friends and family attest to Hardison’s rebellious and ambitious spirit. The film is an absorbing record of Hardison’s accomplishments and a rare contemplation on the life of a radical thinker.
The arc of Bethann’s life was easily illustrated through archival and commentary, but the great depth of the film is created by Bethann herself. The film centers on Bethann writing her memoir as much as it does the events of her life. She’s filled with adages and life lessons, “Bethann-isms” as her crew called them. The process of Bethann writing her memoir gives the opportunity to better inject her personality and humor into the film, both through traditional voiceover and with an incredible cache of recorded phone calls between Fred and Bethann. Many of these conversations are the two co-directors discussing how best to tell such an expansive story. They give a genuine sense of an artist in process. Putting together such disparate elements to make a unified whole is not an easy process. For successfully integrating the scenes of reflection and introspection, the feeling of Bethann’s inner thought processes, credit goes to the editing by Chris McNabb. Read his enlightening interview in Filmmaker Magazine.
McNabb in turn also give much credit to the music in the film. His own great muse is music. States he, “I’d say one of my biggest influences is actually music. I grew up playing percussion and carry a lot of that experience with me in the edit room when locating the internal rhythm of footage. I think it helps me build scenes that can affect a viewer on a corporeal level rather than just an intellectual one. In terms of film influences, Paris Is Burning, despite its thorny ethical history, was a formative film for me on a personal and creative level.” About the Invisible Beauty: “And music! Music was very important, and composer Marc Anthony Thompson did a great job capturing the vibe we wanted.”
Frédéric Tcheng is a French-born filmmaker based in Brooklyn. His specialty is fashion. He co-directed Diana Vreeland: The Eye Has to Travel, and his award-winning directorial debut, Dior and I, premiered at Tribeca in 2014. Halston, with CNN Films and Amazon Studios as executive producers, premiered at Sundance in 2019.
The producer of Invisible Beauty, Lisa Cortés directed another Sundance 2023 film, Little Richard: I Am Everything. After its critical success there, being nominated for the Grand Jury Prize in U.S. Documentary Competition (Going to Mars: The Nikki Giovanni won) and being picked up by Magnolia for U.S. and international distribution, Cortés entered into a first-look development agreement with the Museum of the City of New York, where she will hone documentary IP based on the museum’s exhibitions. She plans for projects on food, social justice, music, and more. The first being made under the deal is a docuseries based on Gingerbread NYC: The Great Borough Bake-Off, an exhibition inviting bakers from every borough to design New York City-inspired gingerbread creations.
Invisible Beauty invites comparison with Going to Mars: The Nikki Giovanni Project as both are autobiographical docs about notably important Black women. Bethann is an activist forever aiming to reach objectives and Niki is a poet, looking inward, exposing herself and making changes in the awareness around her. Bethann on the other hand, as she states it, always held her hand close to her chest and rarely let her emotional have free rein.
They make a good pairing though if I were to have to choose one, I would choose Invisible Beauty. The film ranges broadly from the outer world of fashion itself to Bethann’s part in it and to her inner reflections whereas the Nikki Giovanni doc mostly shows her speaking to others. Moreover, and on a strictly personal level, I would rather be in Bethann’s company. Bethann is a positive, strong nurturing woman. Nikki’s inner pain and anger often seem to vent in the doc and I think I would feel uncomfortable in her company. In fact I don’t think she would like me much either. Bethann’s fortitude sets the tone of Invisible Beauty and it is fortitude and love that will propel us forever forward.
FashionMoviesDocumentaryBlack WomenFilm Festivals...
Premieres
How to write and how to make a film about one’s life is an ongoing discussion between Bethann Hardison and Frédéric Tcheng as Bethann’s life reveals itself. She is new to writing and filmmaking but she has the confidence to go forward without putting obstacles in front of herself. Her procrastination or preparation for writing takes a role in the film as well. This immediately allies me to her. Don’t we all procrastinate about the most important things in our lives?
Raised by her mother and grandmother in the South til the age of 12, she then moved in with her father in Bedford–Stuyvesant, Brooklyn. Her mother was very social; her father was very intellectual. He was an Iman at the local mosque and was a mentor to Malcolm X himself. He made her aware of things poltically and socially as well as directing her reading about the Moslem religion and the Koran. Raising consciousness was most important to her father. When she turned 18 she yearned for teen freedom and her father returned her to her mother and grandmother. Subsequently she attended NYU.
Bethann Hardison
Over the five decades of her career, from working in New York City’s Garment District, modeling and founding her eponymous modeling agency, she has become an advocate, mentor and muse. To hear her honest and forthwright assessment of the state of her own life is inspirational.
She was a fashion revolutionary, but to her, fashion was merely the vehicle for her revolutionary ideas which changed the fashion industry’s diversity of models to include people of all colors. Her main concern was changing the world. “I always know — because I have lived life long enough — you can change things.”
From walking runway shows alongside Iman to discovering supermodels like Tyson Beckford (that gorgeous black model for Ralph Lauren) and mentoring icons like Naomi Campbell, Hardison has been at the epicenter of major representational shifts in fashion. Catalyzing change requires continuous championing, and as the next generation takes the reins, Hardison reflects on her personal journey and the cost of being a pioneer.
She has received many awards in recognition of her decades of advocacy work .See Naomi Campbell present Bethann with the Founders Award at 2014 Cfda Fashion Awards award and her acceptance speech.
In tandem with Frédéric Tcheng (Halston, Dior and I), the co-directors trace Hardison’s impact on fashion from runway shows in New York and Paris in the ’70s to roundtables about lack of racial diversity in the early 2000s. Hardison’s audaciousness and candor are inspiring and inviting. Interviews with industry speak to the state of fashion, while friends and family attest to Hardison’s rebellious and ambitious spirit. The film is an absorbing record of Hardison’s accomplishments and a rare contemplation on the life of a radical thinker.
The arc of Bethann’s life was easily illustrated through archival and commentary, but the great depth of the film is created by Bethann herself. The film centers on Bethann writing her memoir as much as it does the events of her life. She’s filled with adages and life lessons, “Bethann-isms” as her crew called them. The process of Bethann writing her memoir gives the opportunity to better inject her personality and humor into the film, both through traditional voiceover and with an incredible cache of recorded phone calls between Fred and Bethann. Many of these conversations are the two co-directors discussing how best to tell such an expansive story. They give a genuine sense of an artist in process. Putting together such disparate elements to make a unified whole is not an easy process. For successfully integrating the scenes of reflection and introspection, the feeling of Bethann’s inner thought processes, credit goes to the editing by Chris McNabb. Read his enlightening interview in Filmmaker Magazine.
McNabb in turn also give much credit to the music in the film. His own great muse is music. States he, “I’d say one of my biggest influences is actually music. I grew up playing percussion and carry a lot of that experience with me in the edit room when locating the internal rhythm of footage. I think it helps me build scenes that can affect a viewer on a corporeal level rather than just an intellectual one. In terms of film influences, Paris Is Burning, despite its thorny ethical history, was a formative film for me on a personal and creative level.” About the Invisible Beauty: “And music! Music was very important, and composer Marc Anthony Thompson did a great job capturing the vibe we wanted.”
Frédéric Tcheng is a French-born filmmaker based in Brooklyn. His specialty is fashion. He co-directed Diana Vreeland: The Eye Has to Travel, and his award-winning directorial debut, Dior and I, premiered at Tribeca in 2014. Halston, with CNN Films and Amazon Studios as executive producers, premiered at Sundance in 2019.
The producer of Invisible Beauty, Lisa Cortés directed another Sundance 2023 film, Little Richard: I Am Everything. After its critical success there, being nominated for the Grand Jury Prize in U.S. Documentary Competition (Going to Mars: The Nikki Giovanni won) and being picked up by Magnolia for U.S. and international distribution, Cortés entered into a first-look development agreement with the Museum of the City of New York, where she will hone documentary IP based on the museum’s exhibitions. She plans for projects on food, social justice, music, and more. The first being made under the deal is a docuseries based on Gingerbread NYC: The Great Borough Bake-Off, an exhibition inviting bakers from every borough to design New York City-inspired gingerbread creations.
Invisible Beauty invites comparison with Going to Mars: The Nikki Giovanni Project as both are autobiographical docs about notably important Black women. Bethann is an activist forever aiming to reach objectives and Niki is a poet, looking inward, exposing herself and making changes in the awareness around her. Bethann on the other hand, as she states it, always held her hand close to her chest and rarely let her emotional have free rein.
They make a good pairing though if I were to have to choose one, I would choose Invisible Beauty. The film ranges broadly from the outer world of fashion itself to Bethann’s part in it and to her inner reflections whereas the Nikki Giovanni doc mostly shows her speaking to others. Moreover, and on a strictly personal level, I would rather be in Bethann’s company. Bethann is a positive, strong nurturing woman. Nikki’s inner pain and anger often seem to vent in the doc and I think I would feel uncomfortable in her company. In fact I don’t think she would like me much either. Bethann’s fortitude sets the tone of Invisible Beauty and it is fortitude and love that will propel us forever forward.
FashionMoviesDocumentaryBlack WomenFilm Festivals...
- 2/11/2023
- by Sydney
- Sydney's Buzz
Shoe designer Salvatore Ferragamo in Luca Guadagnino’s documentary Salvatore: Shoemaker Of Dreams. Photo: Sony Pictures Classics Through several beautifully costumed movies—including A Bigger Splash and I Am Love—Luca Guadagnino has always been a filmmaker of lusciously chic images. So it was about time that he signed his...
- 11/2/2022
- by Tomris Laffly
- avclub.com
Chicago – Before there was Michael Kors, Marc Jacobs, Stella McCartney, Tom Ford or even Miranda Priestly, there was “Halston.” Roy Halston Frowley was known only by that single name, and wore the celebrity fashion designer crown of the 1960s and ‘70s. Filmmaker Frédéric Tceng brings the icon back to life in “Halston.”
The documentary chronicles the rise and precipitous fall of the House of Halston, as his work-hard-play-hard philosophy was eventually his undoing. But it is a fascinating story, involving mysterious origins in Des Moines, Iowa, to the top of the fashion chain in New York City. Halston began as a hat maker, and when Jackie Kennedy wore his designer chapeaus around her husband’s presidency, his legacy was assured. He built his empire from there, partnering with an American corporation who took him to new heights. But everything that rises must converge, and Halston ran afoul of the very business community that financed him.
The documentary chronicles the rise and precipitous fall of the House of Halston, as his work-hard-play-hard philosophy was eventually his undoing. But it is a fascinating story, involving mysterious origins in Des Moines, Iowa, to the top of the fashion chain in New York City. Halston began as a hat maker, and when Jackie Kennedy wore his designer chapeaus around her husband’s presidency, his legacy was assured. He built his empire from there, partnering with an American corporation who took him to new heights. But everything that rises must converge, and Halston ran afoul of the very business community that financed him.
- 6/6/2019
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The Memorial Day holiday is a fairly busy one this year for Specialty films. Headlining the weekend’s new limited release titles is writer-director Noble Jones’ Sundance debut The Tomorrow Man, starring John Lithgow and Blythe Danner via Bleecker Street. The title began its roll out on Wednesday. Following up his successful documentary Dior And I, director Frédéric Tcheng is out this Friday with Halston, about the famous American designer. 1091, known as The Orchard when it released Dior and I, is taking Halston to theaters Friday. Oscilloscope’s 2018 Tribeca fest doc, Jill Magid’s The Proposal about architect Luis Barragán, has an exclusive New York run before heading to L.A. next weekend, while Greenwich Entertainment will play L.A. exclusively with doc Echo In the Canyon before heading East in its second frame. Blue Fox Entertainment, meanwhile is opening Slamdance 2018 tragic comedy Funny Story day and date Friday.
Other...
Other...
- 5/24/2019
- by Brian Brooks
- Deadline Film + TV
“Halston,” a look at the famous American fashion designer, has sold theatrical distribution and home entertainment rights to the studio formerly known as The Orchard Film Group. The deal comes following its premiere at the Sundance Film Festival on Saturday.
It’s the first major purchase for the indie label since it announced this week that it had a deal in place to be sold to 1091 Media, an investment group run by Danny Stein and Joe Samberg, who previously oversaw The Orchard’s push into releasing films. The Orchard is divesting from movies to concentrate on its core music business. The film group will be renamed.
“Halston,” an intimate look at a man who rose to the top of the world of haute couture with his minimalist aesthetic, was produced by CNN Films, which will retain all North American broadcast rights. It was directed by Frédéric Tcheng. The Orchard previously...
It’s the first major purchase for the indie label since it announced this week that it had a deal in place to be sold to 1091 Media, an investment group run by Danny Stein and Joe Samberg, who previously oversaw The Orchard’s push into releasing films. The Orchard is divesting from movies to concentrate on its core music business. The film group will be renamed.
“Halston,” an intimate look at a man who rose to the top of the world of haute couture with his minimalist aesthetic, was produced by CNN Films, which will retain all North American broadcast rights. It was directed by Frédéric Tcheng. The Orchard previously...
- 1/27/2019
- by Brent Lang and Ramin Setoodeh
- Variety Film + TV
The deal will also see titles from Dogwoof’s back catalogue appear on the service.
UK distributor and documentary specialist Dogwoof has struck a deal to release new acquisitions and titles from its back catalogue on VoD streaming service Wuaki.tv.
The first film to be released under the agreement will be Michael Moore’s travelogue documentary Where To Invade Next, which premiered at Toronto last year.
Around 20 titles from Dogwoof’s back catalogue will also go on the service, including Oscar-nominated duo Cartel Land and The Acting Of Killing, BAFTA-nominated Blackfish, and fashion doc Dior and I.
Barcelona-based Wuaki.tv is a VoD service that offers film and TV rental and purchase as well as, exclusively in Spain, a subscription service. The company operates in the UK, France, Germany, Italy, Ireland, Austria, Netherlands, Belgium, Switzerland and Luxembourg and is continuing its roll-out across the EU.
The deal was signed between Dogwoof’s head of home entertainment...
UK distributor and documentary specialist Dogwoof has struck a deal to release new acquisitions and titles from its back catalogue on VoD streaming service Wuaki.tv.
The first film to be released under the agreement will be Michael Moore’s travelogue documentary Where To Invade Next, which premiered at Toronto last year.
Around 20 titles from Dogwoof’s back catalogue will also go on the service, including Oscar-nominated duo Cartel Land and The Acting Of Killing, BAFTA-nominated Blackfish, and fashion doc Dior and I.
Barcelona-based Wuaki.tv is a VoD service that offers film and TV rental and purchase as well as, exclusively in Spain, a subscription service. The company operates in the UK, France, Germany, Italy, Ireland, Austria, Netherlands, Belgium, Switzerland and Luxembourg and is continuing its roll-out across the EU.
The deal was signed between Dogwoof’s head of home entertainment...
- 7/29/2016
- ScreenDaily
Benoît Jacquot: 'For me, there is something very specific with Vincent Lindon' Photo: Anne-Katrin Titze Having just completed À Jamais, based on Don DeLillo's The Body Artist, starring Mathieu Amalric and Jeanne Balibar with costumes by Raf Simons (Dior And I), Benoît Jacquot joined me in New York for a conversation on his penetrating Diary Of A Chambermaid (Journal d'Une Femme De Chambre), co-written with Hélène Zimmer and starring Léa Seydoux.
Vincent Lindon heads a formidable supporting cast that includes Clotilde Mollet, Hervé Pierre, Yvette Petit, Dominique Reymond, Mélodie Valemberg, Patrick d'Assumçao, Joséphine Derenne, Rosette and Vincent Lacoste. Costume designer Anaïs Romand, also known for Farewell My Queen, Léos Carax's Holy Motors and Guillaume Nicloux's The Kidnapping of Michel Houellebecq, captures the period with precision and grace.
Jacquot's adaptation of Octave Mirbeau's novel, focuses on the myriad ways female bodies were treated as commodities, as...
Vincent Lindon heads a formidable supporting cast that includes Clotilde Mollet, Hervé Pierre, Yvette Petit, Dominique Reymond, Mélodie Valemberg, Patrick d'Assumçao, Joséphine Derenne, Rosette and Vincent Lacoste. Costume designer Anaïs Romand, also known for Farewell My Queen, Léos Carax's Holy Motors and Guillaume Nicloux's The Kidnapping of Michel Houellebecq, captures the period with precision and grace.
Jacquot's adaptation of Octave Mirbeau's novel, focuses on the myriad ways female bodies were treated as commodities, as...
- 6/9/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Could Marlon Brando return to the Oscars posthumously? The documentary Listen to Me Marlon made the finals for the Best Documentary Oscar even though documentaries about Hollywood stars and movies aren't typically so favorited. Note that Ingrid Bergman's documentary --also famously "in her own words" -- and the enjoyable Tab Hunter: Confidential and the Sundance sensation The Wolfpack about living through the movies weren't as lucky and did not make the finals.
The 15 Finalists
Amy (PGA nominee, Ida nominee, Nbr winner) Best of Enemies (Nbr top 5, Spirit nominee) Cartel Land (Gotham nominee) Going Clear: Scientology and the Prison of Belief He Named Me Malala Heart of a Dog (Gotham nominee, Spirit nominee) The Hunting Ground (PGA nominee) Listen to Me Marlon (Ida nominee, Nbr top 5, Gotham nominee)
The Look of Silence (PGA nominee, Ida nominee, Nbr top 5, Gotham winner, Spirit nominee) Meru (PGA nominee, Spirit nominee) 3 1/2 Minutes, Ten...
The 15 Finalists
Amy (PGA nominee, Ida nominee, Nbr winner) Best of Enemies (Nbr top 5, Spirit nominee) Cartel Land (Gotham nominee) Going Clear: Scientology and the Prison of Belief He Named Me Malala Heart of a Dog (Gotham nominee, Spirit nominee) The Hunting Ground (PGA nominee) Listen to Me Marlon (Ida nominee, Nbr top 5, Gotham nominee)
The Look of Silence (PGA nominee, Ida nominee, Nbr top 5, Gotham winner, Spirit nominee) Meru (PGA nominee, Spirit nominee) 3 1/2 Minutes, Ten...
- 12/2/2015
- by NATHANIEL R
- FilmExperience
Totally and tragically unconventional, Peggy Guggenheim moved through the cultural upheaval of the 20th century collecting not only not only art, but artists. Her sexual life was -- and still today is -- more discussed than the art itself which she collected, not for her own consumption but for the world to enjoy.
Her colorful personal history included such figures as Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp and countless others. Guggenheim helped introduce the world to Pollock, Motherwell, Rothko and scores of others now recognized as key masters of modernism.
In 1921 she moved to Paris and mingled with Picasso, Dali, Joyce, Pound, Stein, Leger, Kandinsky. In 1938 she opened a gallery in London and began showing Cocteau, Tanguy, Magritte, Miro, Brancusi, etc., and then back to Paris and New York after the Nazi invasion, followed by the opening of her NYC gallery Art of This Century, which became one of the premiere avant-garde spaces in the U.S. While fighting through personal tragedy, she maintained her vision to build one of the most important collections of modern art, now enshrined in her Venetian palazzo where she moved in 1947. Since 1951, her collection has become one of the world’s most visited art spaces.
Featuring: Jean Dubuffet, Marcel Duchamp, Max Ernst, Alberto Giacometti, Arshile Gorky, Vasil Kandinsky, Paul Klee, Willem de Kooning, Fernand Leger, Rene Magritte, Man Ray, Jean Miro, Piet Mondrian, Henry Moore, Robert Motherwell, Pablo Picasso, Jackson Pollock, Mark Rothko, Kurt Schwitters, Gino Severini, Clyfford Still and Yves Tanguy.
Lisa Immordino Vreeland (Director and Producer)
Lisa Immordino Vreeland has been immersed in the world of fashion and art for the past 25 years. She started her career in fashion as the Director of Public Relations for Polo Ralph Lauren in Italy and quickly moved on to launch two fashion companies, Pratico, a sportswear line for women, and Mago, a cashmere knitwear collection of her own design. Her first book was accompanied by her directorial debut of the documentary of the same name, "Diana Vreeland: The Eye Has To Travel" (2012). The film about the editor of Harper's Bazaar had its European premiere at the Venice Film Festival and its North American premiere at the Telluride Film Festival, going on to win the Silver Hugo at the Chicago Film Festival and the fashion category for the Design of the Year awards, otherwise known as “The Oscars” of design—at the Design Museum in London.
"Peggy Guggenheim: Art Addict" is Lisa Immordino Vreeland's followup to her acclaimed debut, "Diana Vreeland: The Eye Has to Travel". She is now working on her third doc on Cecil Beaton who Lisa says, "has been circling around all these stories. What's great about him is the creativity: fashion photography, war photography, "My Fair Lady" winning an Oscar."
Sydney Levine: I have read numerous accounts and interviews with you about this film and rather than repeat all that has been said, I refer my readers to Indiewire's Women and Hollywood interview at Tribeca this year, and your Indiewire interview with Aubrey Page, November 6, 2015 .
Let's try to cover new territory here.
First of all, what about you? What is your relationship to Diana Vreeland?
Liv: I am married to her grandson, Alexander Vreeland. (I'm also proud of my name Immordino) I never met Diana but hearing so many family stories about her made me start to wonder about all the talk about her. I worked in fashion and lived in New York like she did.
Sl: In one of your interviews you said that Peggy was not only ahead of her time but she helped to define it. Can you tell me how?
Liv: Peggy grew up in a very traditional family of German Bavarian Jews who had moved to New York City in the 19th century. Already at a young age Peggy felt like there were too many rules around her and she wanted to break out. That alone was something attractive to me — the notion that she knew that she didn't fit in to her family or her times. She lived on her own terms, a very modern approach to life. She decided to abandon her family in New York. Though she always stayed connected to them, she rarely visited New York. Instead she lived in a world without borders. She did not live by "the rules". She believed in creating art and created herself, living on her own terms and not on those of her family.
Sl: Is there a link between her and your previous doc on Diana Vreeland?
Liv: The link between Vreeland and Guggenheim is their mutual sense of reinvention and transformation. That made something click inside of me as I too reinvented myself when I began writing the book on Diana Vreeland .
Can you talk about the process of putting this one together and how it differed from its predecessor?
Liv: The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through — instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage. I'm still new to this, but it's the storytelling aspect that I loved in both projects. One thing about Peggy that Mrs. Vreeland didn't have was a very tragic personal life. There was so much that happened in Peggy's life before you even got to what she actually accomplished. And so we had to tell a very dense story about her childhood, her father dying on the Titanic, her beloved sister dying — the tragic events that fundamentally shaped her in a way. It was about making sure we had enough of the personal story to go along with her later accomplishments.
World War II alone was such a huge part of her story, opening an important art gallery in London, where she showed Kandinsky and other important artists for the first time. The amount of material to distill was a tremendous challenge and I hope we made the right choices.
Sl: How did you learn make a documentary?
Liv: I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.
Research is fundamental; finding as much as you can and never giving up. I love the research. It is my "precise time". Not just for interviews but of footage, photographs never seen before. It is a painstaking process that satisfies me. The research never ends. I was still researching while I was promoting the Diana Vreeland book. I love reading books and going to original sources.
The archives in film museums in the last ten years has changed and given museums a new role. I found unique footage at Moma with the Elizabeth Chapman Films. Chapman went to Paris in the 30s and 40s with a handheld camera and took moving pictures of Brancusi and Duchamps joking around in a studio, Gertrude Stein, Leger walking down the street. This footage is owned by Robert Storr, Dean of Yale School of Art. In fact he is taking a sabbatical this year to go through the boxes and boxes of Chapman's films. We also used " Entre'acte" by René Clair cowritten with Dadaist Francis Picabia, "Le Sang du poet" of Cocteau, Hans Richter "8x8","Gagascope" and " Dreams That Money Can Buy" produced by Peggy Guggenheim, written by Man Ray in 1947.
Sl: How long did it take to research and make the film?
Liv: It took three years for both the Vreeland and the Guggenheim documentary.
It was more difficult with the Guggenheim story because there was so much material and so much to tell of her life. And she was not so giving of her own self. Diana could inspire you about a bandaid; she was so giving. But Peggy didn't talk much about why she loved an artist or a painting. She acted more. And using historical material could become "over-teaching" though it was fascinating.
So much had to be eliminated. It was hard to eliminate the Degenerate Art Show, a subject which is newly discussed. Stephanie Barron of Lacma is an expert on Degenerate Art and was so generous.
Once we decided upon which aspects to focus on, then we could give focus to the interviews.
There were so many of her important shows we could not include. For instance there was a show on collages featuring William Baziotes , Jackson Pollack and Robert Motherwell which started a more modern collage trend in art. The 31 Women Art Show which we did include pushed forward another message which I think is important.
And so many different things have been written about Peggy — there were hundreds of articles written about her during her lifetime. She also kept beautiful scrapbooks of articles written about her, which are now in the archives of the Guggenheim Museum.
The Guggenheim foundation did not commission this documentary but they were very supportive and the film premiered there in New York in a wonderful celebration. They wanted to represent Peggy and her paintings properly. The paintings were secondary characters and all were carefully placed historically in a correct fashion.
Sl: You said in one interview Guggenheim became a central figure in the modern art movement?
Liv: Yes and she did it without ego. Sharing was always her purpose in collecting art. She was not out for herself. Before Peggy, the art world was very different. And today it is part of wealth management.
Other collectors had a different way with art. Isabelle Stewart Gardner bought art for her own personal consumption. The Gardner Museum came later. Gertrude Stein was sharing the vision of her brother when she began collecting art. The Coen sisters were not sharing.
Her benevolence ranged from giving Berenice Abbott the money to buy her first camera to keeping Pollock afloat during lean times.
Djuana Barnes, who had a 'Love Love Love Hate Hate Hate' relationship with Peggy wrote Nightwood in Peggy's country house in England.
She was in Paris to the last minute. She planned how to safeguard artwork from the Nazis during World War II. She was storing gasoline so she could escape. She lived on the Ile St. Louis with her art and moved the paintings out first to a children's boarding school and then to Marseilles where it was shipped out to New York City.
Her role in art was not taken seriously because of her very public love life which was described in very derogatory terms. There was more talk about her love life than about her collection of art.
Her autobiography, Out of This Century: Confessions of an Art Addict (1960) , was scandalous when it came out — and she didn't even use real names, she used pseudonyms for her numerous partners. Only after publication did she reveal the names of the men she slept with.
The fact that she spoke about her sexual life at all was the most outrageous aspect. She was opening herself up to ridicule, but she didn't care. Peggy was her own person and she felt good in her own skin. But it was definitely unconventional behavior. I think her sexual appetites revealed a lot about finding her own identity.
A lot of it was tied to the loss of her father, I think, in addition to her wanting to feel accepted. She was also very adventurous — look at the men she slept with. I mean, come on, they are amazing! Samuel Beckett, Yves Tanguy, Marcel Duchamp, and she married Max Ernst. I think it was really ballsy of her to have been so open about her sexuality; this was not something people did back then. So many people are bound by conventional rules but Peggy said no. She grabbed hold of life and she lived it on her own terms.
Sl: You also give Peggy credit for changing the way art was exhibited. Can you explain that?
Liv: One of her greatest achievements was her gallery space in New York City, Art of This Century, which was unlike anything the art world has seen before or since in the way that it shattered the boundaries of the gallery space that we've come to know today — the sterile white cube. She came to be a genius at displaying her collections...
She was smart with Art of the Century because she hired Frederick Kiesler as a designer of the gallery and once again surrounded herself with the right people, including Howard Putzler, who was already involved with her at Guggenheim Jeune in London. And she was hanging out with all the exiled Surrealists who were living in New York at the time, including her future husband, Max Ernst, who was the real star of that group of artists. With the help of these people, she started showing art in a completely different way that was both informal and approachable. In conventional museums and galleries, art was untouchable on the wall and inside frames. In Peggy's gallery, art stuck out from the walls; works weren't confined to frames. Kiesler designed special chairs you could sit in and browse canvases as you would texts in a library. Nothing like this had ever existed in New York before — even today there is nothing like it.
She made the gallery into an exciting place where the whole concept of space was transformed. In Venice, the gallery space was also her home. Today, for a variety of reasons, the home aspect of the collection is less emphasized, though you still get a strong sense of Peggy's home life there. She was bringing art to the public in a bold new way, which I think is a great idea. It's art for everybody, which is very much a part of today's dialogue except that fewer people can afford the outlandish museum entry fees.
Sl: What do you think made her so prescient and attuned ?
Liv: She was smart enough to ask Marcel Duchamp to be her advisor — so she was in tune, and very well connected. She was on the cutting edge of what was going on and I think a lot of this had to do with Peggy being open to the idea of what was new and outrageous. You have to have a certain personality for this; what her childhood had dictated was totally opposite from what she became in life, and being in the right place at the right time helped her maintain a cutting edge throughout her life.
Sl: The movie is framed around a lost interview with Peggy conducted late in her life. How did you acquire these tapes?
Liv: We optioned Jacqueline Bogard Weld’s book, Peggy : The Wayward Guggenheim, the only authorized biography of Peggy, which was published after she died. Jackie had spent two summers interviewing Peggy but at a certain point lost the tapes somewhere in her Park Avenue apartment. Jackie had so much access to Peggy, which was incredible, but it was also the access that she had to other people who had known Peggy — she interviewed over 200 people for her book. Jackie was incredibly generous, letting me go through all her original research except for the lost tapes.
We'd walk into different rooms in her apartment and I'd suggestively open a closet door and ask “Where do you think those tapes might be?" Then one day I asked if she had a basement, and she did. So I went through all these boxes down there, organizing her affairs. Then bingo, the tapes showed up in this shoebox.
It was the longest interview Peggy had ever done and it became the framework for our movie. There's nothing more powerful than when you have someone's real voice telling the story, and Jackie was especially good at asking provoking questions. You can tell it was hard for Peggy to answer a lot of them, because she wasn't someone who was especially expressive; she didn't have a lot of emotion. And this comes across in the movie, in the tone of her voice.
Sl: Larry Gagosian has one of the best descriptions of Peggy in the movie — "she was her own creation." Would you agree, and if so why?
Liv: She was very much her own creation. When he said that in the interview I had a huge smile on my face. In Peggy's case it stemmed from a real need to identify and understand herself. I'm not sure she achieved it but she completely recreated herself — she knew that she did not want to be what she was brought up to be. She tried being a mother, but that was not one of her strengths, so art became that place where she could find herself, and then transform herself.
Nobody believed in the artists she cultivated and supported — they were outsiders and she was an outsider in the world she was brought up in. So it's in this way that she became her own great invention. I hope that her humor comes across in the film because she was extremely amusing — this aspect really comes across in her autobiography.
Sl: Finally, what do you think is Peggy Guggenheim's most lasting legacy, beyond her incredible art collection?
Liv: Her courage, and the way she used it to find herself. She had this ballsiness that not many people had, especially women. In her own way she was a feminist and it's good for women and young girls today to see women who stepped outside the confines of a very traditional family and made something of her life. Peggy's life did not seem that dreamy until she attached herself to these artists. It was her ability to redefine herself in the end that truly summed her up.
About the Filmmakers
Stanley Buchtal is a producer and entrepreneur. His movies credits include "Hairspray", "Spanking the Monkey", "Up at the Villa", "Lou Reed Berlin", "Love Marilyn", "LennoNYC", "Bobby Fischer Against the World", "Herb & Dorothy", "Marina Abramovic: The Artist is Present"," Jean-Michel Basquiat: The Radiant Child", "Sketches of Frank Gehry", "Black White + Gray: a Portrait of Sam Wagstaff and Robert Mapplethorpe", among numerous others.
David Koh is an independent producer, distributor, sales agent, programmer and curator. He has been involved in the distribution, sale, production, and financing of over 200 films. He is currently a partner in the boutique label Submarine Entertainment with Josh and Dan Braun and is also partners with Stanley Buchthal and his Dakota Group Ltd where he co-manages a portfolio of over 50 projects a year (75% docs and 25% fiction). Previously he was a partner and founder of Arthouse Films a boutique distribution imprint and ran Chris Blackwell's (founder of Island Records & Island Pictures) film label, Palm Pictures. He has worked as a Producer for artist Nam June Paik and worked in the curatorial departments of Anthology Film Archives, MoMA, Mfa Boston, and the Guggenheim Museum. David has recently served as a Curator for Microsoft and has curated an ongoing film series and salon with Andre Balazs Properties and serves as a Curator for the exclusive Core Club in NYC.
David recently launched with his partners Submarine Deluxe, a distribution imprint; Torpedo Pictures, a low budget high concept label; and Nfp Submarine Doks, a German distribution imprint with Nfp Films. Recently and upcoming projects include "Yayoi Kusama: a Life in Polka Dots", "Burden: a Portrait of Artist Chris Burden", "Dior and I", "20 Feet From Stardom", "Muscle Shoals", "Marina Abramovic the Artist is Present", "Rats NYC", "Nas: Time Is Illmatic", "Blackfish", "Love Marilyn", "Chasing Ice", "Searching for Sugar Man", "Cutie and the Boxer"," Jean-Michel Basquiat: the Radiant Child", "Finding Vivian Maier", "The Wolfpack, "Meru", and "Station to Station".
Dan Braun is a producer, writer, art director and musician/composer based in NYC. He is the Co-President of and Co-Founder of Submarine, a NYC film sales and production company specializing in independent feature and documentary films. Titles include "Blackfish", "Finding Vivian Maier", "Muscle Shoals", "The Case Against 8", "Keep On Keepin’ On", "Winter’s Bone", "Nas: Time is Illmatic", "Dior and I" and Oscar winning docs "Man on Wire", "Searching for Sugarman", "20 Ft From Stardom" and "Citizenfour". He was Executive Producer on documentaries "Kill Your Idols", (which won Best NY Documentary at the Tribeca Film Festival 2004), "Blank City", "Sunshine Superman", the upcoming feature adaptations of "Batkid Begins" and "The Battered Bastards of Baseball" and the upcoming horror TV anthology "Creepy" to be directed by Chris Columbus.
He is a producer of the free jazz documentary "Fire Music", and the upcoming documentaries, "Burden" on artist Chris Burden and "Kusama: a Life in Polka Dots" on artist Yayoi Kusama. He is also a writer and consulting editor on Dark Horse Comic’s "Creepy" and "Eerie 9" comic book and archival series for which he won an Eisner Award for best archival comic book series in 2009.
He is a musician/composer whose compositions were featured in the films "I Melt With You" and "Jean-Michel Basquiat, The Radiant Child and is an award winning art director/creative director when he worked at Tbwa/Chiat/Day on the famous Absolut Vodka campaign.
John Northrup (Co-Producer) began his career in documentaries as a French translator for National Geographic: Explorer. He quickly moved into editing and producing, serving as the Associate Producer on "Diana Vreeland: The Eye Has To Travel" (2012), and editing and co-producing "Wilson In Situ" (2014), which tells the story of theatre legend Robert Wilson and his Watermill Center. Most recently, he oversaw the post-production of Jim Chambers’ "Onward Christian Soldier", a documentary about Olympic Bomber Eric Rudolph, and is shooting on Susanne Rostock’s "Another Night in the Free World", the follow-up to her award-winning "Sing Your Song" (2011).
Submarine Entertainment (Production Company) Submarine Entertainment is a hybrid sales, production, and distribution company based in N.Y. Recent and upcoming titles include "Citizenfour", "Finding Vivian Maier", "The Dog", "Visitors", "20 Feet from Stardom", "Searching for Sugar Man", "Muscle Shoals", "Blackfish", "Cutie and the Boxer", "The Summit", "The Unknown Known", "Love Marilyn", "Marina Abramovic the Artist is Present", "Chasing Ice", "Downtown 81 30th Anniversary Remastered", "Wild Style 30th Anniversary Remastered", "Good Ol Freda", "Some Velvet Morning", among numerous others. Submarine principals also represent Creepy and Eerie comic book library and are developing properties across film & TV platforms.
Submarine has also recently launched a domestic distribution imprint and label called Submarine Deluxe; a genre label called Torpedo Pictures; and a German imprint and label called Nfp Submarine Doks.
Bernadine Colish has edited a number of award-winning documentaries. "Herb and Dorothy" (2008), won Audience Awards at Silverdocs, Philadelphia and Hamptons Film Festivals, and "Body of War" (2007), was named Best Documentary by the National Board of Review. "A Touch of Greatness" (2004) aired on PBS Independent Lens and was nominated for an Emmy Award. Her career began at Maysles Films, where she worked with Charlotte Zwerin on such projects as "Thelonious Monk: Straight No Chaser", "Toru Takemitsu: Music for the Movies" and the PBS American Masters documentary, "Ella Fitzgerald: Something To Live For". Additional credits include "Bringing Tibet Home", "Band of Sisters", "Rise and Dream", "The Tiger Next Door", "The Buffalo War" and "Absolute Wilson".
Jed Parker (Editor) Jed Parker began his career in feature films before moving into documentaries through his work with the award-winning American Masters series. Credits include "Lou Reed: Rock and Roll Heart", "Annie Liebovitz: Life Through a Lens", and most recently "Jeff Bridges: The Dude Abides".
Other work includes two episodes of the PBS series "Make ‘Em Laugh", hosted by Billy Crystal, as well as a documentary on Met Curator Henry Geldzahler entitled "Who Gets to Call it Art"?
Credits
Director, Writer, Producer: Lisa Immordino Vreeland
Produced by Stanley Buchthal, David Koh and Dan Braun Stanley Buchthal (producer)
Maja Hoffmann (executive producer)
Josh Braun (executive producer)
Bob Benton (executive producer)
John Northrup (co-producer)
Bernadine Colish (editor)
Jed Parker (editor)
Peter Trilling (director of photography)
Bonnie Greenberg (executive music producer)
Music by J. Ralph
Original Song "Once Again" Written and Performed By J. Ralph
Interviews Featuring Artist Marina Abramović Jean Arp Dore Ashton Samuel Beckett Stephanie Barron Constantin Brâncuși Diego Cortez Alexander Calder Susan Davidson Joseph Cornell Robert De Niro Salvador Dalí Simon de Pury Willem de Kooning Jeffrey Deitch Marcel Duchamp Polly Devlin Max Ernst Larry Gagosian Alberto Giacometti Arne Glimcher Vasily Kandinsky Michael Govan Fernand Léger Nicky Haslam Joan Miró Pepe Karmel Piet Mondrian Donald Kuspit Robert Motherwell Dominique Lévy Jackson Pollock Carlo McCormick Mark Rothko Hans Ulrich Obrist Yves Tanguy Lisa Phillips Lindsay Pollock Francine Prose John Richardson Sandy Rower Mercedes Ruehl Jane Rylands Philip Rylands Calvin Tomkins Karole Vail Jacqueline Bograd Weld Edmund White
Running time: 97 minutes
U.S. distribution by Submarine Deluxe
International sales by Hanway...
Her colorful personal history included such figures as Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp and countless others. Guggenheim helped introduce the world to Pollock, Motherwell, Rothko and scores of others now recognized as key masters of modernism.
In 1921 she moved to Paris and mingled with Picasso, Dali, Joyce, Pound, Stein, Leger, Kandinsky. In 1938 she opened a gallery in London and began showing Cocteau, Tanguy, Magritte, Miro, Brancusi, etc., and then back to Paris and New York after the Nazi invasion, followed by the opening of her NYC gallery Art of This Century, which became one of the premiere avant-garde spaces in the U.S. While fighting through personal tragedy, she maintained her vision to build one of the most important collections of modern art, now enshrined in her Venetian palazzo where she moved in 1947. Since 1951, her collection has become one of the world’s most visited art spaces.
Featuring: Jean Dubuffet, Marcel Duchamp, Max Ernst, Alberto Giacometti, Arshile Gorky, Vasil Kandinsky, Paul Klee, Willem de Kooning, Fernand Leger, Rene Magritte, Man Ray, Jean Miro, Piet Mondrian, Henry Moore, Robert Motherwell, Pablo Picasso, Jackson Pollock, Mark Rothko, Kurt Schwitters, Gino Severini, Clyfford Still and Yves Tanguy.
Lisa Immordino Vreeland (Director and Producer)
Lisa Immordino Vreeland has been immersed in the world of fashion and art for the past 25 years. She started her career in fashion as the Director of Public Relations for Polo Ralph Lauren in Italy and quickly moved on to launch two fashion companies, Pratico, a sportswear line for women, and Mago, a cashmere knitwear collection of her own design. Her first book was accompanied by her directorial debut of the documentary of the same name, "Diana Vreeland: The Eye Has To Travel" (2012). The film about the editor of Harper's Bazaar had its European premiere at the Venice Film Festival and its North American premiere at the Telluride Film Festival, going on to win the Silver Hugo at the Chicago Film Festival and the fashion category for the Design of the Year awards, otherwise known as “The Oscars” of design—at the Design Museum in London.
"Peggy Guggenheim: Art Addict" is Lisa Immordino Vreeland's followup to her acclaimed debut, "Diana Vreeland: The Eye Has to Travel". She is now working on her third doc on Cecil Beaton who Lisa says, "has been circling around all these stories. What's great about him is the creativity: fashion photography, war photography, "My Fair Lady" winning an Oscar."
Sydney Levine: I have read numerous accounts and interviews with you about this film and rather than repeat all that has been said, I refer my readers to Indiewire's Women and Hollywood interview at Tribeca this year, and your Indiewire interview with Aubrey Page, November 6, 2015 .
Let's try to cover new territory here.
First of all, what about you? What is your relationship to Diana Vreeland?
Liv: I am married to her grandson, Alexander Vreeland. (I'm also proud of my name Immordino) I never met Diana but hearing so many family stories about her made me start to wonder about all the talk about her. I worked in fashion and lived in New York like she did.
Sl: In one of your interviews you said that Peggy was not only ahead of her time but she helped to define it. Can you tell me how?
Liv: Peggy grew up in a very traditional family of German Bavarian Jews who had moved to New York City in the 19th century. Already at a young age Peggy felt like there were too many rules around her and she wanted to break out. That alone was something attractive to me — the notion that she knew that she didn't fit in to her family or her times. She lived on her own terms, a very modern approach to life. She decided to abandon her family in New York. Though she always stayed connected to them, she rarely visited New York. Instead she lived in a world without borders. She did not live by "the rules". She believed in creating art and created herself, living on her own terms and not on those of her family.
Sl: Is there a link between her and your previous doc on Diana Vreeland?
Liv: The link between Vreeland and Guggenheim is their mutual sense of reinvention and transformation. That made something click inside of me as I too reinvented myself when I began writing the book on Diana Vreeland .
Can you talk about the process of putting this one together and how it differed from its predecessor?
Liv: The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through — instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage. I'm still new to this, but it's the storytelling aspect that I loved in both projects. One thing about Peggy that Mrs. Vreeland didn't have was a very tragic personal life. There was so much that happened in Peggy's life before you even got to what she actually accomplished. And so we had to tell a very dense story about her childhood, her father dying on the Titanic, her beloved sister dying — the tragic events that fundamentally shaped her in a way. It was about making sure we had enough of the personal story to go along with her later accomplishments.
World War II alone was such a huge part of her story, opening an important art gallery in London, where she showed Kandinsky and other important artists for the first time. The amount of material to distill was a tremendous challenge and I hope we made the right choices.
Sl: How did you learn make a documentary?
Liv: I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.
Research is fundamental; finding as much as you can and never giving up. I love the research. It is my "precise time". Not just for interviews but of footage, photographs never seen before. It is a painstaking process that satisfies me. The research never ends. I was still researching while I was promoting the Diana Vreeland book. I love reading books and going to original sources.
The archives in film museums in the last ten years has changed and given museums a new role. I found unique footage at Moma with the Elizabeth Chapman Films. Chapman went to Paris in the 30s and 40s with a handheld camera and took moving pictures of Brancusi and Duchamps joking around in a studio, Gertrude Stein, Leger walking down the street. This footage is owned by Robert Storr, Dean of Yale School of Art. In fact he is taking a sabbatical this year to go through the boxes and boxes of Chapman's films. We also used " Entre'acte" by René Clair cowritten with Dadaist Francis Picabia, "Le Sang du poet" of Cocteau, Hans Richter "8x8","Gagascope" and " Dreams That Money Can Buy" produced by Peggy Guggenheim, written by Man Ray in 1947.
Sl: How long did it take to research and make the film?
Liv: It took three years for both the Vreeland and the Guggenheim documentary.
It was more difficult with the Guggenheim story because there was so much material and so much to tell of her life. And she was not so giving of her own self. Diana could inspire you about a bandaid; she was so giving. But Peggy didn't talk much about why she loved an artist or a painting. She acted more. And using historical material could become "over-teaching" though it was fascinating.
So much had to be eliminated. It was hard to eliminate the Degenerate Art Show, a subject which is newly discussed. Stephanie Barron of Lacma is an expert on Degenerate Art and was so generous.
Once we decided upon which aspects to focus on, then we could give focus to the interviews.
There were so many of her important shows we could not include. For instance there was a show on collages featuring William Baziotes , Jackson Pollack and Robert Motherwell which started a more modern collage trend in art. The 31 Women Art Show which we did include pushed forward another message which I think is important.
And so many different things have been written about Peggy — there were hundreds of articles written about her during her lifetime. She also kept beautiful scrapbooks of articles written about her, which are now in the archives of the Guggenheim Museum.
The Guggenheim foundation did not commission this documentary but they were very supportive and the film premiered there in New York in a wonderful celebration. They wanted to represent Peggy and her paintings properly. The paintings were secondary characters and all were carefully placed historically in a correct fashion.
Sl: You said in one interview Guggenheim became a central figure in the modern art movement?
Liv: Yes and she did it without ego. Sharing was always her purpose in collecting art. She was not out for herself. Before Peggy, the art world was very different. And today it is part of wealth management.
Other collectors had a different way with art. Isabelle Stewart Gardner bought art for her own personal consumption. The Gardner Museum came later. Gertrude Stein was sharing the vision of her brother when she began collecting art. The Coen sisters were not sharing.
Her benevolence ranged from giving Berenice Abbott the money to buy her first camera to keeping Pollock afloat during lean times.
Djuana Barnes, who had a 'Love Love Love Hate Hate Hate' relationship with Peggy wrote Nightwood in Peggy's country house in England.
She was in Paris to the last minute. She planned how to safeguard artwork from the Nazis during World War II. She was storing gasoline so she could escape. She lived on the Ile St. Louis with her art and moved the paintings out first to a children's boarding school and then to Marseilles where it was shipped out to New York City.
Her role in art was not taken seriously because of her very public love life which was described in very derogatory terms. There was more talk about her love life than about her collection of art.
Her autobiography, Out of This Century: Confessions of an Art Addict (1960) , was scandalous when it came out — and she didn't even use real names, she used pseudonyms for her numerous partners. Only after publication did she reveal the names of the men she slept with.
The fact that she spoke about her sexual life at all was the most outrageous aspect. She was opening herself up to ridicule, but she didn't care. Peggy was her own person and she felt good in her own skin. But it was definitely unconventional behavior. I think her sexual appetites revealed a lot about finding her own identity.
A lot of it was tied to the loss of her father, I think, in addition to her wanting to feel accepted. She was also very adventurous — look at the men she slept with. I mean, come on, they are amazing! Samuel Beckett, Yves Tanguy, Marcel Duchamp, and she married Max Ernst. I think it was really ballsy of her to have been so open about her sexuality; this was not something people did back then. So many people are bound by conventional rules but Peggy said no. She grabbed hold of life and she lived it on her own terms.
Sl: You also give Peggy credit for changing the way art was exhibited. Can you explain that?
Liv: One of her greatest achievements was her gallery space in New York City, Art of This Century, which was unlike anything the art world has seen before or since in the way that it shattered the boundaries of the gallery space that we've come to know today — the sterile white cube. She came to be a genius at displaying her collections...
She was smart with Art of the Century because she hired Frederick Kiesler as a designer of the gallery and once again surrounded herself with the right people, including Howard Putzler, who was already involved with her at Guggenheim Jeune in London. And she was hanging out with all the exiled Surrealists who were living in New York at the time, including her future husband, Max Ernst, who was the real star of that group of artists. With the help of these people, she started showing art in a completely different way that was both informal and approachable. In conventional museums and galleries, art was untouchable on the wall and inside frames. In Peggy's gallery, art stuck out from the walls; works weren't confined to frames. Kiesler designed special chairs you could sit in and browse canvases as you would texts in a library. Nothing like this had ever existed in New York before — even today there is nothing like it.
She made the gallery into an exciting place where the whole concept of space was transformed. In Venice, the gallery space was also her home. Today, for a variety of reasons, the home aspect of the collection is less emphasized, though you still get a strong sense of Peggy's home life there. She was bringing art to the public in a bold new way, which I think is a great idea. It's art for everybody, which is very much a part of today's dialogue except that fewer people can afford the outlandish museum entry fees.
Sl: What do you think made her so prescient and attuned ?
Liv: She was smart enough to ask Marcel Duchamp to be her advisor — so she was in tune, and very well connected. She was on the cutting edge of what was going on and I think a lot of this had to do with Peggy being open to the idea of what was new and outrageous. You have to have a certain personality for this; what her childhood had dictated was totally opposite from what she became in life, and being in the right place at the right time helped her maintain a cutting edge throughout her life.
Sl: The movie is framed around a lost interview with Peggy conducted late in her life. How did you acquire these tapes?
Liv: We optioned Jacqueline Bogard Weld’s book, Peggy : The Wayward Guggenheim, the only authorized biography of Peggy, which was published after she died. Jackie had spent two summers interviewing Peggy but at a certain point lost the tapes somewhere in her Park Avenue apartment. Jackie had so much access to Peggy, which was incredible, but it was also the access that she had to other people who had known Peggy — she interviewed over 200 people for her book. Jackie was incredibly generous, letting me go through all her original research except for the lost tapes.
We'd walk into different rooms in her apartment and I'd suggestively open a closet door and ask “Where do you think those tapes might be?" Then one day I asked if she had a basement, and she did. So I went through all these boxes down there, organizing her affairs. Then bingo, the tapes showed up in this shoebox.
It was the longest interview Peggy had ever done and it became the framework for our movie. There's nothing more powerful than when you have someone's real voice telling the story, and Jackie was especially good at asking provoking questions. You can tell it was hard for Peggy to answer a lot of them, because she wasn't someone who was especially expressive; she didn't have a lot of emotion. And this comes across in the movie, in the tone of her voice.
Sl: Larry Gagosian has one of the best descriptions of Peggy in the movie — "she was her own creation." Would you agree, and if so why?
Liv: She was very much her own creation. When he said that in the interview I had a huge smile on my face. In Peggy's case it stemmed from a real need to identify and understand herself. I'm not sure she achieved it but she completely recreated herself — she knew that she did not want to be what she was brought up to be. She tried being a mother, but that was not one of her strengths, so art became that place where she could find herself, and then transform herself.
Nobody believed in the artists she cultivated and supported — they were outsiders and she was an outsider in the world she was brought up in. So it's in this way that she became her own great invention. I hope that her humor comes across in the film because she was extremely amusing — this aspect really comes across in her autobiography.
Sl: Finally, what do you think is Peggy Guggenheim's most lasting legacy, beyond her incredible art collection?
Liv: Her courage, and the way she used it to find herself. She had this ballsiness that not many people had, especially women. In her own way she was a feminist and it's good for women and young girls today to see women who stepped outside the confines of a very traditional family and made something of her life. Peggy's life did not seem that dreamy until she attached herself to these artists. It was her ability to redefine herself in the end that truly summed her up.
About the Filmmakers
Stanley Buchtal is a producer and entrepreneur. His movies credits include "Hairspray", "Spanking the Monkey", "Up at the Villa", "Lou Reed Berlin", "Love Marilyn", "LennoNYC", "Bobby Fischer Against the World", "Herb & Dorothy", "Marina Abramovic: The Artist is Present"," Jean-Michel Basquiat: The Radiant Child", "Sketches of Frank Gehry", "Black White + Gray: a Portrait of Sam Wagstaff and Robert Mapplethorpe", among numerous others.
David Koh is an independent producer, distributor, sales agent, programmer and curator. He has been involved in the distribution, sale, production, and financing of over 200 films. He is currently a partner in the boutique label Submarine Entertainment with Josh and Dan Braun and is also partners with Stanley Buchthal and his Dakota Group Ltd where he co-manages a portfolio of over 50 projects a year (75% docs and 25% fiction). Previously he was a partner and founder of Arthouse Films a boutique distribution imprint and ran Chris Blackwell's (founder of Island Records & Island Pictures) film label, Palm Pictures. He has worked as a Producer for artist Nam June Paik and worked in the curatorial departments of Anthology Film Archives, MoMA, Mfa Boston, and the Guggenheim Museum. David has recently served as a Curator for Microsoft and has curated an ongoing film series and salon with Andre Balazs Properties and serves as a Curator for the exclusive Core Club in NYC.
David recently launched with his partners Submarine Deluxe, a distribution imprint; Torpedo Pictures, a low budget high concept label; and Nfp Submarine Doks, a German distribution imprint with Nfp Films. Recently and upcoming projects include "Yayoi Kusama: a Life in Polka Dots", "Burden: a Portrait of Artist Chris Burden", "Dior and I", "20 Feet From Stardom", "Muscle Shoals", "Marina Abramovic the Artist is Present", "Rats NYC", "Nas: Time Is Illmatic", "Blackfish", "Love Marilyn", "Chasing Ice", "Searching for Sugar Man", "Cutie and the Boxer"," Jean-Michel Basquiat: the Radiant Child", "Finding Vivian Maier", "The Wolfpack, "Meru", and "Station to Station".
Dan Braun is a producer, writer, art director and musician/composer based in NYC. He is the Co-President of and Co-Founder of Submarine, a NYC film sales and production company specializing in independent feature and documentary films. Titles include "Blackfish", "Finding Vivian Maier", "Muscle Shoals", "The Case Against 8", "Keep On Keepin’ On", "Winter’s Bone", "Nas: Time is Illmatic", "Dior and I" and Oscar winning docs "Man on Wire", "Searching for Sugarman", "20 Ft From Stardom" and "Citizenfour". He was Executive Producer on documentaries "Kill Your Idols", (which won Best NY Documentary at the Tribeca Film Festival 2004), "Blank City", "Sunshine Superman", the upcoming feature adaptations of "Batkid Begins" and "The Battered Bastards of Baseball" and the upcoming horror TV anthology "Creepy" to be directed by Chris Columbus.
He is a producer of the free jazz documentary "Fire Music", and the upcoming documentaries, "Burden" on artist Chris Burden and "Kusama: a Life in Polka Dots" on artist Yayoi Kusama. He is also a writer and consulting editor on Dark Horse Comic’s "Creepy" and "Eerie 9" comic book and archival series for which he won an Eisner Award for best archival comic book series in 2009.
He is a musician/composer whose compositions were featured in the films "I Melt With You" and "Jean-Michel Basquiat, The Radiant Child and is an award winning art director/creative director when he worked at Tbwa/Chiat/Day on the famous Absolut Vodka campaign.
John Northrup (Co-Producer) began his career in documentaries as a French translator for National Geographic: Explorer. He quickly moved into editing and producing, serving as the Associate Producer on "Diana Vreeland: The Eye Has To Travel" (2012), and editing and co-producing "Wilson In Situ" (2014), which tells the story of theatre legend Robert Wilson and his Watermill Center. Most recently, he oversaw the post-production of Jim Chambers’ "Onward Christian Soldier", a documentary about Olympic Bomber Eric Rudolph, and is shooting on Susanne Rostock’s "Another Night in the Free World", the follow-up to her award-winning "Sing Your Song" (2011).
Submarine Entertainment (Production Company) Submarine Entertainment is a hybrid sales, production, and distribution company based in N.Y. Recent and upcoming titles include "Citizenfour", "Finding Vivian Maier", "The Dog", "Visitors", "20 Feet from Stardom", "Searching for Sugar Man", "Muscle Shoals", "Blackfish", "Cutie and the Boxer", "The Summit", "The Unknown Known", "Love Marilyn", "Marina Abramovic the Artist is Present", "Chasing Ice", "Downtown 81 30th Anniversary Remastered", "Wild Style 30th Anniversary Remastered", "Good Ol Freda", "Some Velvet Morning", among numerous others. Submarine principals also represent Creepy and Eerie comic book library and are developing properties across film & TV platforms.
Submarine has also recently launched a domestic distribution imprint and label called Submarine Deluxe; a genre label called Torpedo Pictures; and a German imprint and label called Nfp Submarine Doks.
Bernadine Colish has edited a number of award-winning documentaries. "Herb and Dorothy" (2008), won Audience Awards at Silverdocs, Philadelphia and Hamptons Film Festivals, and "Body of War" (2007), was named Best Documentary by the National Board of Review. "A Touch of Greatness" (2004) aired on PBS Independent Lens and was nominated for an Emmy Award. Her career began at Maysles Films, where she worked with Charlotte Zwerin on such projects as "Thelonious Monk: Straight No Chaser", "Toru Takemitsu: Music for the Movies" and the PBS American Masters documentary, "Ella Fitzgerald: Something To Live For". Additional credits include "Bringing Tibet Home", "Band of Sisters", "Rise and Dream", "The Tiger Next Door", "The Buffalo War" and "Absolute Wilson".
Jed Parker (Editor) Jed Parker began his career in feature films before moving into documentaries through his work with the award-winning American Masters series. Credits include "Lou Reed: Rock and Roll Heart", "Annie Liebovitz: Life Through a Lens", and most recently "Jeff Bridges: The Dude Abides".
Other work includes two episodes of the PBS series "Make ‘Em Laugh", hosted by Billy Crystal, as well as a documentary on Met Curator Henry Geldzahler entitled "Who Gets to Call it Art"?
Credits
Director, Writer, Producer: Lisa Immordino Vreeland
Produced by Stanley Buchthal, David Koh and Dan Braun Stanley Buchthal (producer)
Maja Hoffmann (executive producer)
Josh Braun (executive producer)
Bob Benton (executive producer)
John Northrup (co-producer)
Bernadine Colish (editor)
Jed Parker (editor)
Peter Trilling (director of photography)
Bonnie Greenberg (executive music producer)
Music by J. Ralph
Original Song "Once Again" Written and Performed By J. Ralph
Interviews Featuring Artist Marina Abramović Jean Arp Dore Ashton Samuel Beckett Stephanie Barron Constantin Brâncuși Diego Cortez Alexander Calder Susan Davidson Joseph Cornell Robert De Niro Salvador Dalí Simon de Pury Willem de Kooning Jeffrey Deitch Marcel Duchamp Polly Devlin Max Ernst Larry Gagosian Alberto Giacometti Arne Glimcher Vasily Kandinsky Michael Govan Fernand Léger Nicky Haslam Joan Miró Pepe Karmel Piet Mondrian Donald Kuspit Robert Motherwell Dominique Lévy Jackson Pollock Carlo McCormick Mark Rothko Hans Ulrich Obrist Yves Tanguy Lisa Phillips Lindsay Pollock Francine Prose John Richardson Sandy Rower Mercedes Ruehl Jane Rylands Philip Rylands Calvin Tomkins Karole Vail Jacqueline Bograd Weld Edmund White
Running time: 97 minutes
U.S. distribution by Submarine Deluxe
International sales by Hanway...
- 11/18/2015
- by Sydney Levine
- Sydney's Buzz
It’s almost the start of a new month and that means Netflix is about to refresh their content by adding a lot of new titles and removing some as well. Some of the titles we’re losing include Fargo, Stand By Me, and Batman & Robin, oh no! But some of the highlights for November include the first season of Bob Odenkirk and David Cross’s new Netflix show With Bob and David; Marvel’s Jessica Jones, and The SpongeBob SquarePants Movie. Check out the full listings below:
All Title Dates are Subject to Change
Netflix U.S. Release Dates Only
Available 11/1
Beethoven’s Christmas Adventure (2011)
Girlfriends’ Guide to Divorce: Season 1
Idris Elba: Mandela, My Dad and Me (2015)
Last Days in Vietnam (2014)
Pasion de Gavilanes (2003)
Robot Overlords (2015)
Seven Deadly Sins: Season 1 — Netflix Original
Smithsonian Channel: The Day Kennedy Died (2013)
The Last Time You Had Fun (2014)
The SpongeBob SquarePants Movie...
All Title Dates are Subject to Change
Netflix U.S. Release Dates Only
Available 11/1
Beethoven’s Christmas Adventure (2011)
Girlfriends’ Guide to Divorce: Season 1
Idris Elba: Mandela, My Dad and Me (2015)
Last Days in Vietnam (2014)
Pasion de Gavilanes (2003)
Robot Overlords (2015)
Seven Deadly Sins: Season 1 — Netflix Original
Smithsonian Channel: The Day Kennedy Died (2013)
The Last Time You Had Fun (2014)
The SpongeBob SquarePants Movie...
- 10/27/2015
- by Graham McMorrow
- City of Films
Titles include Asif Kapadia’s Amy Winehouse documentary, Michael Moore’s Where To Invade Next and Matthew Heineman’s Cartel Land.
Among those in consideration for the 88th Academy Awards are Cartel Land, He Named Me Malala, Amy, Janis: Little Girl Blue, Sherpa, Where To Invade Next, Winter On Fire, Wolfpack, Meet The Patels and A Sinner In Mecca.
Several of the submissions have not yet had their Los Angeles and New York qualifying releases.
A shortlist of 15 films will be announced in December.
The 88th Academy Awards nominations will be announced on January 14 2016 and the ceremony takes place on February 28 2016 at the Dolby Theatre at Hollywood & Highland Center in Hollywood .
The submitted features in alphabetical order are:
Above And Beyond
All Things Must Pass
Amy
The Armor Of Light
Ballet 422
Batkid Begins
Becoming Bulletproof
Being Evel
Beltracchi – The Art Of Forgery
Best Of Enemies
The Black Panthers: Vanguard Of The Revolution
Bolshoi Babylon
[link...
Among those in consideration for the 88th Academy Awards are Cartel Land, He Named Me Malala, Amy, Janis: Little Girl Blue, Sherpa, Where To Invade Next, Winter On Fire, Wolfpack, Meet The Patels and A Sinner In Mecca.
Several of the submissions have not yet had their Los Angeles and New York qualifying releases.
A shortlist of 15 films will be announced in December.
The 88th Academy Awards nominations will be announced on January 14 2016 and the ceremony takes place on February 28 2016 at the Dolby Theatre at Hollywood & Highland Center in Hollywood .
The submitted features in alphabetical order are:
Above And Beyond
All Things Must Pass
Amy
The Armor Of Light
Ballet 422
Batkid Begins
Becoming Bulletproof
Being Evel
Beltracchi – The Art Of Forgery
Best Of Enemies
The Black Panthers: Vanguard Of The Revolution
Bolshoi Babylon
[link...
- 10/23/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Among those in consideration for the 88th Academy Awards are Cartel Land, He Named Me Malala, Amy, Janie: Little Girl Blue, Sherpa, Where To Invade Next, Winter On Fire, Wolfpack, Meet The Patels and A Sinner In Mecca.Several of the submissions have not yet had their Los Angeles and New York qualifying releases.A shortlist of 15 films will be announced in December.The 88th Academy Awards nominations will be announced on January 14 2016 and the ceremony takes place on
Among those in consideration for the 88th Academy Awards are Cartel Land, He Named Me Malala, Amy, Janie: Little Girl Blue, Sherpa, Where To Invade Next, Winter On Fire, Wolfpack, Meet The Patels and A Sinner In Mecca.
Several of the submissions have not yet had their Los Angeles and New York qualifying releases.
A shortlist of 15 films will be announced in December.
The 88th Academy Awards nominations will be announced on January 14 2016 and the ceremony takes place on...
Among those in consideration for the 88th Academy Awards are Cartel Land, He Named Me Malala, Amy, Janie: Little Girl Blue, Sherpa, Where To Invade Next, Winter On Fire, Wolfpack, Meet The Patels and A Sinner In Mecca.
Several of the submissions have not yet had their Los Angeles and New York qualifying releases.
A shortlist of 15 films will be announced in December.
The 88th Academy Awards nominations will be announced on January 14 2016 and the ceremony takes place on...
- 10/23/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
One hundred twenty-four features have been submitted for consideration in the Documentary Feature category for the 88th Academy Awards.
Last year’s winner was Citizenfour (Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky)
The submitted features, listed in alphabetical order, are:
“Above and Beyond”
“All Things Must Pass”
“Amy”
“The Armor of Light”
“Ballet 422”
“Batkid Begins”
“Becoming Bulletproof”
“Being Evel”
“Beltracchi – The Art of Forgery”
“Best of Enemies”
“The Black Panthers: Vanguard of the Revolution”
“Bolshoi Babylon”
“Brand: A Second Coming”
“A Brave Heart: The Lizzie Velasquez Story”
“Call Me Lucky”
“Cartel Land”
“Censored Voices”
“Champs”
“CodeGirl”
“Coming Home”
“Dark Horse”
“Deli Man”
“Dior and I”
“The Diplomat”
“(Dis)Honesty – The Truth about Lies”
“Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll”
“Dreamcatcher”
“dream/killer”
“Drunk, Stoned, Brilliant, Dead: The Story of the National Lampoon”
“Eating Happiness”
“Every Last Child”
“Evidence of Harm”
“Farewell to Hollywood...
Last year’s winner was Citizenfour (Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky)
The submitted features, listed in alphabetical order, are:
“Above and Beyond”
“All Things Must Pass”
“Amy”
“The Armor of Light”
“Ballet 422”
“Batkid Begins”
“Becoming Bulletproof”
“Being Evel”
“Beltracchi – The Art of Forgery”
“Best of Enemies”
“The Black Panthers: Vanguard of the Revolution”
“Bolshoi Babylon”
“Brand: A Second Coming”
“A Brave Heart: The Lizzie Velasquez Story”
“Call Me Lucky”
“Cartel Land”
“Censored Voices”
“Champs”
“CodeGirl”
“Coming Home”
“Dark Horse”
“Deli Man”
“Dior and I”
“The Diplomat”
“(Dis)Honesty – The Truth about Lies”
“Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll”
“Dreamcatcher”
“dream/killer”
“Drunk, Stoned, Brilliant, Dead: The Story of the National Lampoon”
“Eating Happiness”
“Every Last Child”
“Evidence of Harm”
“Farewell to Hollywood...
- 10/23/2015
- by Michelle McCue
- WeAreMovieGeeks.com
We can't wait for Netflix's November 20th debut of "Marvel's Jessica Jones" starring Krysten Ritter as a superhero who becomes a private detective. The noirish series, which received a great reception at New York Comic Con, costars Carrie-Anne Moss and former Dr. Who David Tennant.
Other Netflix originals premiering in November: "River," starring Stellan Skarsgård as a detective haunted by visions of his murdered colleague; the Aziz Ansari comedy series "Master of None;" and "W/Bob and David," which re-teams Bob Odenkirk and David Cross.
As for movies, you might have missed Keira Knightley in "Anna Karenina" (2012), which first paired "Ex Machina's" Alicia Vikander and Domhnall Gleeson. Also new, Nicolas Cage's "The Runner" and documentaries "Idris Elba: Mandela, My Dad and Me," "Call Me Lucky" and "Do I Sound Gay?"
Here's the entire list of what's new on Netflix in November.
Available November 1
"Beethoven's Christmas Adventure" (2011)
"Girlfriends' Guide to Divorce...
Other Netflix originals premiering in November: "River," starring Stellan Skarsgård as a detective haunted by visions of his murdered colleague; the Aziz Ansari comedy series "Master of None;" and "W/Bob and David," which re-teams Bob Odenkirk and David Cross.
As for movies, you might have missed Keira Knightley in "Anna Karenina" (2012), which first paired "Ex Machina's" Alicia Vikander and Domhnall Gleeson. Also new, Nicolas Cage's "The Runner" and documentaries "Idris Elba: Mandela, My Dad and Me," "Call Me Lucky" and "Do I Sound Gay?"
Here's the entire list of what's new on Netflix in November.
Available November 1
"Beethoven's Christmas Adventure" (2011)
"Girlfriends' Guide to Divorce...
- 10/21/2015
- by Sharon Knolle
- Moviefone
Exclusive: Distributor The Orchard has released on-demand figures for its documentary Cartel Land, a likely strong contender as awards season ramps up. Altogether, the Sundance Film Festival 2015 debut by Matthew Heineman, has amassed an estimated $550K in just two weeks on VOD. The company also said its VOD gross for another 2015 documentary, Dior And I, has come to $400K since becoming available on-demand in July. The Cartel Land numbers are actually more impressive…...
- 10/11/2015
- Deadline
The End Of The Tour, A24’s Jesse Eisenberg and Jason Segel pic about writer David Foster Wallace and a reporter profiling him, got off to a solid beginning with a launch in 4 New York and L.A. theaters, one of a handful of new specialty movies this weekend. A couple of high profile Sundance docs also performed well in their openings. Magnolia’s Gore Vidal/William F. Buckley doc Best Of Enemies did fine in three theaters, and Showtime Documentary Listen To Me Marlon had a respectable debut in two cinemas. A Lego Brickumentary opened slow but built some blocks on demand. And Broad Green expanded Samba by 20 additional theaters in its second frame.
James Ponsoldt’s The End Of The Tour grossed $126,459, averaging $31,615. That’s an impressive per screen debut for a Sundance 2015 acquisition, beating Fox Searchlight’s Me and Earl and the Dying Girl’s opening weekend...
James Ponsoldt’s The End Of The Tour grossed $126,459, averaging $31,615. That’s an impressive per screen debut for a Sundance 2015 acquisition, beating Fox Searchlight’s Me and Earl and the Dying Girl’s opening weekend...
- 8/2/2015
- by Brian Brooks
- Deadline Film + TV
Our resident VOD expert tells you what's new to rent and/or own this week via various Digital HD providers such as cable Movies On Demand, Amazon, iTunes, Vudu and, of course, Netflix. Cable Movies On Demand: Same-day-as-disc releases, older titles and pretheatrical exclusives for rent, priced from $3-$10, in 24- or 48-hour periods Ex Machina (thinking-man's sci-fi/thriller; Oscar Isaac, Domhnall Gleeson, Alicia Vikander; rated R) It Follows (soon-to-be horror classic; Maika Monroe, Keir Gilchrist; rated R) Paul Blart: Mall Cop 2 (comedy sequel; Kevin James, Raini Rodriguez; rated PG) Clouds of Sils Maria (drama; Juliette Binoche, Kristen Stewart, Chloë Grace Moretz; rated R) Dior and I (documentary; Anna Wintour, Jennifer Lawrence; rated R) The Salt...
Read More...
Read More...
- 7/14/2015
- by Robert B. DeSalvo
- Movies.com
On Demand DVD New Releases July 13-19 Ardor Gael Garcia Bernal portrays a mysterious hero who emerges from the Argentinian rainforest to rescue a young woman and her family farm from brutal land grabbers. Also stars Alice Braga (R, 1:40) 7/17 Available same day as theatrical release. Spanish, subtitled in English. Clouds of Sils Maria (pictured) A veteran actress comes face-to-face with an uncomfortable reflection of herself when she agrees to take part in a revival of the play that launched her career 20 years earlier. Juliette Binoche, Kristen Stewart, Chloe Grace Moretz (R, 2:04) 7/14 Dior and I A … Continue reading →
The post On Demand DVD New Releases July 13-19 appeared first on Channel Guide Magazine.
The post On Demand DVD New Releases July 13-19 appeared first on Channel Guide Magazine.
- 7/13/2015
- by Meredith Ennis
- ChannelGuideMag
★★★☆☆ Intimacy infuses director Frédéric Tcheng's Dior and I (2014). His second film at the helm situates itself in the centre of a veritable institution in the world of fashion: the haute couture house of Christian Dior. In the film, Dior is not only a name - it's a living iconography. Dior and I unravels quite sumptuously, if not quietly, to reveal a brand that may be built on a reputation but thrives on the visions and dedication of the people who work within it. There are no mere cogs here; the wheel of Dior rolls through its quotidian activities under the firm guidance of its newest creative director, Raf Simons - the focus of the film - whose modern inclinations seek to push the Dior brand into fresh territory.
- 6/22/2015
- by CineVue UK
- CineVue
Today's ratings bulletin isn't packed with big name titles, but it does include two of the biggest blockbusters left to hit theaters this summer, both earning PG-13 ratings and both carrying some "partial nudity". First is Mission: Impossible - Rogue Nation, and its PG-13 rating should come as no surprise as every film in the Mission franchise has received that rating, but the PG-13 rating for the latest Terminator might have some fans a bit disappointed even if they all expected it. The PG-13 for Terminator Genisys makes it the second of five films in the Terminator franchise to hit theaters with a lower MPAA rating. Terminator Salvation was also rated PG-13 back in 2009, but we're talking about a franchise that was really built on the idea of being a hard-edged, sci-fi action thriller so it's always a bit interesting when we see studios hoping to appeal to an audience...
- 6/16/2015
- by Brad Brevet
- Rope of Silicon
There’s a new theater in town! When I first heard that my favorite St. Louis movie house, The Hi-Pointe, was adding a second screen, I was concerned that they were going to cut their magnificent 450-seat movie palace in half to accommodate a second screen to stay competitive with the multiplexes. The Hi-Pointe, opened in 1922, is the oldest operating theater in the Missouri portion of the St. Louis area and the only single screener. Thankfully, my fears were put to rest when I found out that The Hi-Pointe Backlot, their new satellite theater, is located on the second floor of a building behind the main Hi-Pointe (1005 McCausland Ave.in St. Louis) and that the big theater still has all of its seats. This is exciting! The Hi-Pointe Backlot, which seats 50, opens this Friday, May 1st.
So what movie did they choose to inaugurate this grand opening? …….a documentary about the fashion industry!
So what movie did they choose to inaugurate this grand opening? …….a documentary about the fashion industry!
- 4/29/2015
- by Tom Stockman
- WeAreMovieGeeks.com
When Sony announced they were rebooting the Spider-Man franchise, Dylan O'Brien became one of the biggest fan favorites to be the new Spidey. And who better to champion the charge than the Teen Wolf hottie's longtime girlfriend Britt Robertson. "I think he'd be an awesome Spider-Man," the Longest Ride star told me at the premiere of the new Christian Dior documentary Dior and I. "He's just so cute and I feel like he'd be so good at it. He's really good at the action stuff and he's funny and he's charming. He would be a great Spider-Man." Marvel Studios president Kevin Feige revealed last week that the new web-slinging films will likely take place while Peter...
- 4/20/2015
- E! Online
Among new releases, only the exclusive "Felix and Meira" (Oscilloscope) and the Armenia holocaust doc "1915" showed much initial interest. Two movies with mixed reviews went much wider to poor results-- Fox Searchlight's "True Story" and Lionsgate's "Child 44"-- because their distributors skipped limited initial showings to grab what they could from available crossover theaters. Meanwhile last week's strong openers continued to pull moviegoers, led by expanding smart genre flick "Ex Machina" (A24). Also holding well were fashion doc "Dior and I" (The Orchard) and show biz drama "Clouds of Sils Maria" (IFC), while Iranian "About Elly" (Cinema Guild) remained strong at its single Manhattan date. Throw in continued interest in "While You Were Here" and still drawing films well past their peak, and April has turned out to be a very strong month in the specialized world-- just in time to encourage...
- 4/19/2015
- by Tom Brueggemann
- Thompson on Hollywood
Hart of Dixie fans were more than satisfied with the emotional and optimistic season four finale that aired last month. But should fans be considering that finale the series finale? While the hour did tie up every loose end when it came to all the show's central relationships, the fact that the CW still has yet to make an official ruling on the show's future has some fans hopeful that maybe, just maybe, there might be a season five down the line. When E! News' Marc Malkin caught up with Hart of Dixie star Jaime King the premiere of the new documentary Dior and I, we asked the expecting star if there was any chance that the CW's southern charmer would come back for another...
- 4/17/2015
- E! Online
No doubt Taylor Swift and Calvin Harris make for one very hot couple. While the "Shake It Up" singer's bestie Jaime King is staying loyal to her friend and not dishing on the romance, she definitely seems to approve of the Edm producer. "He's a wonderful man," King told me at last night's premiere of the new Christian Dior documentary Dior and I. "He's a beautiful man." Ed Sheeran also recently gave the relationship his "seal of approval." "He's cool," Sheeran told Zm Online. "He's a really nice guy, yeah. Really, really nice guy." Swift, 25, and Harris, 31, were spotted about three weeks at a Kenny Chesney concert...
- 4/17/2015
- E! Online
Katherine Schwarzenegger has her brother Patrick Schwarzenegger's back. She's all for his romance with Miley Cyrus. "I approve of whatever makes my brother happy," Katherine said about the relationship at last night's premiere of Dior and I. Is her brother happy right now? "He's a 21-year-old college kid, how could he not be?" Katherine said. Maria Shriver and Arnold Schwarzenegger's oldest child certainly was happy last night. She had never work Dior until she slipped into one of their dresses last night. "It's my first time!" Katherine said. "I lost my Dior virginity." She gushed over the hot pink...
- 4/16/2015
- E! Online
Is there anything Taylor Swift can't do? As fans know, Jaime King and her director hubby Kyle Newman have chosen that the "Shake It Up" singer to godmother to their second child. "I always thought if I were to have another child that she would be the ideal godmother because the way she not only treats me but the way she treats other human beings," the still pregnant King told me last night at the premiere of the new documentary Dior and I. "She's so loving and so giving and so generous and she does everything from her heart and she's incredibly brave and authentic. It's a very rare thing to come across." She continued, "I know that [our baby] will always have a...
- 4/16/2015
- E! Online
Indiewire's Spingboard column profiles up-and-comers in independent film, deserving of your attention. Read More: Review: Tired of Fashion Docs? 'Dior and I' Is a Different StoryFashion documentaries are very much in vogue, with the likes of "The September Issue" and "Scatter My Ashes at Bergdorf" striking a chord with arthouse audiences craving a peek into the couture world that most aren't privy to. Frédéric Tcheng has built his name working on such projects; he co-directed 2011's "Diana Vreeland: The Eye Has to Travel," which profiles the influential fashion editor of Harper's Bazaar, after co-producing, co-editing and co-shooting 2008's popular "Valentino: The Last Emperor." But while those two films are very much about the industry they depict, they probe deeper than most fashion documentaries to emphasize the human touch that goes into the making of the garments. "Dior and I," the first project...
- 4/10/2015
- by Nigel M Smith
- Indiewire
This is a reprint of our review from the 2014 Tribeca Film Festival. You know all those red carpet gala events where celebrities wear clothes that cost more than the average mortgage, and entertainment reporters ask them “...and who are you wearing!?” Other than those among us who are specifically interested in the world of fashion, it's the question that signals our natural instincts to switch off and think of some snide remark aimed at the shallow world of glitzy fame. Well, Frederic Tcheng's fashion documentary, “Dior And I,” may just make you think twice the next time you hear that question. As an intimate portrayal of the high-strung fashion climate in one of the biggest fashion houses in the world, "Dior And I" is a story of the people behind the dresses. Most vividly, though, it's the story of a man's creative freedom pressured by the weight of the gorilla on his shoulders.
- 4/9/2015
- by Nikola Grozdanovic
- The Playlist
The world of haute couture can often seem like a whole different realm; impenetrable to the regular person, and mysterious to those on the outside. But director Frederic Tcheng aims to break down those barriers with "Dior And I," his documentary look at the iconic fashion house, and today we have an exclusive clip from the film. Read More: 'Dior And I' Brings The World Of Haute Couture Down To Earth The movie follows designer Raf Simons as he puts together his first line for Dior in his role as Artistic Director. As you'll see in this clip, the amount of work that goes into just one dress pays off the moment it all comes together into a stunning original piece. "Dior And I" — which we said in our review brings "this exclusive world down to earth, knitting the viewer with its needles and threads and making a...
- 4/8/2015
- by Kevin Jagernauth
- The Playlist
Dior And I The Orchard Reviewed by: Harvey Karten for Shockya. Databased on Rotten Tomatoes. Grade: B Director: Frédéric Tcheng Cast: Raf Simons, Pieter Mulier Screened at: Dolby88, NYC, 3/26/15 Opens: April 10, 2015 The annual Academy awards celebrations are arguably the dullest shows on TV, given the insipid thank-you speeches that name that the audience knows or cares to know. That means there’s only one reason that people watch, and that’s to look at the clothing that the stars are wearing. Since men don only the traditional tux and bow tie, only the women are worth admiring for their taste in threads. And that’s where Christian Dior comes in. [ Read More ]
The post Dior and I Movie Review appeared first on Shockya.com.
The post Dior and I Movie Review appeared first on Shockya.com.
- 3/27/2015
- by Harvey Karten
- ShockYa
Awards season may be over, but the knock-offs of the dresses worn by the stars on the red carpet are probably just being put under the sewing machine. Get a sense of what goes into making the real deal with the new trailer for "Dior And I," a documentary about the legendary fashion house and its new creative director. The film, per distributor The Orchard, "brings the viewer inside the storied world of the Christian Dior fashion house with a privileged, behind-the-scenes look at the creation of Raf Simons' first haute couture collection as its new artistic director—a true labor of love created by a dedicated group of collaborators. Melding the everyday, pressure-filled components of fashion with mysterious echoes from the iconic brand's past, the film is also a colorful homage to the seamstresses who serve Simons vision." The film opens in New York on April 10, in Los...
- 2/26/2015
- by Casey Cipriani
- Indiewire
Hot projects on Screenbase this week include German-Canadian co-production In The Lost Lands, twin brothers Mohammed Abou Nasser and Ahmad Abou Nasser’s Dégradé, spy-thriller Damascus Cover and documentary Tomorrow.
Fantasy adventure In The Lost Lands
Milla Jovovich will star alongside Justin Chatwin in this new feature based on short stories from the creator of Game Of Thrones. The German-Canadian co-production is directed by Constantin Werner.
The story revolves around a series of magical and fantastic tales centring on a sorceress in search of a spell, a warrior girl on a quest and a young barbarian who encounters a witch in a spacecraft.
Steve Hoban, Oliver Luer and Nico Bruinsma produce. Myriad Pictures chief Kirk D’Amico will serve as an executive producer.
Terrence Malick’s Voyage Of Time
Malick’s documentary features the voices of Brad Pitt and Cate Blanchett. Dede Gardner, Nicolas Gonda, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad and [link...
Fantasy adventure In The Lost Lands
Milla Jovovich will star alongside Justin Chatwin in this new feature based on short stories from the creator of Game Of Thrones. The German-Canadian co-production is directed by Constantin Werner.
The story revolves around a series of magical and fantastic tales centring on a sorceress in search of a spell, a warrior girl on a quest and a young barbarian who encounters a witch in a spacecraft.
Steve Hoban, Oliver Luer and Nico Bruinsma produce. Myriad Pictures chief Kirk D’Amico will serve as an executive producer.
Terrence Malick’s Voyage Of Time
Malick’s documentary features the voices of Brad Pitt and Cate Blanchett. Dede Gardner, Nicolas Gonda, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad and [link...
- 2/9/2015
- by maud.le-rest@sciencespo-toulouse.net (Maud Le Rest)
- ScreenDaily
The fashion house documentary has been snapped up in Russia, Iraly and Benelux among other territories.
UK outfit Dogwoof has revealed a string of international sales deals for Dior and I by Frederic Tcheng, the co-director of Diana Vreeland: The Eye Has to Travel.
The latest set of deals include Benelux (Imagine); German-speaking Europe (Nfp); Italy (Wanted); Russia (Documentary Centre); Scandinavia and Baltics (NonStop Ent); France (Dissidenz) and a world in-flight deal excluding Us, UK and Australia.
The deals were brokered by Ana Vicente on behalf of Dogwoof and further sales deals are expected to be finalised at the European Film Market (Efm) in Berlin. Vincente said there were “only a few markets left to be sold”.
Previous deals have been agreed in Australia & Nz (Madman), Japan (Open Sesame/Alcine), Taiwan (Sky Dig), Hong Kong (Edko), France and Spain (Canal+) where the film has been scheduled to release along with UK (Dogwoof) in March 2015.
Dior and I brings...
UK outfit Dogwoof has revealed a string of international sales deals for Dior and I by Frederic Tcheng, the co-director of Diana Vreeland: The Eye Has to Travel.
The latest set of deals include Benelux (Imagine); German-speaking Europe (Nfp); Italy (Wanted); Russia (Documentary Centre); Scandinavia and Baltics (NonStop Ent); France (Dissidenz) and a world in-flight deal excluding Us, UK and Australia.
The deals were brokered by Ana Vicente on behalf of Dogwoof and further sales deals are expected to be finalised at the European Film Market (Efm) in Berlin. Vincente said there were “only a few markets left to be sold”.
Previous deals have been agreed in Australia & Nz (Madman), Japan (Open Sesame/Alcine), Taiwan (Sky Dig), Hong Kong (Edko), France and Spain (Canal+) where the film has been scheduled to release along with UK (Dogwoof) in March 2015.
Dior and I brings...
- 2/4/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Sundance: The Orchard has taken North American rights to The Overnight as reports emerged that Lionsgate was closing on Chilewood psychosexual thriller Knock Knock.
The Orchard plans a wide theatrical release for The Overnight after reportedly stumping up $4m.
Patrick Brice directed the Us Dramatic Competition entry set over the course of one bizarre evening in Los Angeles and starring Adam Scott, Taylor Schilling, Jason Schwartzman and Judith Godrèche.
Mark Duplass served as executive producer. ICM Partners and Submarine represented the film in association with Wme Global.
The Orchard is one of several new players in the Us distribution landscape hungry for content. The music company made its first foray into film last year and the release roster includes What We Do In The Shadows and Dior And I.
Meanwhile Lionsgate was said to be circling Chilewood thriller Knock Knock, Eli Roth’s non-horror outing that stars Keanu Reeves as a married man who invites two temptresses...
The Orchard plans a wide theatrical release for The Overnight after reportedly stumping up $4m.
Patrick Brice directed the Us Dramatic Competition entry set over the course of one bizarre evening in Los Angeles and starring Adam Scott, Taylor Schilling, Jason Schwartzman and Judith Godrèche.
Mark Duplass served as executive producer. ICM Partners and Submarine represented the film in association with Wme Global.
The Orchard is one of several new players in the Us distribution landscape hungry for content. The music company made its first foray into film last year and the release roster includes What We Do In The Shadows and Dior And I.
Meanwhile Lionsgate was said to be circling Chilewood thriller Knock Knock, Eli Roth’s non-horror outing that stars Keanu Reeves as a married man who invites two temptresses...
- 1/26/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
An unusually busy first weekend of on-site deal-making continued in Park City as The Orchard announced on Monday (January 26) it had taken North American rights to The Overnight and reports continued to swirl of Fox Searchlight’s pursuit of Me And Earl And The Dying Girl.
An action-packed weekend has already seen Open Road and Sony double up on Rick Famuyiwa’s Us Dramatic Competition selection and coming-of-age comedy Dope in a deal said to be worth $7m with a $20m P&A commitment.
Open Road will release in the Us and Sony handles international territories on the story, which takes place in a gang-ridden Los Angeles neighbourhood.
Meanwhile Fox Searchight was understood to be leading a pack of bidders over Sunday night for Us Dramatic Competition selection Me And Earl And The Dying Girl from Alfonso Gomez-Rejon starring Thomas Mann, Olivia Cooke and Molly Shannon.
Weekend reports also claimed Sony Pictures Classics had picked up Us rights...
An action-packed weekend has already seen Open Road and Sony double up on Rick Famuyiwa’s Us Dramatic Competition selection and coming-of-age comedy Dope in a deal said to be worth $7m with a $20m P&A commitment.
Open Road will release in the Us and Sony handles international territories on the story, which takes place in a gang-ridden Los Angeles neighbourhood.
Meanwhile Fox Searchight was understood to be leading a pack of bidders over Sunday night for Us Dramatic Competition selection Me And Earl And The Dying Girl from Alfonso Gomez-Rejon starring Thomas Mann, Olivia Cooke and Molly Shannon.
Weekend reports also claimed Sony Pictures Classics had picked up Us rights...
- 1/26/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Cph:dox has broken its own audience record for the 12th consecutive year.
This year’s tally was 83,900 visitors, up 20% from 70,100 last year. Of those, 3,586 were online views.
There were 1,356 delegate industry visitors.
Tine Fischer, festival director at Cph:dox, said: “Cph:dox has both audience- and industry-wise experienced an outstanding year. We are extremely happy, but hands down the most important thing that has happened this year without comparison, is that the festival has really taken the documentary into an active social and political space with its new project Megatrends. The project is not limited to journalistic criticism and analysis, but puts more focus on how we can get an active dialogue going on some of the most important global issues and challenges. The interaction, innovation and strengthening of an active democratic dialogue have been the objectives and we think it has had a flying start. The project is intended as a recurring initiative and we are looking forward...
This year’s tally was 83,900 visitors, up 20% from 70,100 last year. Of those, 3,586 were online views.
There were 1,356 delegate industry visitors.
Tine Fischer, festival director at Cph:dox, said: “Cph:dox has both audience- and industry-wise experienced an outstanding year. We are extremely happy, but hands down the most important thing that has happened this year without comparison, is that the festival has really taken the documentary into an active social and political space with its new project Megatrends. The project is not limited to journalistic criticism and analysis, but puts more focus on how we can get an active dialogue going on some of the most important global issues and challenges. The interaction, innovation and strengthening of an active democratic dialogue have been the objectives and we think it has had a flying start. The project is intended as a recurring initiative and we are looking forward...
- 11/25/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
The Orchard has acquired all North American rights to Frédéric Tcheng’s fashion documentary Dior and I.
The film premiered in Tribeca and takes place in 2012 as Raf Simons settles into his new role as head creative director at the fashion house.
“I am extremely excited to be working with the Orchard on bringing the film to its North American audience,” said Tcheng.
“They clearly have a passion for and understanding of the film that will translate to a successful roll-out.”
The Orchard brokered the deal with Submarine and will release theatrically in 2015.
The film premiered in Tribeca and takes place in 2012 as Raf Simons settles into his new role as head creative director at the fashion house.
“I am extremely excited to be working with the Orchard on bringing the film to its North American audience,” said Tcheng.
“They clearly have a passion for and understanding of the film that will translate to a successful roll-out.”
The Orchard brokered the deal with Submarine and will release theatrically in 2015.
- 10/23/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Frédéric Tcheng’s House of Dior documentary Dior And I has been acquired by The Orchard, which has taken North American rights and will get a theatrical release next year. The Tribeca Film Festival debut marks Tcheng’s third fashion pic following Diana Vreeland: The Eye Has To Travel, which he co-wrote and co-directed, and Valentino: The Last Emperor, which he co-produced.
Dior and I takes a behind the scenes look at the two-month making of Raf Simons’ debut haute couture collection as he makes his first splash as Creative Director of Christian Dior Couture. It’s described as “a whirlwind of creativity, stress, determination and triumph.” The Orchard’s Danielle Digiacomo negotiated the deal with Josh Braun of Submarine.
Dior and I takes a behind the scenes look at the two-month making of Raf Simons’ debut haute couture collection as he makes his first splash as Creative Director of Christian Dior Couture. It’s described as “a whirlwind of creativity, stress, determination and triumph.” The Orchard’s Danielle Digiacomo negotiated the deal with Josh Braun of Submarine.
- 10/23/2014
- by Jen Yamato
- Deadline
Mike Myers’ Supermensch and fashion house doc Dior and I among sales.
Ahead of next week’s, UK-based sales agent Dogwoof has secured a string of TV deals for their current slate.
Dior and I has been sold to Canal+ (France). This recent Dogwoof acquisition is the latest fashion film from Frédéric Tcheng (Diana Vreeland, The Eye Has to Travel, Valentino: The Last Emperor) and tells the inside story of designer Raf Simons taking over the iconic fashion house.
Recently opened in the Us and the UK, Finding Fela from Oscar-winning director Alex Gibney chronicles the life and death of Nigerian music legend Fela Kuti. It has been sold to Arte France, Vpro (Netherlands) and AMC Global (Mena, Cee).
Shosh Shlam and Hilla Medalia’s Web Junkie about China’s teen internet de-programming camps continues to sell, with sales to Arte France, Pts (Taiwan), Ebs (Korea), Trt (Turkey), Ruv (Iceland), Doc24 (Russia) and AMC Global (Iberia, Mena)
Further...
Ahead of next week’s, UK-based sales agent Dogwoof has secured a string of TV deals for their current slate.
Dior and I has been sold to Canal+ (France). This recent Dogwoof acquisition is the latest fashion film from Frédéric Tcheng (Diana Vreeland, The Eye Has to Travel, Valentino: The Last Emperor) and tells the inside story of designer Raf Simons taking over the iconic fashion house.
Recently opened in the Us and the UK, Finding Fela from Oscar-winning director Alex Gibney chronicles the life and death of Nigerian music legend Fela Kuti. It has been sold to Arte France, Vpro (Netherlands) and AMC Global (Mena, Cee).
Shosh Shlam and Hilla Medalia’s Web Junkie about China’s teen internet de-programming camps continues to sell, with sales to Arte France, Pts (Taiwan), Ebs (Korea), Trt (Turkey), Ruv (Iceland), Doc24 (Russia) and AMC Global (Iberia, Mena)
Further...
- 10/9/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
A roundup of news from the inaugural St Petersburg International Media Forum includes a busy French delegation and a local controversy brewing over Leviathan.
The King Of Madagascar, a kind of Russian answer to the pirate adventure films à la Pirates of the Caribbean, is being set up as a $ 16m international co-production by producer-director Oleg Ryaskov’s Moscow-based Bft Movie.
Speaking at the opening of St Petersburg International Media Forum’s (Spimf) co-production market this morning, producer Ryaskov revealed that the project - which is based on real historical events abouta Russian expedition by Peter The Great to the island of Madagascar in danger of being thwarted by Great Britain’s King George - has Spain’s Smartline Spain and the Us casting company Scott Carlson Entertainment on board as partners and is currently in talks with French and German production companies to join.
Ryaskov added that he intends to have American, European and Russian...
The King Of Madagascar, a kind of Russian answer to the pirate adventure films à la Pirates of the Caribbean, is being set up as a $ 16m international co-production by producer-director Oleg Ryaskov’s Moscow-based Bft Movie.
Speaking at the opening of St Petersburg International Media Forum’s (Spimf) co-production market this morning, producer Ryaskov revealed that the project - which is based on real historical events abouta Russian expedition by Peter The Great to the island of Madagascar in danger of being thwarted by Great Britain’s King George - has Spain’s Smartline Spain and the Us casting company Scott Carlson Entertainment on board as partners and is currently in talks with French and German production companies to join.
Ryaskov added that he intends to have American, European and Russian...
- 10/6/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
A roundup of news from the inaugural St Petersburg International Media Forum includes a busy French delegation and a local controversy brewing over Leviathan.
The King Of Madagascar, a kind of Russian answer to the pirate adventure films à la Pirates of the Caribbean, is being set up as a $ 16m international co-production by producer-director Oleg Ryaskov’s Moscow-based Bft Movie.
Speaking at the opening of St Petersburg International Media Forum’s (Spimf) co-production market this morning, producer Ryaskov revealed that the project - which is based on real historical events abouta Russian expedition by Peter The Great to the island of Madagascar in danger of being thwarted by Great Britain’s King George - has Spain’s Smartline Spain and the Us casting company Scott Carlson Entertainment on board as partners and is currently in talks with French and German production companies to join.
Ryaskov added that he intends to have American, European and Russian...
The King Of Madagascar, a kind of Russian answer to the pirate adventure films à la Pirates of the Caribbean, is being set up as a $ 16m international co-production by producer-director Oleg Ryaskov’s Moscow-based Bft Movie.
Speaking at the opening of St Petersburg International Media Forum’s (Spimf) co-production market this morning, producer Ryaskov revealed that the project - which is based on real historical events abouta Russian expedition by Peter The Great to the island of Madagascar in danger of being thwarted by Great Britain’s King George - has Spain’s Smartline Spain and the Us casting company Scott Carlson Entertainment on board as partners and is currently in talks with French and German production companies to join.
Ryaskov added that he intends to have American, European and Russian...
- 10/6/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Adff to present 197 films from 61 countries.
The 2014 Abu Dhabi Film Festival (Adff), backed by twofour54, will present nine feature world premieres, eight of them from the Arab world. The short film sections will host 48 world premieres.
The festival will open with Ali Mostafa’s From A to B [pictured], and festival director Ali Al-Jabri said: “It is the first time in the festival’s history that we opening with an Emirati film and we ares very proud about this landmark event.”
The festival runs October 23 to November 1 and presents 197 films from 61 countries.
For the second year, the festival host the Child Protection Award organised with the Child Protection Centre of the Ministry of Interior, to spotlight films that raise awareness about abused or neglected children. Films competing for that prize include Zerensenay Mehari’s Difret, Albert Shin’s In Her Place, and Cyprien Vial’s Young Tiger.
The Showcase section includes films such as ‘71, A Pigeon Sat on...
The 2014 Abu Dhabi Film Festival (Adff), backed by twofour54, will present nine feature world premieres, eight of them from the Arab world. The short film sections will host 48 world premieres.
The festival will open with Ali Mostafa’s From A to B [pictured], and festival director Ali Al-Jabri said: “It is the first time in the festival’s history that we opening with an Emirati film and we ares very proud about this landmark event.”
The festival runs October 23 to November 1 and presents 197 films from 61 countries.
For the second year, the festival host the Child Protection Award organised with the Child Protection Centre of the Ministry of Interior, to spotlight films that raise awareness about abused or neglected children. Films competing for that prize include Zerensenay Mehari’s Difret, Albert Shin’s In Her Place, and Cyprien Vial’s Young Tiger.
The Showcase section includes films such as ‘71, A Pigeon Sat on...
- 9/29/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Distributor will hold further talks about the doc with buyers in Toronto.
UK-based sales agent Dogwoof has secured sales of Dior and I by Frédéric Tcheng, co-director of Diana Vreeland: The Eye Has to Travel.
All rights deals were closed in Japan (Open Sesame, Alcine, Bunkamura); Australia and New Zealand (Madman); Hong Kong (Edko); and Taiwan (Sky Dig Entertainment).
Deals were brokered by Ana Vicente at Dogwoof and further talks are being held at the Toronto International Film Festival (Sept 4-14) with buyers from France, Benelux, and Italy amongst others.
Open Sesame’s Kaho Nakane said a spring release of the film is planned in Japan, where “Dior is one of the most popular and prestigious brands”.
The documentary follows Raf Simons as the newly appointed creative director for the legendary fashion house, and his creation and unveiling of the prestigious Dior Haute Couture Collection. The film promises an exclusive behind-the-scenes look at the atelier and the...
UK-based sales agent Dogwoof has secured sales of Dior and I by Frédéric Tcheng, co-director of Diana Vreeland: The Eye Has to Travel.
All rights deals were closed in Japan (Open Sesame, Alcine, Bunkamura); Australia and New Zealand (Madman); Hong Kong (Edko); and Taiwan (Sky Dig Entertainment).
Deals were brokered by Ana Vicente at Dogwoof and further talks are being held at the Toronto International Film Festival (Sept 4-14) with buyers from France, Benelux, and Italy amongst others.
Open Sesame’s Kaho Nakane said a spring release of the film is planned in Japan, where “Dior is one of the most popular and prestigious brands”.
The documentary follows Raf Simons as the newly appointed creative director for the legendary fashion house, and his creation and unveiling of the prestigious Dior Haute Couture Collection. The film promises an exclusive behind-the-scenes look at the atelier and the...
- 9/4/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Richard Linklater's Boyhood won best feature and Daniel Ziv took the documentary prize for Jalanan in the People.s Choice awards at the 63rd Melbourne International Film Festival.
Argentine director Manuel Abramovich.s The Queen was named best short and Eddy Bell.s Grey Bull was best Australian short.
The Swinburne Award for emerging Australian filmmaker went to Ben Briand for Blood Pulls a Gun, a short which had its world premiere at the SXSW Film Festival.
Filmed over 12 years with the same cast, Boyhood follows a child named Mason (Ellar Coltrane) as he grows up in front of the cameras. Featuring Ethan Hawke and Patricia Arquette as his parents and newcomer Lorelei Linklater as his sister, the Universal film previews this weekend and next weekend before its September 4 launch.
Jalanan looks at three charismatic buskers . Boni, Ho and Titi . over a five-year period as they navigate the economic,...
Argentine director Manuel Abramovich.s The Queen was named best short and Eddy Bell.s Grey Bull was best Australian short.
The Swinburne Award for emerging Australian filmmaker went to Ben Briand for Blood Pulls a Gun, a short which had its world premiere at the SXSW Film Festival.
Filmed over 12 years with the same cast, Boyhood follows a child named Mason (Ellar Coltrane) as he grows up in front of the cameras. Featuring Ethan Hawke and Patricia Arquette as his parents and newcomer Lorelei Linklater as his sister, the Universal film previews this weekend and next weekend before its September 4 launch.
Jalanan looks at three charismatic buskers . Boni, Ho and Titi . over a five-year period as they navigate the economic,...
- 8/21/2014
- by Don Groves
- IF.com.au
The 32nd edition of the Los Angeles-based Lgbt comes to a close on July 20 with a screening of Jack Plotnick’s Space Station 76 starring Patrick Wilson, Matt Bomer, Liv Tyler, Sam Pancake and Jennifer Cox.
Sydney Freeland’s Drunktown’s Finest earned the Us Dramatic Feature Film in the grand jury awards, while Stefan Haupt’s The Circle won best documentary feature.
In the audience awards, Daniel Ribeiro prevailed in the dramatic feature category with The Way He Looks and Cheryl Furjanic’s Back On Board: Greg Louganis was named best documentary.
Full list of Outfest 2014 award winners:
Audience Awards
Documentary Short
Families Are Forever, dir Vivian Kleiman
Dramatic Short
Alone With People, dir Drew Van Steenbergen
Documentary Feature
Back On Board: Greg Louganis, dir Cheryl Furjanic
Dramatic Feature
The Way He Looks, dir Daniel Ribeiro
First Us Dramatic Feature
Drunktown’s Finest, dir Sydney Freeland
Grand Jury Awards
Documentary Feature Special Recognition
Dior And I, dir Frédéric Tcheng...
Sydney Freeland’s Drunktown’s Finest earned the Us Dramatic Feature Film in the grand jury awards, while Stefan Haupt’s The Circle won best documentary feature.
In the audience awards, Daniel Ribeiro prevailed in the dramatic feature category with The Way He Looks and Cheryl Furjanic’s Back On Board: Greg Louganis was named best documentary.
Full list of Outfest 2014 award winners:
Audience Awards
Documentary Short
Families Are Forever, dir Vivian Kleiman
Dramatic Short
Alone With People, dir Drew Van Steenbergen
Documentary Feature
Back On Board: Greg Louganis, dir Cheryl Furjanic
Dramatic Feature
The Way He Looks, dir Daniel Ribeiro
First Us Dramatic Feature
Drunktown’s Finest, dir Sydney Freeland
Grand Jury Awards
Documentary Feature Special Recognition
Dior And I, dir Frédéric Tcheng...
- 7/20/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
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