‘Adapt to survive’ is a fitting mantra for the latest tense drama from The Assistant writer-director Kitty Green. This time, she places the star of her #MeToo-styled 2019 film, actor Julia Garner, in the heart of the Australian Outback to serve drinks to booze-addled patrons of a dysfunctional pub.
Inspired by fascinating 2016 documentary Hotel Coolgardie, The Royal Hotel takes a compelling look at ingrained toxic masculinity and the dominance of alcohol culture, as well as sobering isolation through the eyes of two backpacking female foreigners. An uneasy, maddening decline into the inevitable, Green’s film explores the effects of the unhealthy environment on two independent young women and the choices they must make for their well-being.
‘Gen Z’ Americans Hanna (Garner) and Liv (Jessica Henwick of Glass Onion fame) reluctantly take live-in bartending jobs fund the rest of their Australian trip after finances run out. Dropped off at the rundown Royal...
Inspired by fascinating 2016 documentary Hotel Coolgardie, The Royal Hotel takes a compelling look at ingrained toxic masculinity and the dominance of alcohol culture, as well as sobering isolation through the eyes of two backpacking female foreigners. An uneasy, maddening decline into the inevitable, Green’s film explores the effects of the unhealthy environment on two independent young women and the choices they must make for their well-being.
‘Gen Z’ Americans Hanna (Garner) and Liv (Jessica Henwick of Glass Onion fame) reluctantly take live-in bartending jobs fund the rest of their Australian trip after finances run out. Dropped off at the rundown Royal...
- 10/17/2023
- by Lisa Giles-Keddie
- HeyUGuys.co.uk
Writer/director Kitty Green made a big splash with her searing and smart drama The Assistant, which starred Julia Garner as a young woman toiling away in the office of a powerful executive who grows increasingly aware of the insidious abuse that threatens every aspect of her position. Green and Garner are back with a new movie that looks at power dynamics between men and women, this time set against the dusty backdrop of a small Australian Outback mining town. With the new film – The Royal Hotel – making its UK debut at the BFI London Film Festival, we now have the full UK trailer. Take a look…
The Royal Hotel, for which Green drew inspiration from documentary Hotel Coolgardie, sees Garner and Jessica Henwick as Hanna and Liv, best friends backpacking in Australia.
After they run out of money, Liv, looking for an adventure, persuades Hanna to take a temporary...
The Royal Hotel, for which Green drew inspiration from documentary Hotel Coolgardie, sees Garner and Jessica Henwick as Hanna and Liv, best friends backpacking in Australia.
After they run out of money, Liv, looking for an adventure, persuades Hanna to take a temporary...
- 10/11/2023
- by James White
- Empire - Movies
It’s the location. When backpackers Hannah and Liv (Julia Garner and Jessica Henwick) get off the bus in the middle of nowhere in Kitty Green’s sophomore narrative film “The Royal Hotel,” you see the Outback in all its rugged splendor. And terror.
One look at their destination, a seedy two-story Royal Hotel with a pub for them to bartend each night, and you fear these two women are not going to come to a good end. The girlfriends are taking a brief detour from their Australia vacation to earn some extra cash. Their job: to handle a rowdy pub full of drunk and randy miners. These hardy travelers think they’re up to the task, but Hannah is a tad more wary than Liv. She drinks a little less, keeps an eye out, and when push comes to shove, as it inevitably does, picks up an ax.
Playing...
One look at their destination, a seedy two-story Royal Hotel with a pub for them to bartend each night, and you fear these two women are not going to come to a good end. The girlfriends are taking a brief detour from their Australia vacation to earn some extra cash. Their job: to handle a rowdy pub full of drunk and randy miners. These hardy travelers think they’re up to the task, but Hannah is a tad more wary than Liv. She drinks a little less, keeps an eye out, and when push comes to shove, as it inevitably does, picks up an ax.
Playing...
- 10/4/2023
- by Anne Thompson
- Indiewire
Director Kitty Green burst onto the scene with her 2019 feature “The Assistant,” a timely and searing exploration of gender dynamics and misogyny in the Hollywood workplace.
Her follow-up, “The Royal Hotel,” explores similar territory, placing its lead characters (played by Julia Garner and Jessica Henwick) in a series of situations at an Australian pub that explodes into violence. But as Green explained to TheWrap, executives wondered when its psychologically calculated, micro-aggressive tensions would escalate to what Hollywood has traditional centered in such explorations: sexual assault and violence.
“We had a lot of finance people read it and say, ‘Nothing happens. Where’s the rape scene? Where’s the violence?” Green said. The director discussed how several critics reviews cited that the film has tension, but never gets intense enough conclusions that she questions.
“We still get in reviews saying, ‘It bubbles away but never reaches boiling point,’ and I’m thinking,...
Her follow-up, “The Royal Hotel,” explores similar territory, placing its lead characters (played by Julia Garner and Jessica Henwick) in a series of situations at an Australian pub that explodes into violence. But as Green explained to TheWrap, executives wondered when its psychologically calculated, micro-aggressive tensions would escalate to what Hollywood has traditional centered in such explorations: sexual assault and violence.
“We had a lot of finance people read it and say, ‘Nothing happens. Where’s the rape scene? Where’s the violence?” Green said. The director discussed how several critics reviews cited that the film has tension, but never gets intense enough conclusions that she questions.
“We still get in reviews saying, ‘It bubbles away but never reaches boiling point,’ and I’m thinking,...
- 10/3/2023
- by Kristen Lopez
- The Wrap
The Royal Hotel’s Kitty Green and Julia Garner want to keep a good thing going.
Following their 2019 drama The Assistant, the Australian filmmaker and her thrice-Emmy-winning American star are back with another critically acclaimed film in The Royal Hotel, which again examines power dynamics between men and women, as well as microaggressions from the female perspective.
Based on the 2016 documentary Hotel Coolgardie and co-written by Green and Oscar Redding, The Royal Hotel begins with Garner’s Hanna and Jessica Henwick’s Liv enjoying themselves on an Australian vacation. The two American friends then abruptly run out of money and are forced to work at a run-down pub in the remote Australian outback so they can make enough cash to resume their R and R. The pair soon have very different reactions to the alcoholic pub owner (Hugo Weaving) and his regular clientele of local miners, and those aforementioned microaggressions...
Following their 2019 drama The Assistant, the Australian filmmaker and her thrice-Emmy-winning American star are back with another critically acclaimed film in The Royal Hotel, which again examines power dynamics between men and women, as well as microaggressions from the female perspective.
Based on the 2016 documentary Hotel Coolgardie and co-written by Green and Oscar Redding, The Royal Hotel begins with Garner’s Hanna and Jessica Henwick’s Liv enjoying themselves on an Australian vacation. The two American friends then abruptly run out of money and are forced to work at a run-down pub in the remote Australian outback so they can make enough cash to resume their R and R. The pair soon have very different reactions to the alcoholic pub owner (Hugo Weaving) and his regular clientele of local miners, and those aforementioned microaggressions...
- 10/3/2023
- by Brian Davids
- The Hollywood Reporter - Movie News
“They’re all nice for a minute,” says Kitty Green, director of the sizzling thriller The Royal Hotel. She’s talking about the men that make up most of the film’s ensemble cast — Australian miners in a remote, rugged, Outback town — who can pivot from playful pub banter to grinning malevolence without warning. What might they do after one pint too many?
It’s a question any young woman tending bar has asked herself, and in Green’s frighteningly plausible tale, the heavily outnumbered women serving these men drinks...
It’s a question any young woman tending bar has asked herself, and in Green’s frighteningly plausible tale, the heavily outnumbered women serving these men drinks...
- 10/2/2023
- by Miles Klee
- Rollingstone.com
Deep in the Australian Outback, Kitty Green is, once again, asking us to sit on a knife’s edge, where the threat of violence is constant. In The Assistant, which also starred Julia Garner as a headstrong underling in an environment dominated by men, Green was attuned to the systemic abuses of the entertainment industry. In The Royal Hotel, she considers the ways infrastructural inequities pervade even in the most remote corners of our world.
Green’s film is loosely based on the 2016 documentary Hotel Coolgardie, in which director Pete Gleeson provided a glimpse into a remote mining town where backpackers are cycled in and out as bartenders, or, as a sandwich board labels them in The Royal Hotel, “fresh meat” to be ogled at and harassed. Here, that fresh meat is Hanna (Garner) and Liv (Jessica Henwick), two American tourists who’ve desperately sought out a work-tourism exchange program...
Green’s film is loosely based on the 2016 documentary Hotel Coolgardie, in which director Pete Gleeson provided a glimpse into a remote mining town where backpackers are cycled in and out as bartenders, or, as a sandwich board labels them in The Royal Hotel, “fresh meat” to be ogled at and harassed. Here, that fresh meat is Hanna (Garner) and Liv (Jessica Henwick), two American tourists who’ve desperately sought out a work-tourism exchange program...
- 9/26/2023
- by Greg Nussen
- Slant Magazine
“The Royal Hotel,” the setting of Kitty Green’s ulcer-inducing thriller, is a sun-baked bar in a rural Australian mining town surrounded by terrain so monotone that Canadian backpackers Hanna (Julia Garner) and Liv (Jessica Henwick) can’t keep their eyes open on the way in. The two young women arrive at their barmaid jobs with a sense of palpable disorientation. They’ve quite literally woken up in Oz, and they don’t know the people, the customs, the nicknames for the local ales, or the way out.
The customers are, as you might expect, gruff and girl-starved. (The chalkboard sign heralding their first shift reads: “Fresh meat.”) Hanna and Liv are steeled for that. They’re not idiots, even if their knowledge of Australia is pretty much limited to Fosters beer and kangaroos. Still, Green, a keen and steely talent, puts them — and us — through hell.
The worst part?...
The customers are, as you might expect, gruff and girl-starved. (The chalkboard sign heralding their first shift reads: “Fresh meat.”) Hanna and Liv are steeled for that. They’re not idiots, even if their knowledge of Australia is pretty much limited to Fosters beer and kangaroos. Still, Green, a keen and steely talent, puts them — and us — through hell.
The worst part?...
- 9/16/2023
- by Amy Nicholson
- Variety Film + TV
Plot: Two backpacking Canadians (Julia Garner & Jessica Henwick) find themselves low on cash and work as bartenders in a small pup in a remote mining town in Australia.
Review: Kitty Green’s The Royal Hotel is exceptional for about ninety percent of its running time. Beautifully shot at an abandoned bar in Yatina, South Australia, a town that consists of only twenty-nine people, the movie is a thoroughly compelling look at the culture of booze, brawling, and misogyny in remote Australia and what happens when two regular, North American girls are dropped right in the middle of it. But, the finale gets a little too close to straight-ahead thriller territory, ending what had up to then been a compelling drama about menace and the constant threat of violence on a somewhat false note. It starts like Wake in Fright but ends like Straw Dogs, and the switch-up doesn’t work.
Review: Kitty Green’s The Royal Hotel is exceptional for about ninety percent of its running time. Beautifully shot at an abandoned bar in Yatina, South Australia, a town that consists of only twenty-nine people, the movie is a thoroughly compelling look at the culture of booze, brawling, and misogyny in remote Australia and what happens when two regular, North American girls are dropped right in the middle of it. But, the finale gets a little too close to straight-ahead thriller territory, ending what had up to then been a compelling drama about menace and the constant threat of violence on a somewhat false note. It starts like Wake in Fright but ends like Straw Dogs, and the switch-up doesn’t work.
- 9/8/2023
- by Chris Bumbray
- JoBlo.com
For the first minute of The Royal Hotel trailer everything seems fine. But then the tone suddenly shifts, and everything about the environment Julia Garner and Jessica Henwick’s characters find themselves in turns menacing.
Julia Garner (Ozark) stars as Hanna, Jessica Henwick (Glass Onion) is Liv, Toby Wallace (The Society) plays Matty, and Hugo Weaving (the Lord of the Rings films) is Billy. The cast also includes Ursula Yovich as Carol, Daniel Henshall as Dolly, James Frecheville as Teeth, and Herbert Nordrum as Torsten.
The Royal Hotel writer/director Kitty Green made her feature film directorial debut with 2019’s critically acclaimed The Assistant, which also starred Julia Garner. Oscar Redding co-wrote the screenplay, Michael Latham is the director of photography, Leah Popple is the production designer, Mariot Kerr is the costume designer, and Kasra Rassoulzadegan is the editor.
Neon offered this description of the thriller:
“Americans Hanna and Liv...
Julia Garner (Ozark) stars as Hanna, Jessica Henwick (Glass Onion) is Liv, Toby Wallace (The Society) plays Matty, and Hugo Weaving (the Lord of the Rings films) is Billy. The cast also includes Ursula Yovich as Carol, Daniel Henshall as Dolly, James Frecheville as Teeth, and Herbert Nordrum as Torsten.
The Royal Hotel writer/director Kitty Green made her feature film directorial debut with 2019’s critically acclaimed The Assistant, which also starred Julia Garner. Oscar Redding co-wrote the screenplay, Michael Latham is the director of photography, Leah Popple is the production designer, Mariot Kerr is the costume designer, and Kasra Rassoulzadegan is the editor.
Neon offered this description of the thriller:
“Americans Hanna and Liv...
- 9/7/2023
- by Rebecca Murray
- Showbiz Junkies
Pete Gleeson’s 2016 documentary Hotel Coolgardie came and went on the festival circuit, but it made a strong impression on those who caught it. Following two young Finnish tourists who get a work placement at a bar in a middle-of-nowhere Australian mining town, it captured harrowing footage of subjects putting up with a bombardment of sexist remarks and behaviors from the (largely male) regulars and their manager. What made Gleeson’s film so effective was how irrelevant the camera was; the town’s toxic, misogynist culture was so normalized that no one batted an eye at what they put the two women through.
Kitty Green saw Hotel Coolgardie while on a festival jury, and the film impacted her so much she’s now adapted it into The Royal Hotel, a tense yet uneven thriller that sensationalizes its source material in almost all of the right places. In Green’s take,...
Kitty Green saw Hotel Coolgardie while on a festival jury, and the film impacted her so much she’s now adapted it into The Royal Hotel, a tense yet uneven thriller that sensationalizes its source material in almost all of the right places. In Green’s take,...
- 9/7/2023
- by C.J. Prince
- The Film Stage
Four years after director Kitty Green and actor Julia Garner channeled whispers and silence into the stuff of workplace horror in The Assistant, they reunite for a movie that turns up the volume and ratchets up the fear and loathing. Way up.
Instead of the careerist corridors of Manhattan, the setting is a mining town in Australia — specifically, a hotel bar frequented by hard-drinking men. Garner, again, is extraordinary, and the chemistry between her and an equally superb Jessica Henwick, as best friends whose backpacking adventure takes a detour into a kind of hell, doesn’t hit a false note. Yet despite the flawless performances and outstanding craftsmanship, The Royal Hotel is a pummeling experience rather than a revelatory one.
For her second narrative feature, and her first film set and filmed in her native Australia, Green was inspired by the 2016 documentary Hotel Coolgardie, in which Pete Gleeson chronicles the...
Instead of the careerist corridors of Manhattan, the setting is a mining town in Australia — specifically, a hotel bar frequented by hard-drinking men. Garner, again, is extraordinary, and the chemistry between her and an equally superb Jessica Henwick, as best friends whose backpacking adventure takes a detour into a kind of hell, doesn’t hit a false note. Yet despite the flawless performances and outstanding craftsmanship, The Royal Hotel is a pummeling experience rather than a revelatory one.
For her second narrative feature, and her first film set and filmed in her native Australia, Green was inspired by the 2016 documentary Hotel Coolgardie, in which Pete Gleeson chronicles the...
- 9/3/2023
- by Sheri Linden
- The Hollywood Reporter - Movie News
Kate Separovich, Cody Greenwood, Kate Neylon, and Hannah Ngo are the successful recipients of Screenwest’s Breaking the Celluloid Ceiling initiative.
They will each be connected with industry mentors as part of the bespoke program, which is designed specifically for emerging producers of female or non-binary orientation.
Separovich is engaging with executive coach Ellenor Cox and media and communication specialist Karen Eck of eckfactor; Greenwood will be mentored by Liz Watts; Ngo has commenced working with Tess Novak of Lingo Pictures (The Secrets She Keeps); and Neylon will work closely with a soon-to-be-announced experienced producer.
Screenwest CEO Rikki Lea Bestall said the program would assist with the development of their respective slates.
“Kate, Cody, Kate and Hannah are four of our brightest producers and I look forward to seeing these professional mentorships equip them with vital industry knowledge and propel them to take on that next big project,” she said.
They will each be connected with industry mentors as part of the bespoke program, which is designed specifically for emerging producers of female or non-binary orientation.
Separovich is engaging with executive coach Ellenor Cox and media and communication specialist Karen Eck of eckfactor; Greenwood will be mentored by Liz Watts; Ngo has commenced working with Tess Novak of Lingo Pictures (The Secrets She Keeps); and Neylon will work closely with a soon-to-be-announced experienced producer.
Screenwest CEO Rikki Lea Bestall said the program would assist with the development of their respective slates.
“Kate, Cody, Kate and Hannah are four of our brightest producers and I look forward to seeing these professional mentorships equip them with vital industry knowledge and propel them to take on that next big project,” she said.
- 8/13/2021
- by Sean Slatter
- IF.com.au
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week […]
The post This Week In Trailers: The 4th, New York Asian Film Festival, Hotel Coolgardie, We Don’t Need a Map, To Stay Alive: A Method appeared first on /Film.
The post This Week In Trailers: The 4th, New York Asian Film Festival, Hotel Coolgardie, We Don’t Need a Map, To Stay Alive: A Method appeared first on /Film.
- 6/24/2017
- by Christopher Stipp
- Slash Film
Director Pete Gleeson’s observational documentary explores what happens when two 20-something Finnish backpackers land in a small Western Australian mining town and begin working at the pub
‘I was crying, and I was angry’: Hotel Coolgardie’s shocking portrait of sexism in the outback Continue reading...
‘I was crying, and I was angry’: Hotel Coolgardie’s shocking portrait of sexism in the outback Continue reading...
- 6/22/2017
- by Guardian Staff
- The Guardian - Film News
'Despicable Me 3'..
Universal/Illumination Entertainment.s Despicable Me 3 was an emphatic No. 1 at Australian cinemas last weekend, easily beating Sony.s bawdy buddy comedy Rough Night.
Illustrating the challenges facing Australian and other small independent films, director Pete Gleeson.s confronting observational documentary Hotel Coolgardie struggled to find audiences.
None of the other limited new releases including The Promise, Punjab comedy Super Singh and documentaries Whitney: Can I Be Me? and Risk made an impression.
The top 20 titles collected $17.4 million, up by 1.9 per cent over the previous weekend, according to Numero.
Co-directed by Pierre Coffin and Kyle Balda and featuring the voices of Steve Carell, Kristen Wiig and Trey Parker, Despicable Me 3 rang up a terrific $5.9 million on 456 screens, 20 per cent bigger than the second edition's debut and the third best in June for an animated title behind Toy Story 3 and Finding Dory.
Warner...
Universal/Illumination Entertainment.s Despicable Me 3 was an emphatic No. 1 at Australian cinemas last weekend, easily beating Sony.s bawdy buddy comedy Rough Night.
Illustrating the challenges facing Australian and other small independent films, director Pete Gleeson.s confronting observational documentary Hotel Coolgardie struggled to find audiences.
None of the other limited new releases including The Promise, Punjab comedy Super Singh and documentaries Whitney: Can I Be Me? and Risk made an impression.
The top 20 titles collected $17.4 million, up by 1.9 per cent over the previous weekend, according to Numero.
Co-directed by Pierre Coffin and Kyle Balda and featuring the voices of Steve Carell, Kristen Wiig and Trey Parker, Despicable Me 3 rang up a terrific $5.9 million on 456 screens, 20 per cent bigger than the second edition's debut and the third best in June for an animated title behind Toy Story 3 and Finding Dory.
Warner...
- 6/19/2017
- by Don Groves
- IF.com.au
'Despicable Me 3'..
Universal/Illumination Entertainment.s Despicable Me 3 was an emphatic No. 1 at Australian cinemas last weekend, easily beating Sony.s bawdy buddy comedy Rough Night.
Illustrating the challenges facing Australian and other small independent films, director Pete Gleeson.s confronting observational documentary Hotel Coolgardie struggled to find audiences.
None of the other limited new releases including The Promise, Punjab comedy Super Singh and documentaries Whitney: Can I Be Me? and Risk made an impression.
The top 20 titles collected $17.4 million, up by 1.9 per cent over the previous weekend, according to Numero.
Co-directed by Pierre Coffin and Kyle Balda and featuring the voices of Steve Carell, Kristen Wiig and Trey Parker, Despicable Me 3 rang up a terrific $5.8 million on 286 screens.
Warner Bros. superhit Wonder Woman fell by 41 per cent in its third weekend but fetched a hearty $3.3 million on 292, propelling its total to $20.4 million.
Lionsgate/Roadshow...
Universal/Illumination Entertainment.s Despicable Me 3 was an emphatic No. 1 at Australian cinemas last weekend, easily beating Sony.s bawdy buddy comedy Rough Night.
Illustrating the challenges facing Australian and other small independent films, director Pete Gleeson.s confronting observational documentary Hotel Coolgardie struggled to find audiences.
None of the other limited new releases including The Promise, Punjab comedy Super Singh and documentaries Whitney: Can I Be Me? and Risk made an impression.
The top 20 titles collected $17.4 million, up by 1.9 per cent over the previous weekend, according to Numero.
Co-directed by Pierre Coffin and Kyle Balda and featuring the voices of Steve Carell, Kristen Wiig and Trey Parker, Despicable Me 3 rang up a terrific $5.8 million on 286 screens.
Warner Bros. superhit Wonder Woman fell by 41 per cent in its third weekend but fetched a hearty $3.3 million on 292, propelling its total to $20.4 million.
Lionsgate/Roadshow...
- 6/19/2017
- by Don Groves
- IF.com.au
Director Pete Gleeson first came across Coolgardie.s Denver City Hotel — the setting of doco.Hotel Coolgardie — around 15 years ago on a visit to the remote West Australian mining town. Later he briefly worked in Coolgardie as laborer while studying film, and struck up a relationship with the pub.s owner..
The director was intrigued by the pub's regular cycle of bartenders, who were always female and foreign in what was a very masculine place..
.I wanted to make a film about us as blokes and about the outback. And about culture; I don.t remember seeing a documentary about the institution of the Aussie pub,. Gleeson told If..
.I thought well, it would be interesting to see what it looked like through the eyes of these women who come out for few months and move on..
In particular, Gleeson was intrigued by the idea of adaptation; the women.s...
The director was intrigued by the pub's regular cycle of bartenders, who were always female and foreign in what was a very masculine place..
.I wanted to make a film about us as blokes and about the outback. And about culture; I don.t remember seeing a documentary about the institution of the Aussie pub,. Gleeson told If..
.I thought well, it would be interesting to see what it looked like through the eyes of these women who come out for few months and move on..
In particular, Gleeson was intrigued by the idea of adaptation; the women.s...
- 6/15/2017
- by Jackie Keast
- IF.com.au
'Lion' director Garth Davis has won the Adg Award for Best Direction in a Feature Film..
Director Garth Davis has taken out the top gong at the Adg Awards for his work helming Lion..
Davis was presented the prize for Best Direction in a Feature Film by Peter Weir at an award ceremony in Melbourne on Friday..
Lion, which received six Oscar nods and has gone on to be the fifth highest-grossing Australian film of all time at the local box office, is Davis. debut feature. .
Davis was up against Simon Stone (The Daughter), Ben Young (Hounds of Love), Craig Boreham (Teenage Kicks) and Jonathan Leahy (Skin Deep) — each of which was also a first feature..
The award for Best Direction in a Documentary Feature Film was presented to Dan Jackson for In The Shadow of the Hill, while Hotel Coolgardie director Pete Gleeson received High Commendation. The...
Director Garth Davis has taken out the top gong at the Adg Awards for his work helming Lion..
Davis was presented the prize for Best Direction in a Feature Film by Peter Weir at an award ceremony in Melbourne on Friday..
Lion, which received six Oscar nods and has gone on to be the fifth highest-grossing Australian film of all time at the local box office, is Davis. debut feature. .
Davis was up against Simon Stone (The Daughter), Ben Young (Hounds of Love), Craig Boreham (Teenage Kicks) and Jonathan Leahy (Skin Deep) — each of which was also a first feature..
The award for Best Direction in a Documentary Feature Film was presented to Dan Jackson for In The Shadow of the Hill, while Hotel Coolgardie director Pete Gleeson received High Commendation. The...
- 5/8/2017
- by Jackie Keast
- IF.com.au
(l-r) Deepti Naval and Garth Davis on set (photo credit: Mark Rogers).
The nominees for best feature direction at this year.s Adg Awards are Garth Davis (Lion), Simon Stone (The Daughter), Ben Young (Hounds of Love), Craig Boreham (Teenage Kicks) and Jonathan Leahy (Skin Deep). All are celebrated for their feature debuts..
Adg CEO Kingston Anderson says the Adg is angling for a high-profile director to present the feature film award. .I can.t say who it is but if we get him it.d be great," he tells If. "It.s a timing issue as usual...
Emma Freeman is nominated in the TV direction category for her work on Secret City alongside Leah Purcell for Cleverman, Rowan Woods for Rake and Tony Krawitz for The Kettering Incident.
.As always TV drama continues to be a strong and important and powerful category, and that reflects what.s going on in our industry,...
The nominees for best feature direction at this year.s Adg Awards are Garth Davis (Lion), Simon Stone (The Daughter), Ben Young (Hounds of Love), Craig Boreham (Teenage Kicks) and Jonathan Leahy (Skin Deep). All are celebrated for their feature debuts..
Adg CEO Kingston Anderson says the Adg is angling for a high-profile director to present the feature film award. .I can.t say who it is but if we get him it.d be great," he tells If. "It.s a timing issue as usual...
Emma Freeman is nominated in the TV direction category for her work on Secret City alongside Leah Purcell for Cleverman, Rowan Woods for Rake and Tony Krawitz for The Kettering Incident.
.As always TV drama continues to be a strong and important and powerful category, and that reflects what.s going on in our industry,...
- 4/6/2017
- by Harry Windsor
- IF.com.au
Now well into its second decade, the Slamdance Film Festival is gearing up for its 2017 edition. Mostly taking place at the Treasure Mountain Inn at top of Park City, Utah’s busting Main Street, Slamdance is dedicated to presenting a festival and a community designed “for filmmakers by filmmakers.”
In previous years, projects from directors like Christopher Nolan, Marc Forster, Jared Hess, Oren Peli, Benh Zeitlin, Seth Gordon, Lynn Shelton and Lena Dunham have bowed at the festival, and it’s become a fertile — if offbeat — proving ground for fresh talents. This year looks to be yet another banner one for the fest, and as such, we’ve gone on a little trip through the Slamdance slate to dig up some prime possibilities for must-see films (shorts and features!).
Ahead, check out 13 titles we’re...
In previous years, projects from directors like Christopher Nolan, Marc Forster, Jared Hess, Oren Peli, Benh Zeitlin, Seth Gordon, Lynn Shelton and Lena Dunham have bowed at the festival, and it’s become a fertile — if offbeat — proving ground for fresh talents. This year looks to be yet another banner one for the fest, and as such, we’ve gone on a little trip through the Slamdance slate to dig up some prime possibilities for must-see films (shorts and features!).
Ahead, check out 13 titles we’re...
- 1/17/2017
- by Chris O'Falt, David Ehrlich, Graham Winfrey, Jude Dry, Kate Erbland and Steve Greene
- Indiewire
Sometimes it’s nice to go to a bar where everybody knows your name, but being an outsider in that environment isn’t always easy. And that’s the perspective director Pete Gleeson takes in the documentary “Hotel Coolgardie” which, after screening at Hot Docs, Sydney Film Festival, New Zealand International Film Festival and many more, will make its U.S. debut at this month’s Slamdance Film Festival.
Continue reading Slamdance Exclusive: It’s A Tough Night At The Bar In Clip From Documentary ‘Hotel Coolgardie’ at The Playlist.
Continue reading Slamdance Exclusive: It’s A Tough Night At The Bar In Clip From Documentary ‘Hotel Coolgardie’ at The Playlist.
- 1/13/2017
- by Kevin Jagernauth
- The Playlist
Slamdance has announced the 11 narratives and eight documentaries that will comprise its 2017 lineup. The festival was established in 1995 and takes place in Park City, Utah in January — the same time and place, of course, as Sundance. 12 of the films will be world premieres, and all competition entries are directorial debuts with budgets of less than $1 million that have yet to receive stateside distribution. Next year’s edition of the festival will run from January 20–26. Full lineup below:
Read More: Watch Slamdance Selections ‘Coming To’ and ‘Courtesan,’ Thanks to Digital Bolex and Seed&Spark (Exclusive)
Narrative Features
“Aerotropolis” (Jheng-Neng Li)
“Beat Beat Heart” (Luise Brinkmann)
“Cortez” (Cheryl Nichols)
“Dave Made a Maze” (Bill Watterson)
“Dim the Fluorescents” (Daniel Warth)
“The Family” (Shumin Liu)
“Kate Can’t Swim” (Josh Helman)
“Kuro” (Joji Koyama, Tujiko Noriko)
“Weather House” (Frauke Havermann)
“Wexford Plaza” (Joyce Wong)
“Withdrawn” (Adrian Murray)
Read More: Watch the Trailer for...
Read More: Watch Slamdance Selections ‘Coming To’ and ‘Courtesan,’ Thanks to Digital Bolex and Seed&Spark (Exclusive)
Narrative Features
“Aerotropolis” (Jheng-Neng Li)
“Beat Beat Heart” (Luise Brinkmann)
“Cortez” (Cheryl Nichols)
“Dave Made a Maze” (Bill Watterson)
“Dim the Fluorescents” (Daniel Warth)
“The Family” (Shumin Liu)
“Kate Can’t Swim” (Josh Helman)
“Kuro” (Joji Koyama, Tujiko Noriko)
“Weather House” (Frauke Havermann)
“Wexford Plaza” (Joyce Wong)
“Withdrawn” (Adrian Murray)
Read More: Watch the Trailer for...
- 11/28/2016
- by Michael Nordine
- Indiewire
Programmers at the Park City jamboree’s upcoming 23rd edition announced on Monday the 11 narrative and eight documentary selections that will play in January.
The 2017 showcase will also feature Dig (Digital, Interactive & Gaming), a platform of eight works by emerging artists working in cutting-edge digital media, while Polytechnic is a series of free workshops exploring disruptive perspectives on filmmaking from industry insiders.
“As filmmakers themselves, the Slamdance programmers and staff share the same creative spirit as the festival artists,” said Slamdance co-founder and president, Peter Baxter. “Our stories are different but our divergent attitude is the same.
“Together, we give a voice to Diy filmmaking. Empowering emerging artists is what we do, and you are about to see a great group at Slamdance 2017.”
The feature competition roster includes 16 premieres – 12 world, 3 North American and one Us. All competition films are feature directorial debuts with budgets of under $1m and without Us distribution.
Jury awards...
The 2017 showcase will also feature Dig (Digital, Interactive & Gaming), a platform of eight works by emerging artists working in cutting-edge digital media, while Polytechnic is a series of free workshops exploring disruptive perspectives on filmmaking from industry insiders.
“As filmmakers themselves, the Slamdance programmers and staff share the same creative spirit as the festival artists,” said Slamdance co-founder and president, Peter Baxter. “Our stories are different but our divergent attitude is the same.
“Together, we give a voice to Diy filmmaking. Empowering emerging artists is what we do, and you are about to see a great group at Slamdance 2017.”
The feature competition roster includes 16 premieres – 12 world, 3 North American and one Us. All competition films are feature directorial debuts with budgets of under $1m and without Us distribution.
Jury awards...
- 11/28/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Legend of Gavin Tanner.
We Were Here and Flushed have scooped the nominations for the West Australian Screen Awards.
The West Australian Screen Awards celebraes excellence and achievements in feature film, short film, web series, music videos, television production, documentary, games and interactive productions.
Short drama We Were Here, directed by David Vincent Smith and produced by Joshua Gilbert and Simon Camp, earned six nominations, the most for the awards.
Short comedy Flushed, directed and produced by Richard Eames, also received six nominations.
ABC comedy TV series The Legend of Gavin Tanner, written and directed by Matt Lovkis and Henry Inglis and produced by Lauren Elliott received five nominations, as did short drama Sol Bunker, produced by Glen Stasiuk and directed by Nathan Mewett.
Film and Television Institute Wa (Fti) chief executive, Paul Bodlovich, said the WASAs were one of the most important events on the cultural calendar in Western Australia.
We Were Here and Flushed have scooped the nominations for the West Australian Screen Awards.
The West Australian Screen Awards celebraes excellence and achievements in feature film, short film, web series, music videos, television production, documentary, games and interactive productions.
Short drama We Were Here, directed by David Vincent Smith and produced by Joshua Gilbert and Simon Camp, earned six nominations, the most for the awards.
Short comedy Flushed, directed and produced by Richard Eames, also received six nominations.
ABC comedy TV series The Legend of Gavin Tanner, written and directed by Matt Lovkis and Henry Inglis and produced by Lauren Elliott received five nominations, as did short drama Sol Bunker, produced by Glen Stasiuk and directed by Nathan Mewett.
Film and Television Institute Wa (Fti) chief executive, Paul Bodlovich, said the WASAs were one of the most important events on the cultural calendar in Western Australia.
- 5/31/2016
- by Brian Karlovsky
- IF.com.au
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