Before Martin Scorsese became one of the greatest directors of all time there was “The Big Shave.” Before Taika Waititi directed a Marvel movie and won an Oscar for “Jojo Rabbit” there was “Two Cars, One Night.” Before Andrea Arnold and Lynne Ramsay become two of our best working directors there was “Wasp” and “Small Deaths.” Most great directors start their careers with a great short film, several of which IndieWire has rounded up below for your streaming pleasure.
Of the selection below, short films by Andrea Arnold, Taika Waititi, Nacho Vigolando, and Marshall Curry all landed Oscar nominations in the Best Live Action Short Film Category. Both Arnold and Curry won the Academy Award for their shorts in their respective years. For Scorsese and Darren Aronofsky, the shorts below served as breakthrough moments as film school students at New York University and the American Film Institute, respectively.
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Of the selection below, short films by Andrea Arnold, Taika Waititi, Nacho Vigolando, and Marshall Curry all landed Oscar nominations in the Best Live Action Short Film Category. Both Arnold and Curry won the Academy Award for their shorts in their respective years. For Scorsese and Darren Aronofsky, the shorts below served as breakthrough moments as film school students at New York University and the American Film Institute, respectively.
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- 3/17/2020
- by Zack Sharf
- Indiewire
Cannes 2017: The Competition Has a Higher Percentage of Female Filmmakers, But It’s Still Pretty Bad
Girl Talk is a weekly look at women in film — past, present, and future.
This year’s Cannes Film Festival comes with a statistic that’s inspiring and disheartening in equal measure: The competition lineup includes more work from female filmmakers than almost any other year of the aughts… but that still shakes out to under 16% of the total competition slate. This year’s 19-film competition lineup includes just three female filmmakers, all of whom have screened their work at the festival before, putting Palme d’Or contenders at a 15.8% female-directed rate.
Sofia Coppola will compete with her Civil War-era drama “The Beguiled;” previously, the festival premiered her “Marie Antoinette” (2006, in competition) and “The Bling Ring” (2013, Un Certain Regard). She’ll be joined by frequent Cannes attendee Naomi Kawase, bowing her “Radiance,” her seventh film to debut at the festival (she won the Camera d’Or in 1997).
Read More: Female...
This year’s Cannes Film Festival comes with a statistic that’s inspiring and disheartening in equal measure: The competition lineup includes more work from female filmmakers than almost any other year of the aughts… but that still shakes out to under 16% of the total competition slate. This year’s 19-film competition lineup includes just three female filmmakers, all of whom have screened their work at the festival before, putting Palme d’Or contenders at a 15.8% female-directed rate.
Sofia Coppola will compete with her Civil War-era drama “The Beguiled;” previously, the festival premiered her “Marie Antoinette” (2006, in competition) and “The Bling Ring” (2013, Un Certain Regard). She’ll be joined by frequent Cannes attendee Naomi Kawase, bowing her “Radiance,” her seventh film to debut at the festival (she won the Camera d’Or in 1997).
Read More: Female...
- 5/12/2017
- by Kate Erbland
- Indiewire
As with the show’s first season, the next-to-last episode is a doozy. “Better Angels” is easily the most momentous episode of the season so far, and finds the Sos folk in unsually jubilant mode. We say goodbye to another central character, make bold (and probably wrong) predictions for the show’s future, and ponder just how the show might conspire to fix its Carl problem.
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Wye Oak – “Two Small Deaths”
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Download the show in a new window
Playlist
Wye Oak – “Two Small Deaths”
- Listen on iTunes m4a RSS feed mp3 RSS feed Twitter...
- 3/12/2012
- by Ricky
- SoundOnSight
With three dark features under her belt – Ratcatcher, Morvern Callar, and We Need to Talk About Kevin – one might imagine a very pensive, conversationally measured personality, but director Lynne Ramsay is anything but. Much like fellow U.K.’er Andrea Arnold, Ramsay is a bright, talkative filmmaker whose exuberance for her craft is palpable. She’s the conversationalist you want to have multiple exchanges with, to get the first layer of thoughts about her art, contemplate them, then dig to the next level. It’s layer upon layer of artistic passion that manifests in myriad ways. Ramsay exploded on the film scene in the late ‘90s, winning Jury Prizes and earning Palme d’Or nominations at Cannes for her short films Gasman and Small Deaths. By...
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- 1/13/2012
- by Monika Bartyzel
- Movies.com
The Scottish director is back with a highly acclaimed adaptation of We Need to Talk About Kevin. Turns out there's plenty she needs to talk about too
In one of several disturbing scenes in Lynne Ramsay's new film, We Need to Talk About Kevin , Eva, the mother around whom the narrative revolves, walks in on her teenage son while he is masturbating. He doesn't stop, but leers at her half-mockingly, half-lasciviously as, appalled, she backs quickly out of the room.
"I knew that scene really worked when we were checking the focus in post-production in Connecticut and we had to watch it over and over," says Ramsay, laughing, "The projectionist was pissing himself. He kept going, 'Motherfucker!' every time he re-ran the scene. It was magic. You know you've nailed it when you get a reaction like that."
We are sitting under a giant parasol in the garden...
In one of several disturbing scenes in Lynne Ramsay's new film, We Need to Talk About Kevin , Eva, the mother around whom the narrative revolves, walks in on her teenage son while he is masturbating. He doesn't stop, but leers at her half-mockingly, half-lasciviously as, appalled, she backs quickly out of the room.
"I knew that scene really worked when we were checking the focus in post-production in Connecticut and we had to watch it over and over," says Ramsay, laughing, "The projectionist was pissing himself. He kept going, 'Motherfucker!' every time he re-ran the scene. It was magic. You know you've nailed it when you get a reaction like that."
We are sitting under a giant parasol in the garden...
- 10/3/2011
- by Sean O'Hagan
- The Guardian - Film News
Being described as an ‘emotional thriller,’ We Need to Talk About Kevin stars Tilda Swinton, We Need To Talk About Kevin is an emotional thriller, directed by acclaimed filmmaker Lynne Ramsay (Ratcatcher,...
- 5/11/2011
- by Ryan Adams
- AwardsDaily.com
Lynne Ramsay won the 1996 Cannes Prix de Jury for her graduation film, the short Small Deaths. Her second short film, Kill the Day, won the Clemont Ferrand Prix du Jury; her third, Gasman, won her another Cannes Prix du Jury in addition to a Scottish BAFTA for Best Short Film. Ramsay’s debut feature Ratcatcher, won critical acclaim and numerous awards. She also won the Carl Foreman Award for Newcomer in British Film at the 2000 BAFTA Awards, the Sutherland Trophy at the London Film Festival and the Silver Hugo for Best Director at the Chicago International Film Festival. Morvern Callar made my list of the 100 best films of the aughts and she was rated number 12 in Guardian Unlimited’s list of the world’s 40 best directors working today. So yeah she sort of rocks.
Three clips have been released for her upcoming feature We Need To Talk About Kevin, starring...
Three clips have been released for her upcoming feature We Need To Talk About Kevin, starring...
- 5/9/2011
- by Ricky
- SoundOnSight
There are talent labs, and there are cinema funds from festivals (ie. Rotterdam's CineMart; Cannes' Atelier), and then there are the short film sections; every important festival has one, and those who do well get their films promoted and financed to become feature-length debuts. Cannes' Short Film Competition (Court Métrage) awards a full-blown Palme d'Or to its winner, and more often than not, these winning filmmakers become the next big names in cinema. Jane Campion won it with Peel in 1982; as did Marian Crisan with 2008's Megatron (he went on to direct last year's Locarno awardee Morgen), and Cătălin Mitulescu with Traffic in 2004. Lynne Ramsay was a runner-up with a Grand Prix award for her Small Deaths, and while Nuri Bilge Ceylan didn't win with his short Cocoon, it was definitely there in the '95 Competition. The latter 3 names are especially notable right now, as all three have films in...
- 4/20/2011
- IONCINEMA.com
She's one of the few women competing at Cannes this year – and with her first feature. Alicia Duffy tells Maddy Costa about her lucky breaks, on-set rows and why Virginia Woolf is an inspiration
Here's a familiar story: a female director, with a clutch of prize-winning short films to her name, has her first feature selected for screening at Cannes. It happened to Lynne Ramsay, whose debut Ratcatcher was shown in 1999, three years after she won the Jury prize for her short Small Deaths. It happened to Andrea Arnold, who won the Jury prize for Red Road, and again in 2009 for Fish Tank. Now it's the turn of Alicia Duffy, whose debut feature, All Good Children, has been selected for the Director's Fortnight.
Like Arnold, who was an actor and TV presenter before switching to directing in her 30s, Duffy, now 38, was a latecomer to cinema. She tried everything from opera singing to advanced maths,...
Here's a familiar story: a female director, with a clutch of prize-winning short films to her name, has her first feature selected for screening at Cannes. It happened to Lynne Ramsay, whose debut Ratcatcher was shown in 1999, three years after she won the Jury prize for her short Small Deaths. It happened to Andrea Arnold, who won the Jury prize for Red Road, and again in 2009 for Fish Tank. Now it's the turn of Alicia Duffy, whose debut feature, All Good Children, has been selected for the Director's Fortnight.
Like Arnold, who was an actor and TV presenter before switching to directing in her 30s, Duffy, now 38, was a latecomer to cinema. She tried everything from opera singing to advanced maths,...
- 5/16/2010
- by Maddy Costa
- The Guardian - Film News
Production begins this week in Connecticut on the psychological thriller We Need To Talk About Kevin, which is being directed by acclaimed filmmaker Lynne Ramsay (Ratcatcher, Morvern Callar) and produced by Jennifer Fox (Michael Clayton, The Informant!), Luc Roeg (Mr. Nice) and Robert Salerno (21 Grams). We Need To Talk About Kevin was written by Ramsay and Rory Kinnear based on the novel by Lionel Shriver. The film stars Tilda Swinton, John C. Reilly and Ezra Miller. Presented by BBC Films and the UK Film Council in association with Footprint Investments Llp, Caemhan Partnership Llp and Lipsync Productions, the film is an Independent / Jennifer Fox production in association with Artina Films and Forward Films. The announcement was made today by Independent, who also holds the international rights to the film.
The film was developed by BBC Films¹ Creative Director Christine Langan (The Damned United, Bright Star) with Paula Jalfon (In The Loop,...
The film was developed by BBC Films¹ Creative Director Christine Langan (The Damned United, Bright Star) with Paula Jalfon (In The Loop,...
- 4/23/2010
- by Staff
- Hollywoodnews.com
Third member’s a charm
Several bands this decade have made a duo sound like more than a duo. Most recently, The Dodos made an impressive attempt on their second album, Visiter, with the propulsive polyrhythmic drumming of Logan Kroeber and the frenetic finger-picking of singer/guitarist Meric Long. But for the follow-up, they decided they needed to become a trio. They needed. a vibraphonist. With the drums and guitar so busy in the mix of almost every song, Keaton Snyder’s amped-up vibes are an inspired addition, their subtle atmospheric effects put to careful use by producer Phil Ek (The Shins, Fleet Foxes, Band of Horses). On opening track “Small Deaths,” Snyder follows Long’s distorted guitar lines, allowing Long to rock out without muddying his lovely melodies. The way the hooks are given space to open up, the album shares a sensibility with Ek’s other projects and...
Several bands this decade have made a duo sound like more than a duo. Most recently, The Dodos made an impressive attempt on their second album, Visiter, with the propulsive polyrhythmic drumming of Logan Kroeber and the frenetic finger-picking of singer/guitarist Meric Long. But for the follow-up, they decided they needed to become a trio. They needed. a vibraphonist. With the drums and guitar so busy in the mix of almost every song, Keaton Snyder’s amped-up vibes are an inspired addition, their subtle atmospheric effects put to careful use by producer Phil Ek (The Shins, Fleet Foxes, Band of Horses). On opening track “Small Deaths,” Snyder follows Long’s distorted guitar lines, allowing Long to rock out without muddying his lovely melodies. The way the hooks are given space to open up, the album shares a sensibility with Ek’s other projects and...
- 7/28/2009
- Pastemagazine.com
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