In sibling directors Bill and Turner Ross’ new movie “Gasoline Rainbow,” a group of five teenagers embark on a hectic, sweltering roadtrip from rural Oregan to the Pacific Coast. Over the course of that evocative journey, they get lost, get stoned, make a lot of friends, and swap many stories. Eschewing plot for the unbridled energy of untethered youth, “Gasoline Rainbow” might strike newcomers to the Ross brothers as a pure documentary exercise, the kind of absorbing cinema vérité endeavor in which cameras follow every unscripted move.
However, this is a Ross brothers movie, and defies such labels by design. For over a decade, these innovative filmmakers haven’t troubled the barriers between fiction and non-fiction so much as they have tried to ignore them entirely — and with this one, they’re ready to move past scrutiny of that process for good.
“We are desperate not to have this fucking conversation ever again,...
However, this is a Ross brothers movie, and defies such labels by design. For over a decade, these innovative filmmakers haven’t troubled the barriers between fiction and non-fiction so much as they have tried to ignore them entirely — and with this one, they’re ready to move past scrutiny of that process for good.
“We are desperate not to have this fucking conversation ever again,...
- 8/22/2023
- by Eric Kohn
- Indiewire
Netflix’s awards hopefuls Robert Greene’s “Procession” and Alonso Ruizpalacios’ “A Cop Movie” are heading to Manhattan’s Paris Theater as part of its “New Directions in Documentary” series.
Both hybrid features, which are vying for a spot on this year’s Academy Award doc shortlist, will screen alongside previously celebrated form-bending docus in the upcoming series beginning Oct. 15.
Since 2019 Netflix has operated the 571-seat venue, which the streaming company uses year-round for exclusive theatrical engagements, premieres, special events, retrospectives, and filmmaker appearances.
Curated by Paris Theater programmer David Schwartz, the five-day public event will highlight and celebrate docus that combine elements of fiction and non-fiction into the fabric of their storytelling.
“ ‘Procession’ and ‘A Cop Movie’ are exciting and inventive movies that heighten the documentary form,” says Schwartz. “They find innovative ways to explore truth through deeply personal and dramatic subjects. Their work transcends the formulaic with rigorous fidelity to vision,...
Both hybrid features, which are vying for a spot on this year’s Academy Award doc shortlist, will screen alongside previously celebrated form-bending docus in the upcoming series beginning Oct. 15.
Since 2019 Netflix has operated the 571-seat venue, which the streaming company uses year-round for exclusive theatrical engagements, premieres, special events, retrospectives, and filmmaker appearances.
Curated by Paris Theater programmer David Schwartz, the five-day public event will highlight and celebrate docus that combine elements of fiction and non-fiction into the fabric of their storytelling.
“ ‘Procession’ and ‘A Cop Movie’ are exciting and inventive movies that heighten the documentary form,” says Schwartz. “They find innovative ways to explore truth through deeply personal and dramatic subjects. Their work transcends the formulaic with rigorous fidelity to vision,...
- 10/5/2021
- by Addie Morfoot
- Variety Film + TV
The documentary film community gathered virtually on Facebook Tuesday night to chat and cheer each other on at the annual Cinema Eye Honors Awards. Oscar ballots are due Wednesday at 5pm Pt, and many documentary branch voters were on the livestream.
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
- 3/10/2021
- by Anne Thompson
- Thompson on Hollywood
The documentary film community gathered virtually on Facebook Tuesday night to chat and cheer each other on at the annual Cinema Eye Honors Awards. Oscar ballots are due Wednesday at 5pm Pt, and many documentary branch voters were on the livestream.
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
- 3/10/2021
- by Anne Thompson
- Indiewire
The Romanian film “Collective” has been named the best nonfiction film of 2020 at the 13th annual Cinema Eye Honors, a New York-based awards show devoted to all facets of documentary filmmaking.
Kirsten Johnson took the directing prize for “Dick Johnson Is Dead,” while the award for outstanding debut went to Garrett Bradley for “Time,” which also won for its editing.
“Boys State” won the Audience Award, the only Cinema Eye Honor category in which the public was invited to cast ballots.
The Spotlight Award, which was designed to put attention on a film that deserves wider exposure, went to “The Earth is Blue as an Orange,” directed by Iryna Tsilyk. The Heterodox Award, given to a film that combines nonfictional and fictional techniques, was won by Bill and Turner Ross’ “Bloody Nose, Empty Pockets.”
“The Truffle Hunters” won for cinematography, while “Feels Good Man” won in the graphic design or...
Kirsten Johnson took the directing prize for “Dick Johnson Is Dead,” while the award for outstanding debut went to Garrett Bradley for “Time,” which also won for its editing.
“Boys State” won the Audience Award, the only Cinema Eye Honor category in which the public was invited to cast ballots.
The Spotlight Award, which was designed to put attention on a film that deserves wider exposure, went to “The Earth is Blue as an Orange,” directed by Iryna Tsilyk. The Heterodox Award, given to a film that combines nonfictional and fictional techniques, was won by Bill and Turner Ross’ “Bloody Nose, Empty Pockets.”
“The Truffle Hunters” won for cinematography, while “Feels Good Man” won in the graphic design or...
- 3/10/2021
- by Steve Pond
- The Wrap
Distribution and sales company Utopia Media has acquired worldwide rights for feature documentary “Moments Like This Never Last,” about artist Dash Snow.
Born Dashiell Alexander Whitney Snow, Dash Snow rejected a life of privilege to make his own way as an artist on the streets of downtown New York City in the late 1990s. Developing from a notorious graffiti tagger into an international art star, he documented his drug- and alcohol-fuelled nights with the surrogate family he formed with friends and fellow artists Ryan McGinley, Dan Colen and Kunle Martins before his death by heroin overdose in 2009.
The film, a personal, up-close depiction of the late artist, is directed by photographer and filmmaker Cheryl Dunn (“Everybody Street”), drawing from Snow’s body of work. It uses archival footage to capture his brief life of reckless excess and creativity. It features artist Dan Colen, art dealer Jeffrey Deitch, filmmaker Larry Clark and art curator Neville Wakefield,...
Born Dashiell Alexander Whitney Snow, Dash Snow rejected a life of privilege to make his own way as an artist on the streets of downtown New York City in the late 1990s. Developing from a notorious graffiti tagger into an international art star, he documented his drug- and alcohol-fuelled nights with the surrogate family he formed with friends and fellow artists Ryan McGinley, Dan Colen and Kunle Martins before his death by heroin overdose in 2009.
The film, a personal, up-close depiction of the late artist, is directed by photographer and filmmaker Cheryl Dunn (“Everybody Street”), drawing from Snow’s body of work. It uses archival footage to capture his brief life of reckless excess and creativity. It features artist Dan Colen, art dealer Jeffrey Deitch, filmmaker Larry Clark and art curator Neville Wakefield,...
- 3/4/2021
- by Naman Ramachandran
- Variety Film + TV
The Academy of Motion Picture Arts and Sciences on Thursday released its official entries for 2021 Oscars in the categories of Documentary Feature, Animated Feature and International Films. The takeaway: As expected, the eligible Documentary Feature lineup shatters the record for the most ever.
A total of 238 features are eligible for consideration in the Doc Feature category, breaking the previous record of 170 set in 2017. Last year, by contrast, 159 feature documentaries qualified. The Academy relaxed eligibility rules in light of Covid-19, so that any film that could make a claim of an intended theatrical release was deemed eligible. Earning awards from film festivals was an alternative way to qualify.
For the International Feature race, Lesotho, Sudan and Suriname are first-time entrants among the 93 eligible titles, the same total as last year. Earlier this year, the Academy’s Board of Governors boosted the number of films eligible for the shortlist from 10 to 15. Under the new rules,...
A total of 238 features are eligible for consideration in the Doc Feature category, breaking the previous record of 170 set in 2017. Last year, by contrast, 159 feature documentaries qualified. The Academy relaxed eligibility rules in light of Covid-19, so that any film that could make a claim of an intended theatrical release was deemed eligible. Earning awards from film festivals was an alternative way to qualify.
For the International Feature race, Lesotho, Sudan and Suriname are first-time entrants among the 93 eligible titles, the same total as last year. Earlier this year, the Academy’s Board of Governors boosted the number of films eligible for the shortlist from 10 to 15. Under the new rules,...
- 1/28/2021
- by Patrick Hipes and Matthew Carey
- Deadline Film + TV
The Oscars Best Documentary Feature race, which set a new record for entries in December when it passed the previous record of 170, has now left all previous years in the dust with 240 eligible films.
An additional 25 documentary features were placed in the members-only online screening room devoted to the category on Saturday, in what the Academy told voters would be “the final batch” of this year’s entries. It was the last of seven groups of documentaries that qualified and were placed into the screening room: 25 in July, 12 in August, 16 in September, 33 in October, 36 in November, a huge group of 93 in December and now 25 in January.
Academy rules put in place because of the Covid-19 pandemic made it easier than usual for documentaries to qualify for the Oscars this year, which opened the door for a field that obliterated the previous record, which was set in 2017. Films could qualify simply...
An additional 25 documentary features were placed in the members-only online screening room devoted to the category on Saturday, in what the Academy told voters would be “the final batch” of this year’s entries. It was the last of seven groups of documentaries that qualified and were placed into the screening room: 25 in July, 12 in August, 16 in September, 33 in October, 36 in November, a huge group of 93 in December and now 25 in January.
Academy rules put in place because of the Covid-19 pandemic made it easier than usual for documentaries to qualify for the Oscars this year, which opened the door for a field that obliterated the previous record, which was set in 2017. Films could qualify simply...
- 1/17/2021
- by Steve Pond
- The Wrap
Films by women writer-directors including Rose Glass, Sarah Gavron, Chloé Zhao and Emerald Fennell scored the most nominations for the 41st London Critics’ Circle Film Awards, which were announced on Tuesday.
Glass’s horror film “Saint Maud” earned eight nominations, including film, director, screenwriter, actress (Morfydd Clark), supporting actress (Jennifer Ehle) and British/Irish film of the year, while Clark is also nominated for British/Irish actress.
Sarah Gavron’s coming-of-age tale “Rocks” scored six nominations, Chloé Zhao’s road movie “Nomadland” five, and Emerald Fennell’s black comedy “Promising Young Woman” four. David Fincher’s biopic “Mank” and Steve McQueen’s house-party film “Lovers Rock” also had four nominations each.
The late Chadwick Boseman received nominations for his lead role in “Ma Rainey’s Black Bottom” and his supporting role in “Da 5 Bloods.” Other multiple acting nominees include Morfydd Clark, Anthony Hopkins, Carey Mulligan, Riz Ahmed, Vanessa Kirby, Sacha Baron Cohen and Bukky Bakray.
Glass’s horror film “Saint Maud” earned eight nominations, including film, director, screenwriter, actress (Morfydd Clark), supporting actress (Jennifer Ehle) and British/Irish film of the year, while Clark is also nominated for British/Irish actress.
Sarah Gavron’s coming-of-age tale “Rocks” scored six nominations, Chloé Zhao’s road movie “Nomadland” five, and Emerald Fennell’s black comedy “Promising Young Woman” four. David Fincher’s biopic “Mank” and Steve McQueen’s house-party film “Lovers Rock” also had four nominations each.
The late Chadwick Boseman received nominations for his lead role in “Ma Rainey’s Black Bottom” and his supporting role in “Da 5 Bloods.” Other multiple acting nominees include Morfydd Clark, Anthony Hopkins, Carey Mulligan, Riz Ahmed, Vanessa Kirby, Sacha Baron Cohen and Bukky Bakray.
- 1/12/2021
- by Naman Ramachandran
- Variety Film + TV
Multiple nominations for ‘Nomadland’ and ‘Promising Young Woman’.
Rose Glass’ debut feature Saint Maud heads the nominations at the 41st London Critics’ Circle Film Awards, with eight nominations including film of the year and director of the year.
The horror film is also up for British/Irish film of the year, with further nominations for Glass in screenwriter and breakthrough British/Irish filmmaker, and Morfydd Clark in both actress and British/Irish actress of the year (the latter also for her role in Eternal Beauty).
Rocks, another UK title directed by Sarah Gavron with associate director Anu Henriques, received six...
Rose Glass’ debut feature Saint Maud heads the nominations at the 41st London Critics’ Circle Film Awards, with eight nominations including film of the year and director of the year.
The horror film is also up for British/Irish film of the year, with further nominations for Glass in screenwriter and breakthrough British/Irish filmmaker, and Morfydd Clark in both actress and British/Irish actress of the year (the latter also for her role in Eternal Beauty).
Rocks, another UK title directed by Sarah Gavron with associate director Anu Henriques, received six...
- 1/12/2021
- by Ben Dalton
- ScreenDaily
The Academy has added 93 more films to the members-only screening room devoted to entries in the Best Documentary Feature category, bringing the total number of eligible contenders to a record-shattering 215.
The previous record for entries was 170 in 2017. And this year’s crop of nonfiction films is expected to pass that number by an even bigger margin — at least 50 — once a final, smaller group of films is added to the screening room in January.
New eligibility rules that were passed in the wake of the Covid-19 theater closings made it easier for documentaries to qualify this year by allowing them to do so by playing at film festivals, even virtual ones, and by easing requirements for theatrical runs. In an email to members detailing the new additions, the Academy said, “The Documentary Branch Executive Committee felt it was important to be inclusive and supportive of documentary filmmakers in this unprecedented and challenging year.
The previous record for entries was 170 in 2017. And this year’s crop of nonfiction films is expected to pass that number by an even bigger margin — at least 50 — once a final, smaller group of films is added to the screening room in January.
New eligibility rules that were passed in the wake of the Covid-19 theater closings made it easier for documentaries to qualify this year by allowing them to do so by playing at film festivals, even virtual ones, and by easing requirements for theatrical runs. In an email to members detailing the new additions, the Academy said, “The Documentary Branch Executive Committee felt it was important to be inclusive and supportive of documentary filmmakers in this unprecedented and challenging year.
- 12/22/2020
- by Steve Pond
- The Wrap
It’s an understatement to say that real life is more shocking than the movies these days, but documentary filmmakers have always known this to be true. As the nonfiction medium continues to churn through the most popular moment in its history, this year’s documentary highlights met their moment and then some, with a wide range of purposeful work tackling major issues of the moment through ambitious approaches that often transcended formal conventions. Sure, 2020 brought us “Tiger King” and a gazillion election season specials, but the best documentaries of the year didn’t just thrill or enlighten us; they did it in fresh and exciting ways that went beyond the call of duty. Here are the highlights.
David Ehrlich, Kate Erbland, and Kristen Lopez contributed to this report.
“All In: The Fight for Democracy”
A lot of movies about the political process tend to be reductive adventures in talking heads.
David Ehrlich, Kate Erbland, and Kristen Lopez contributed to this report.
“All In: The Fight for Democracy”
A lot of movies about the political process tend to be reductive adventures in talking heads.
- 12/13/2020
- by Eric Kohn
- Indiewire
One of the most esteemed film journalism outlets, BFI’s Sight & Sound, have delivered their list of the 50 best films of 2020. Topping the chart is Steve McQueen’s euphoric Lovers Rock, marking his second #1 ranking after Hunger.
As for the rest of the top 10, it’s dominated by female filmmakers, with 7 entries directed by women, including their #2 entry, and my personal favorite film of the year: Garrett Bradley’s Time. New films by Kelly Reichardt, Charlie Kaufman, Kirsten Johnson, Eliza Hittman, Tsai Ming-liang, and more round out the rest of the top 10.
Check out the top 20 below, followed by a link to the full top 50.
1. Lovers Rock (Dir. Steve McQueen)
2. Time (Dir. Garrett Bradley)
3. First Cow (Dir. Kelly Reichardt)
4. I’M Thinking Of Ending Things (Dir. Charlie Kaufman)
5. Saint Maud (Dir. Rose Glass)
6. Dick Johnson Is Dead (Dir. Kirsten Johnson)
7. Never Rarely Sometimes Always (Dir. Eliza Hittman)
8. Nomadland (Dir. Chloe Zhao)
9. Rocks (Dir.
As for the rest of the top 10, it’s dominated by female filmmakers, with 7 entries directed by women, including their #2 entry, and my personal favorite film of the year: Garrett Bradley’s Time. New films by Kelly Reichardt, Charlie Kaufman, Kirsten Johnson, Eliza Hittman, Tsai Ming-liang, and more round out the rest of the top 10.
Check out the top 20 below, followed by a link to the full top 50.
1. Lovers Rock (Dir. Steve McQueen)
2. Time (Dir. Garrett Bradley)
3. First Cow (Dir. Kelly Reichardt)
4. I’M Thinking Of Ending Things (Dir. Charlie Kaufman)
5. Saint Maud (Dir. Rose Glass)
6. Dick Johnson Is Dead (Dir. Kirsten Johnson)
7. Never Rarely Sometimes Always (Dir. Eliza Hittman)
8. Nomadland (Dir. Chloe Zhao)
9. Rocks (Dir.
- 12/11/2020
- by Jordan Raup
- The Film Stage
The influential Cinema Eye Honors nominations, voted on by documentary filmmakers, help to narrow the wide field for documentary awards contenders. Amazon Studios release “Time,” Garrett Bradley’s poetic black-and-white portrait of one family’s struggle through years of incarceration, leads the field with six nominations, including Outstanding Feature, Direction, Editing, Score and Debut.
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
- 12/10/2020
- by Anne Thompson
- Thompson on Hollywood
The influential Cinema Eye Honors nominations, voted on by documentary filmmakers, help to narrow the wide field for documentary awards contenders. Amazon Studios release “Time,” Garrett Bradley’s poetic black-and-white portrait of one family’s struggle through years of incarceration, leads the field with six nominations, including Outstanding Feature, Direction, Editing, Score and Debut.
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
- 12/10/2020
- by Anne Thompson
- Indiewire
Garrett Bradley’s “Time,” which follows a family through decades of the father’s incarceration, leads all films in nominations for the 14th annual Cinema Eye Honors, a New York-based award established to honor all facets of nonfiction filmmaking.
“Time” received six nominations, including one in the Outstanding Nonfiction Feature category. There, it will compete with “Boys State,” “Collective,” “Dick Johnson Is Dead” and “Gunda.”
“Collective,” “Gunda” and “Welcome to Chechnya” each received four nominations, while “Boys State,” “Dick Johnson Is Dead,” “I’ll Be Gone in the Dark,” “Notturno” and “The Truffle Hunters” landed three each.
“Time” is now the only film to be nominated in the top category by the Cinema Eye Honors, the IDA Documentary Awards, the Critics Choice Documentary Awards and the Gotham Awards, and also receive a spot on Doc NYC’s “Short List” of awards contenders. “Gunda” was honored by four of the five groups,...
“Time” received six nominations, including one in the Outstanding Nonfiction Feature category. There, it will compete with “Boys State,” “Collective,” “Dick Johnson Is Dead” and “Gunda.”
“Collective,” “Gunda” and “Welcome to Chechnya” each received four nominations, while “Boys State,” “Dick Johnson Is Dead,” “I’ll Be Gone in the Dark,” “Notturno” and “The Truffle Hunters” landed three each.
“Time” is now the only film to be nominated in the top category by the Cinema Eye Honors, the IDA Documentary Awards, the Critics Choice Documentary Awards and the Gotham Awards, and also receive a spot on Doc NYC’s “Short List” of awards contenders. “Gunda” was honored by four of the five groups,...
- 12/10/2020
- by Steve Pond
- The Wrap
If you were to look at the members-only screening room where films in contention for the Academy Award for Best Picture stream for voters, you might think that documentaries are going to do very well in the Oscars top category this year.
As of Dec. 7, there were 104 films in the Academy Screening Room for the Best Picture category, 26 of which were documentaries. That’s a full 25% of the field, which seems to suggest that nonfiction filmmakers and the companies that release them are optimistic that Oscar voters will recognize docs when they vote this year. After all, it costs $12,500 to put a film in that screening room — and all 26 docs that paid the cost to be there are also in the separate screening room available to the Academy’s Documentary Branch. Spots in that screening room are free for any film that qualifies in the Best Documentary Feature category.
Common sense,...
As of Dec. 7, there were 104 films in the Academy Screening Room for the Best Picture category, 26 of which were documentaries. That’s a full 25% of the field, which seems to suggest that nonfiction filmmakers and the companies that release them are optimistic that Oscar voters will recognize docs when they vote this year. After all, it costs $12,500 to put a film in that screening room — and all 26 docs that paid the cost to be there are also in the separate screening room available to the Academy’s Documentary Branch. Spots in that screening room are free for any film that qualifies in the Best Documentary Feature category.
Common sense,...
- 12/8/2020
- by Steve Pond
- The Wrap
What’s New on DVD in November: ‘Schitt’s Creek,’ ‘Weathering With You,’ ‘Essential Fellini’ and More
New Indie
Big month for Charlie Plummer, as the young star of “Lean on Pete” has lead roles in two critically-acclaimed films making their way to DVD and Blu-ray: “Words on Bathroom Walls” (Lionsgate) stars Plummer as a teenager overcoming a mental illness diagnosis to chase his dreams of becoming a chef. The drama’s impressive ensemble includes Taylor Russell (“Waves”), Andy Garcia, AnnaSophia Robb, Beth Grant, Molly Parker and Walton Goggins. In the YA adaptation “Spontaneous” (Paramount Home Entertainment), Plummer and Katherine Langford (“13 Reasons Why”) play high school seniors who manage to find love despite the fact that many of their classmates seem to be unexpectedly exploding.
New Foreign
The team behind the global anime smash “Your Name” returns with another transcendent love story in “Weathering With You” (Gkids/Shout Factory), an epic saga of rain, young love and potato-chip fried rice that includes the English-language dub that...
Big month for Charlie Plummer, as the young star of “Lean on Pete” has lead roles in two critically-acclaimed films making their way to DVD and Blu-ray: “Words on Bathroom Walls” (Lionsgate) stars Plummer as a teenager overcoming a mental illness diagnosis to chase his dreams of becoming a chef. The drama’s impressive ensemble includes Taylor Russell (“Waves”), Andy Garcia, AnnaSophia Robb, Beth Grant, Molly Parker and Walton Goggins. In the YA adaptation “Spontaneous” (Paramount Home Entertainment), Plummer and Katherine Langford (“13 Reasons Why”) play high school seniors who manage to find love despite the fact that many of their classmates seem to be unexpectedly exploding.
New Foreign
The team behind the global anime smash “Your Name” returns with another transcendent love story in “Weathering With You” (Gkids/Shout Factory), an epic saga of rain, young love and potato-chip fried rice that includes the English-language dub that...
- 11/29/2020
- by Alonso Duralde
- The Wrap
Rooftop Films, a Brooklyn-based nonprofit that champions independent cinema, has announced recipients of its 2020 filmmaker fund grants.
The awards, consisting of 20 cash and service grants to independent filmmakers, were supported by the James Levine Foundation. Among the honorees, Lucy Walker (“Bring Your Own Brigade”) and Ben Mullinkosson (“The Last Year of Darkness”) were given then Rooftop Films Water Tower Feature Film Grants and will each receive $15,000 toward their respective feature-length documentaries.
“We are thrilled to honor all of our alumni grantees this year, and are especially proud to note that our grantee awards recognize eleven projects directed or co-directed by women and seven directed or co-directed by filmmakers of color,” said Rooftop Films senior programmer Dominic Davis.
Past Rooftop Filmmaker Fund grantees include Eliza Hittman’s “Never Rarely Sometimes Always,” Kirsten Johnson’s documentary “Dick Johnson Is Dead” and Bill and Turner Ross’ “Bloody Nose, Empty Pockets.”
“Rooftop Films is...
The awards, consisting of 20 cash and service grants to independent filmmakers, were supported by the James Levine Foundation. Among the honorees, Lucy Walker (“Bring Your Own Brigade”) and Ben Mullinkosson (“The Last Year of Darkness”) were given then Rooftop Films Water Tower Feature Film Grants and will each receive $15,000 toward their respective feature-length documentaries.
“We are thrilled to honor all of our alumni grantees this year, and are especially proud to note that our grantee awards recognize eleven projects directed or co-directed by women and seven directed or co-directed by filmmakers of color,” said Rooftop Films senior programmer Dominic Davis.
Past Rooftop Filmmaker Fund grantees include Eliza Hittman’s “Never Rarely Sometimes Always,” Kirsten Johnson’s documentary “Dick Johnson Is Dead” and Bill and Turner Ross’ “Bloody Nose, Empty Pockets.”
“Rooftop Films is...
- 10/7/2020
- by Rebecca Rubin
- Variety Film + TV
The fall film festival season, one unlike any other, continues on as BFI London Film Festival have announced the full lineup for their 68th edition. Featuring both virtually and physical screenings, the festival takes place between October 7-18. The physical screenings will occur at BFI Southbank and cinemas across the UK while all virtual screenings are geo-blocked to the UK, though Festival talks and Lff Expanded are available to experience for free from anywhere in the world. The lineup features Pixar’s latest animation Soul, as well as new films by Tsai Ming-liang, Francis Lee, Chloé Zhao, Steve McQueen, Garrett Bradley, Christian Petzold, Chaitanya Tamhane, Miranda July, and more.
“This has been such a period of uncertainty and change across the industry and when we embarked on a radical new plans for our 2020 edition, we stepped into unknown territory,” said Tricia Tuttle, BFI London Film Festival Director. “But we’ve...
“This has been such a period of uncertainty and change across the industry and when we embarked on a radical new plans for our 2020 edition, we stepped into unknown territory,” said Tricia Tuttle, BFI London Film Festival Director. “But we’ve...
- 9/8/2020
- by Jordan Raup
- The Film Stage
Always be wary of claims of “first” or “only.” Such is the case with brand-new streaming platform Documentary Plus+, which announced this summer that it would be “the first of its kind to focus exclusively on documentary films.” The venture comes from Xtr, the well-financed Los Angeles-based nonfiction film and television studio that Oscar-nominated documentary short producer Bryn Mooser (“Lifeboat”) launched last year.
Xtr, which took five co-financed films to Sundance 2020 — including well-received docs “Feels Good Man,” “Mucho Mucho Amor,” and “Bloody Nose, Empty Pockets” — plans to roll out Documentary Plus+ this fall; a representative said they’re hoping for the end of September.
Billed as a “highly curated documentary streaming service,” Documentary Plus+ aims to “provide audiences with the best in documentary film and further serve as a permanent home for the work of nonfiction filmmakers along with added distribution and amplification of their projects across all social channels.
Xtr, which took five co-financed films to Sundance 2020 — including well-received docs “Feels Good Man,” “Mucho Mucho Amor,” and “Bloody Nose, Empty Pockets” — plans to roll out Documentary Plus+ this fall; a representative said they’re hoping for the end of September.
Billed as a “highly curated documentary streaming service,” Documentary Plus+ aims to “provide audiences with the best in documentary film and further serve as a permanent home for the work of nonfiction filmmakers along with added distribution and amplification of their projects across all social channels.
- 8/20/2020
- by Kate Erbland
- Indiewire
Taking place online and at drive-ins from 3 to 12 September, the 22nd edition of Israel's biggest documentary festival will include a new competition strand and an award fund of €84,700. The Tel Aviv International Documentary Film Festival Docaviv, set to take place 3-12 September in a hybrid form, combining online and drive-in screenings, has revealed its full programme, after announcing the Israeli Competition line-up back in June (read the news). The International Competition includes 11 films: Radu Ciorniciuc's Acasă – My Home (Romania/Finland/Germany), Alexander Nanau's Collective (Romania/Luxembourg), Teboho Edkins' Days of Cannibalism (France/South Africa/Netherlands), Valentina Pedicini's Faith (Italy), Natalija Yefimkina's Garage People (Germany), Laura Herrero Garvin's La Mami (Mexico/Spain), Maite Alberdi's The Mole Agent (Chile/USA/Germany/Netherlands/Spain), Anabel Rodríguez Ríos' Once Upon a Time in Venezuela (Venezuela/UK/Brazil/Austria), Benjamin Ree's The Painter and the Thief (Norway), Paloma Sermon-Daï's...
When “Bloody Nose, Empty Pockets” premiered at the 2020 Sundance Film Festival, it captured the national tailspin of 2016 in tragicomic detail. Six months later, this snapshot of apocalyptic malaise is so attuned to the current moment it may as well exist in a crystal ball. Shot on a Louisiana set designed to look like a bar in Las Vegas, the quasi-documentary unfolds over the course of the last boozy night of a grimy watering hole, where lost souls gather to commiserate and escape their woes through the catharsis of their ragtag community. Much of it was staged, but none of it scripted. It’s both a somber goodbye and a paean to surviving another day.
Such is the sophistication of Bill and Turner Ross, whose unclassifiable hybrid documentary work ranks among some of the most adventurous American cinema in recent years. From neighborhood snapshot “45365” to the shadowy one-night adventure “Tchoupitoulas,” the small-town Texan life of “Western,...
Such is the sophistication of Bill and Turner Ross, whose unclassifiable hybrid documentary work ranks among some of the most adventurous American cinema in recent years. From neighborhood snapshot “45365” to the shadowy one-night adventure “Tchoupitoulas,” the small-town Texan life of “Western,...
- 7/10/2020
- by Eric Kohn
- Indiewire
With its sun-kissed energy and oasis vibes, it’s appropriate that the Max Barbakow-directed comedy Palm Springs be released during the summer. The time-hopping comedy made its world premiere at Sundance earlier this year and drops on Hulu today.
The film written by Andy Siara follows carefree Nyles (Andy Samberg), who meets Sarah (Cristin Milioti) a reluctant maid of honor who is in Palm Springs for a wedding. Trapped at this venue, things take a very interesting turn and they go on an existential time-loop journey of getting to know each other and themselves. During Sundance, Siara told Deadline that the movie was kind of based on the experience that Barbakow had at his wedding.
“All those thoughts that go into making those major life decisions, commitment and all that stuff — it’s kind of just all injected into this movie,” said Siara. “It’s just wrestling with those...
The film written by Andy Siara follows carefree Nyles (Andy Samberg), who meets Sarah (Cristin Milioti) a reluctant maid of honor who is in Palm Springs for a wedding. Trapped at this venue, things take a very interesting turn and they go on an existential time-loop journey of getting to know each other and themselves. During Sundance, Siara told Deadline that the movie was kind of based on the experience that Barbakow had at his wedding.
“All those thoughts that go into making those major life decisions, commitment and all that stuff — it’s kind of just all injected into this movie,” said Siara. “It’s just wrestling with those...
- 7/10/2020
- by Dino-Ray Ramos
- Deadline Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
The Beach House (Jeffrey A. Brown)
There’s a lot to like about Jeffrey A. Brown’s feature directorial debut The Beach House, from its gorgeous production design to its ruminations on mankind’s fragility when compared with Mother Nature’s hardier offerings (despite our penchant for believing we hold dominion over Her). It’s therefore easy to appreciate the reason Emily (Liana Liberato), Randall (Noah Le Gros), Mitch (Jake Weber), and Jane (Maryanne Nagel) have arrived at a site that may end up being their tomb because we’re quick to ignore the baked-in irony too. This was supposed to be an escape from life’s struggles—a...
The Beach House (Jeffrey A. Brown)
There’s a lot to like about Jeffrey A. Brown’s feature directorial debut The Beach House, from its gorgeous production design to its ruminations on mankind’s fragility when compared with Mother Nature’s hardier offerings (despite our penchant for believing we hold dominion over Her). It’s therefore easy to appreciate the reason Emily (Liana Liberato), Randall (Noah Le Gros), Mitch (Jake Weber), and Jane (Maryanne Nagel) have arrived at a site that may end up being their tomb because we’re quick to ignore the baked-in irony too. This was supposed to be an escape from life’s struggles—a...
- 7/10/2020
- by Jordan Raup
- The Film Stage
If there’s anything a viewer should take into the Ross brothers’ new film, “Bloody Nose, Empty Pockets,” it’s a healthy disregard for conventional definitions of film genres or styles. A carefully staged and meticulously cast presentation disguised as a cinema verité documentary, it’s confounding if you feel compelled to put a label on it but raucously moving if you take it as a day-long adventure with a group of fascinating characters.
It’s “The Iceman Cometh” transplanted to the outskirts of Las Vegas or “Cheers” on the wrong side of town, a fiction/nonfiction blend where verité meets improv and the whole thing is shot through with the skid-row romanticism of a Tom Waits song or a Charles Bukowski poem. And with the action set in late 2016 with that year’s presidential election playing out on TV in the background, it’s a sad portrait of America...
It’s “The Iceman Cometh” transplanted to the outskirts of Las Vegas or “Cheers” on the wrong side of town, a fiction/nonfiction blend where verité meets improv and the whole thing is shot through with the skid-row romanticism of a Tom Waits song or a Charles Bukowski poem. And with the action set in late 2016 with that year’s presidential election playing out on TV in the background, it’s a sad portrait of America...
- 7/9/2020
- by Steve Pond
- The Wrap
In the realm of contemporary collaborative filmmaking, the Ross brothers—that is, Turner, cinematographer, and Bill IV, editor—are some of the most interesting young directors working nowadays, using a finely calibrated approach to both documentary fiction and staples of Americana storytelling to portray stories set in the south of the United States. Their newest feature, Bloody Nose, Empty Pockets, was presented after its Sundance premiere at this year’s Berlinale, where it was featured in the Panorama section of the festival. The film also is conceived around a 24-hour structure, this time set in a dive bar ostensibly placed at the edge of Las Vegas, where regulars gather around for a supreme bender to celebrate the joint’s last day of activity and to send it off to bar heaven. With a cast composed of non-professionals summoned to act themselves out within a performative context, Bloody Nose, Empty Pockets...
- 7/1/2020
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Carl Reiner, Annie Reiner, and Mel Brooks, photographed together at Brooks's 94th birthday celebration.We're saddened by news that actor, comedian, screenwriter and director Carl Reiner has died. Mel Brooks remembers Reiner, his best friend, in a post reflecting upon their famous collaborations together. Sundance Film Festival director Tabitha Jackson has unveiled plans for the 2021 Sundance Film Festival, which will take place "live in Utah and in at least 20 independent and community cinemas across the U.S. and beyond." Elsewhere, the Locarno International Film Festival announced its 20 selections for the Films After Tomorrow program, which aims to offer support to productions that were put on hold by the health crisis. These films include films by Lucrecia Martel, Wang Bing, Verena Paravel and Lucien Castaing-Taylor, Helena Wittmann, and Lisandro Alonso. Recommended VIEWINGArthur Jafa directed...
- 7/1/2020
- MUBI
For many people, the worst part of quarantine isn’t the interruption to work, but instead, it’s the fact that you can’t congregate at your local hangout spots. And some of the very best places to hang out with your friends and neighbors are local dive bars, as seen in the upcoming film “Bloody Nose, Empty Pockets.”
Directors Bill and Turner Ross’ new film, “Bloody Nose, Empty Pockets” is a documentary that follows the final days of a beloved dive bar near the bright lights of Las Vegas.
Continue reading ‘Bloody Nose, Empty Pockets’ Trailer: Sundance Doc Tells The Story Of The Tragic Last Days Of A Dive Bar at The Playlist.
Directors Bill and Turner Ross’ new film, “Bloody Nose, Empty Pockets” is a documentary that follows the final days of a beloved dive bar near the bright lights of Las Vegas.
Continue reading ‘Bloody Nose, Empty Pockets’ Trailer: Sundance Doc Tells The Story Of The Tragic Last Days Of A Dive Bar at The Playlist.
- 6/30/2020
- by Charles Barfield
- The Playlist
"What kind of a party is it, if an Australian guy doesn't take his pants off?" Utopia has released the full-length official trailer for a documentary film called Bloody Nose, Empty Pockets, the latest feature from the Ross Brothers. This premiered at the Sundance Film Festival, and stopped by the Berlin Film Festival earlier this year. The sort-of-faux documentary follows customers and staff at a dive bar in Las Vegas known as the "Roaring 20s" on their very last day in business. But it's not exactly that. The filmmakers brought the same customers and staff to another bar in New Orleans to film this, and asked them to act like themselves in the same way they did for real in the real bar. "Bloody Nose, Empty Pockets is a mosaic of disparate lives, teetering between dignity and debauchery, reckoning with the past as they face an uncertain future, and singing as their ship goes down.
- 6/30/2020
- by Alex Billington
- firstshowing.net
One of the breakouts of the 2020 Sundance U.S. Documentary Competition was Bill and Turner Ross’ “Bloody Nose, Empty Pockets,” a mind-bending look at the last night in business for a grimy Las Vegas dive bar. It’s set in late 2016, which means the whole world is on the brink of change. Releasing on July 10 from distributor Utopia, the film has a first trailer, which IndieWire shares exclusively. Take a look below.
The movie has been praised for its formal experimentation, as what begins as a more traditional documentary soon unfolds into something much stranger. IndieWire’s Eric Kohn raved about the film out of Sundance, writing, “At first glance, ‘Bloody Nose, Empty Pockets’ unfolds as a brilliant work of cinema verite. Bill and Turner Ross’ boozy hangout movie captures the last raucous night at the Roaring Twenties, a grimy bar on the outskirts of the Vegas strip where various...
The movie has been praised for its formal experimentation, as what begins as a more traditional documentary soon unfolds into something much stranger. IndieWire’s Eric Kohn raved about the film out of Sundance, writing, “At first glance, ‘Bloody Nose, Empty Pockets’ unfolds as a brilliant work of cinema verite. Bill and Turner Ross’ boozy hangout movie captures the last raucous night at the Roaring Twenties, a grimy bar on the outskirts of the Vegas strip where various...
- 6/30/2020
- by Ryan Lattanzio
- Indiewire
Anyone want to go see a movie? As the U.S. slowly starts to reopen, a new possibility has arrived: “Maybe?” Two major motion pictures scheduled for release in July have now moved to August — though who knows whether or not the public will feel comfortable going to a multiplex even during the dog days of summer. Fortunately, those of us staying at home will have plenty of other options to keep us occupied, including: an ambitious adaptation of a classic science fiction novel; a filmed version of a revolutionary...
- 6/29/2020
- by Keith Phipps
- Rollingstone.com
On the eve of the festival, Cinephil also picked up Love, It Was Not.
Tel Aviv-based documentary powerhouse Cinephil has taken on world sales (excluding North America) on hit Sundance film, Bloody Nose, Empty Pockets, directed by Bill and Turner Ross and screening in the Efm and in Panorama. Cinetic is handling North America.
Buyers are circling the film, which unfolds over the last night for a dive bar called the Roaring 20s in Las Vegas before it has to close. It’s a mixed genre project which straddles the lines between documentary and fiction.
On the eve of the festival,...
Tel Aviv-based documentary powerhouse Cinephil has taken on world sales (excluding North America) on hit Sundance film, Bloody Nose, Empty Pockets, directed by Bill and Turner Ross and screening in the Efm and in Panorama. Cinetic is handling North America.
Buyers are circling the film, which unfolds over the last night for a dive bar called the Roaring 20s in Las Vegas before it has to close. It’s a mixed genre project which straddles the lines between documentary and fiction.
On the eve of the festival,...
- 2/22/2020
- by 57¦Geoffrey Macnab¦41¦
- ScreenDaily
This year’s Sundance Film Festival broke a number of records, from diversity in its programming to sales, but none of these statistics address the fundamental question behind all the noise: Were the movies any good? As it turns out, the festival more than delivered: Culled from 15,000 submissions, the 2020 edition offered up a range of timely, boundary-pushing documentary storytelling, promising new voices, and satisfying new heights from established filmmakers. Here are the best of the best.
“Boys State”
Co-directors Jesse Moss and Amanda McBaine’s revealing documentary has the potential to be this year’s “American Factory,” in the sense that the filmmakers gained incredible access to capture an intimate story in real time — one that provides the perfect metaphor for this moment in our socio-political history. Boys State is a yearly event put on by the American Legion, where 17-year-olds are split into two political parties and put through...
“Boys State”
Co-directors Jesse Moss and Amanda McBaine’s revealing documentary has the potential to be this year’s “American Factory,” in the sense that the filmmakers gained incredible access to capture an intimate story in real time — one that provides the perfect metaphor for this moment in our socio-political history. Boys State is a yearly event put on by the American Legion, where 17-year-olds are split into two political parties and put through...
- 2/1/2020
- by Eric Kohn, Kate Erbland, David Ehrlich, Chris O'Falt and Christian Blauvelt
- Indiewire
“Bloody Nose, Empty Pockets” is an incredible piece of direct cinema that captures the last 18 hours of a Las Vegas dive bar before it closes its door for good. Except that in reality, that bar is still open, it’s in New Orleans, and the patrons gathering for one last hurrah were cast by the filmmakers Turner and Bill Ross.
The night before the film premiered to rave reviews at Sundance, the Ross Brothers sat down, at a bar over beers, for a 70-minute interview with IndieWire to discuss how they made “Bloody Nose, Empty Pockets” and the inevitable questions they knew it would unleash. From the Ross Brothers’ perspective, this, their fifth feature film that has everyone at Sundance talking, is simply the natural evolution of their process as filmmakers.
“With our first film we cast a broad net, we spent 100 hours and a year of life with people...
The night before the film premiered to rave reviews at Sundance, the Ross Brothers sat down, at a bar over beers, for a 70-minute interview with IndieWire to discuss how they made “Bloody Nose, Empty Pockets” and the inevitable questions they knew it would unleash. From the Ross Brothers’ perspective, this, their fifth feature film that has everyone at Sundance talking, is simply the natural evolution of their process as filmmakers.
“With our first film we cast a broad net, we spent 100 hours and a year of life with people...
- 1/27/2020
- by Chris O'Falt
- Indiewire
“Smile for the camera, motherf—ers,” warns the graffiti outside the Roaring Twenties, a Las Vegas dive bar where spirits are high because the end is nigh. The boozers who’ve braved this dim red cave, in Bill and Turner Ross’ bitterly funny docufiction film “Bloody Nose, Empty Pockets,” have signed on to play themselves in an improv exercise about a gang of regulars toasting the bar’s final 24 hours in business before, one grumbles, “it’ll become a Cvs.”
The Ross brothers have gambled that they can edit together a dramedy from organic ingredients. It’s an arthouse twist on the Murray-Bunim reality TV cocktail: Stir a dozen or so hand-picked heavy-drinkers into an actual bar with actual alcohol, and with a spritz of plot setup, these extroverts start talking about life, love, sex, war, family, politics, aging and regret. Though the title cautions violence, it’s evident that...
The Ross brothers have gambled that they can edit together a dramedy from organic ingredients. It’s an arthouse twist on the Murray-Bunim reality TV cocktail: Stir a dozen or so hand-picked heavy-drinkers into an actual bar with actual alcohol, and with a spritz of plot setup, these extroverts start talking about life, love, sex, war, family, politics, aging and regret. Though the title cautions violence, it’s evident that...
- 1/25/2020
- by Amy Nicholson
- Variety Film + TV
At first glance, “Bloody Nose, Empty Pockets” unfolds as a brilliant work of cinema verite. Bill and Turner Ross’ boozy hangout movie captures the last raucous night at the Roaring Twenties, a grimy bar on the outskirts of the Vegas strip where various inebriated outcasts bury their sorrows in a blur of anger and poetic laments. It’s late 2016, and with the presidential election about to change the world, the pub serves as a fascinating microcosm of America’s fractured, browbeaten underbelly on the verge of self-destruction.
But here’s the thing. The Roaring Twenties is in New Orleans, not Vegas, and the characters populating its interior didn’t just wander in. Though nothing in the movie acknowledges as much, the Ross brothers cast people to populate the bar, recording the drunken antics of their chosen performers throughout a debaucherous night.
The result is both . This has been the Ross...
But here’s the thing. The Roaring Twenties is in New Orleans, not Vegas, and the characters populating its interior didn’t just wander in. Though nothing in the movie acknowledges as much, the Ross brothers cast people to populate the bar, recording the drunken antics of their chosen performers throughout a debaucherous night.
The result is both . This has been the Ross...
- 1/24/2020
- by Eric Kohn
- Indiewire
Oscar-winning director Davis Guggenheim and Jonathan King are launching Concordia Studio in partnership with Laurene Powell Jobs’ Emerson Collective.
Powell Jobs, the widow of Apple co-founder Steve Jobs, founded social change organization Emerson Collective in 2004. Emerson Collective became the majority owner of the Atlantic in 2017 and made an investment in 2018 in Reese Witherspoon’s Hello Sunshine.
Guggenheim’s credits include “An Inconvenient Truth,” which won the Best Documentary Academy Award in 2006, along with “He Named Me Malala,” “Waiting for Superman” and “Inside Bill’s Brain: Decording Bill Gates.” King has come on board Concordia after a dozen years at Participant Media, overseeing a slate that has included “Roma,” “Green Book” and “Spotlight.”
Concordia made the announcement Monday, noting that it will premiere four films in U.S. competition at this year’s Sundance Film Festival: “Boys State,” directed by Jesse Moss and Amanda McBaine; “Time,” directed by Garrett Bradley; “A Thousand Cuts,...
Powell Jobs, the widow of Apple co-founder Steve Jobs, founded social change organization Emerson Collective in 2004. Emerson Collective became the majority owner of the Atlantic in 2017 and made an investment in 2018 in Reese Witherspoon’s Hello Sunshine.
Guggenheim’s credits include “An Inconvenient Truth,” which won the Best Documentary Academy Award in 2006, along with “He Named Me Malala,” “Waiting for Superman” and “Inside Bill’s Brain: Decording Bill Gates.” King has come on board Concordia after a dozen years at Participant Media, overseeing a slate that has included “Roma,” “Green Book” and “Spotlight.”
Concordia made the announcement Monday, noting that it will premiere four films in U.S. competition at this year’s Sundance Film Festival: “Boys State,” directed by Jesse Moss and Amanda McBaine; “Time,” directed by Garrett Bradley; “A Thousand Cuts,...
- 1/20/2020
- by Dave McNary
- Variety Film + TV
Davis Guggenheim, director of the Oscar-winning “An Inconvenient Truth,” announced Monday ahead of the Sundance Film Festival the launch of Concordia Studio, which he founded with former Participant Media production head Jonathan King.
Concordia Studio will develop, produce or finance content across all platforms, with both nonfiction and scripted content being included on their slate. The studio is being launched in partnership with Emerson Collective, founded by Laurene Powell Jobs. Davis will serve as chief creative officer for the studio’s nonfiction division, while King will do the same for its scripted division.
“We’ve been working hard for two years and waiting for the right moment to announce our new studio,” Guggenheim said in a statement. “Our strength is a small group of executives committed to great storytelling with the very best filmmakers. Now with four films at Sundance and Jonathan King joining as co-founder, the timing could not be better.
Concordia Studio will develop, produce or finance content across all platforms, with both nonfiction and scripted content being included on their slate. The studio is being launched in partnership with Emerson Collective, founded by Laurene Powell Jobs. Davis will serve as chief creative officer for the studio’s nonfiction division, while King will do the same for its scripted division.
“We’ve been working hard for two years and waiting for the right moment to announce our new studio,” Guggenheim said in a statement. “Our strength is a small group of executives committed to great storytelling with the very best filmmakers. Now with four films at Sundance and Jonathan King joining as co-founder, the timing could not be better.
- 1/20/2020
- by Jeremy Fuster
- The Wrap
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