Indian-American director M. Night Shyamalan is one of our most divisive modern auteurs. When he first stepped onto the film scene in 1999 with the twisty psychological horror "The Sixth Sense," he quickly was accepted as a new, emerging voice in Hollywood. Entering the industry at just 28 years old, Shyamalan built a career off of high critical praise and goodwill through a streak of mid-budget thrillers that would blossom into polarizing higher-budget fare. No matter your opinion of the filmmaker, never once in Shyamalan's career has he ever played it safe.
Haunted by the back-to-back box-office and critical failures of his controversial blockbuster film adaptation of the popular cartoon show, "Avatar: The Last Airbender," and his lofty sci-fi Will and Jaden Smith star vehicle, "After Earth," many mainstream studios were not willing to take the risk of working with Shyamalan and risk a poor reputation. Shyamalan had essentially found himself blacklisted from the industry.
Haunted by the back-to-back box-office and critical failures of his controversial blockbuster film adaptation of the popular cartoon show, "Avatar: The Last Airbender," and his lofty sci-fi Will and Jaden Smith star vehicle, "After Earth," many mainstream studios were not willing to take the risk of working with Shyamalan and risk a poor reputation. Shyamalan had essentially found himself blacklisted from the industry.
- 1/25/2023
- by Tyler Llewyn Taing
- Slash Film
Cinema Eye Honors, the organization that recognizes outstanding artistic achievement in nonfiction and documentary films & series, announced the first round of their 2023 awards and nominations at its annual Cinema Eye Fall Lunch held in Los Angeles.
In the five Broadcast categories, HBO film “Four Hours at the Capitol,” an inside look at the January 6th riot, led with three nominations: Broadcast Film, Broadcast Editing and Broadcast Cinematography. Other projects like the Disney+ docuseries “The Beatles: Get Back” and Showtime’s “We Need to Talk About Cosby” also received more than one nomination.
Other announcements at the event include the annual Shorts List, which spotlights 10 of the year’s top documentary short films, and the recipient of the Legacy Award this year, Terry Zwigoff’s 1995 film “Crumb.”
“I’m glad to find out you don’t have to be dead to receive this award,” Zwigoff said in a written statement. “I...
In the five Broadcast categories, HBO film “Four Hours at the Capitol,” an inside look at the January 6th riot, led with three nominations: Broadcast Film, Broadcast Editing and Broadcast Cinematography. Other projects like the Disney+ docuseries “The Beatles: Get Back” and Showtime’s “We Need to Talk About Cosby” also received more than one nomination.
Other announcements at the event include the annual Shorts List, which spotlights 10 of the year’s top documentary short films, and the recipient of the Legacy Award this year, Terry Zwigoff’s 1995 film “Crumb.”
“I’m glad to find out you don’t have to be dead to receive this award,” Zwigoff said in a written statement. “I...
- 10/20/2022
- by Marcus Jones
- Indiewire
Let the Brendan Fraser comeback begin. A24 has released a first look at Darren Aronofsky’s upcoming drama “The Whale,” in which Fraser stars as a man living with obesity who struggles to reconnect with his 17-year-old daughter. The film is Aronofsky’s first directorial effort since “mother!” divided critics and moviegoers. The first look at “The Whale” arrived after confirmation that the movie will have its world premiere at the 2022 Venice Film Festival.
Joining Fraser in “The Whale” is a cast that includes “Stranger Things” favorite Sadie Sink, Hong Chau, Samantha Morton and Ty Simpkins. Aronofsky is once again joined by his longtime cinematographer Matthew Libatique, who also shot Olivia Wilde’s Venice premiere “Don’t Worry Darling.” Libatique has shot every Aronofsky movie to date, except “The Wrestler,” in which Maryse Alberti served as cinematographer.
“It’s gonna be like something you haven’t seen before,” Fraser told Unilad...
Joining Fraser in “The Whale” is a cast that includes “Stranger Things” favorite Sadie Sink, Hong Chau, Samantha Morton and Ty Simpkins. Aronofsky is once again joined by his longtime cinematographer Matthew Libatique, who also shot Olivia Wilde’s Venice premiere “Don’t Worry Darling.” Libatique has shot every Aronofsky movie to date, except “The Wrestler,” in which Maryse Alberti served as cinematographer.
“It’s gonna be like something you haven’t seen before,” Fraser told Unilad...
- 7/26/2022
- by Zack Sharf
- Variety Film + TV
In 1997, UCLA cinematography professor William McDonald was home with his newborn daughter. As he looked into her eyes in his sleep-deprived state he began to wonder what her life would be like if she grew up and wanted to become a cinematographer. Would she have the same opportunities as men who wanted to study cinematography? Would she be able to find work after getting a degree and experience?
At the time, female cinematography students were few and far between. Things looked similarly bleak for working female DPs during that period. McDonald thought that could change if more women had the opportunity to study and train in the field, so he set a goal of admitting 50% female students into cinematography studies each year.
“The simple premise is that if you make a generational commitment — and about 25 to 30 years is a generational commitment — to flooding the market with exceedingly talented people from...
At the time, female cinematography students were few and far between. Things looked similarly bleak for working female DPs during that period. McDonald thought that could change if more women had the opportunity to study and train in the field, so he set a goal of admitting 50% female students into cinematography studies each year.
“The simple premise is that if you make a generational commitment — and about 25 to 30 years is a generational commitment — to flooding the market with exceedingly talented people from...
- 3/9/2022
- by Karen Idelson
- Variety Film + TV
Variety's Awards Circuit is home to the official predictions for the upcoming Oscars and Emmys ceremonies from film awards editor Clayton Davis. Following history, buzz, news, reviews and sources, the Oscar and Emmy predictions are updated regularly with the current year's list of contenders in all categories. Variety's Awards Circuit Prediction schedule consists of four phases, running all year long: Draft, Pre-Season, Regular Season and Post Season. The eligibility calendar and dates of awards will determine how long each phase lasts and is subject to change.
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Cinematography
Updated: Jan 30, 2022
Awards Prediction Commentary: The ASC Awards recognized Ari Wegner in the theatrical...
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Cinematography
Updated: Jan 30, 2022
Awards Prediction Commentary: The ASC Awards recognized Ari Wegner in the theatrical...
- 1/30/2022
- by Clayton Davis
- Variety Film + TV
Michael B. Jordan is aware of the fact that audiences will leave “A Journal for Jordan” talking about his booty.
There are a number of intimate and heartfelt moments in the Columbia Pictures romantic drama directed by Denzel Washington, which tells the true story of the late 1st Sgt. Charles Monroe King (Jordan) and his love, journalist-turned-publisher Dana Canedy (Chanté Adams). But in one particular love scene, the camera captures Jordan in the buff, with the frame just wide enough to show the actor’s butt.
It’s a brief (or lack thereof) moment, but if a woman’s ear-piercing scream in this reporter’s screening of the movie is any indication, there’s no way audiences will miss it.
When Variety asked the award-winning actor what reaction he expected when he first learned of the scene, Jordan chuckled as he searched for the appropriate words.
“I don’t think it was written like that,...
There are a number of intimate and heartfelt moments in the Columbia Pictures romantic drama directed by Denzel Washington, which tells the true story of the late 1st Sgt. Charles Monroe King (Jordan) and his love, journalist-turned-publisher Dana Canedy (Chanté Adams). But in one particular love scene, the camera captures Jordan in the buff, with the frame just wide enough to show the actor’s butt.
It’s a brief (or lack thereof) moment, but if a woman’s ear-piercing scream in this reporter’s screening of the movie is any indication, there’s no way audiences will miss it.
When Variety asked the award-winning actor what reaction he expected when he first learned of the scene, Jordan chuckled as he searched for the appropriate words.
“I don’t think it was written like that,...
- 12/23/2021
- by Angelique Jackson
- Variety Film + TV
The cinematography field is packed with immeasurable talent but not equal opportunities, particularly for women. When a tragedy occurs such as the loss of Halyna Hutchins, who died at 42 after being shot by a prop firearm on the set of the indie film “Rust,” the absence is felt throughout the industry.
In the 93 years of the Academy Awards, Rachel Morrison is the only woman ever to be nominated for cinematography, for her work on Dee Rees’ “Mudbound.” And the cinematographers’ branch has a poor track record for honoring diverse and inclusive artists. Case in point: A Black cinematographer has never won the category, and only two have been nominated (Remi Adefarasin for 1998’s “Elizabeth” and Bradford Young for 2016’s “Arrival”).
This year, multiple women are bringing their A-game to high-profile films. Ari Wegner creates distinct visions in Jane Campion’s “The Power of the Dog” from Netflix and Janicza Bravo’s “Zola” from A24.
In the 93 years of the Academy Awards, Rachel Morrison is the only woman ever to be nominated for cinematography, for her work on Dee Rees’ “Mudbound.” And the cinematographers’ branch has a poor track record for honoring diverse and inclusive artists. Case in point: A Black cinematographer has never won the category, and only two have been nominated (Remi Adefarasin for 1998’s “Elizabeth” and Bradford Young for 2016’s “Arrival”).
This year, multiple women are bringing their A-game to high-profile films. Ari Wegner creates distinct visions in Jane Campion’s “The Power of the Dog” from Netflix and Janicza Bravo’s “Zola” from A24.
- 11/4/2021
- by Clayton Davis
- Variety Film + TV
Conversations With Cinematographers: The Eye Behind the Lens Jacqueline B. Frost Routledge, 2021 “I’m attracted to edgy things,” explains cinematographer Maryse Alberti in a matter-of-fact response to a question posed by Jacqueline B. Frost in a new collection of 23 interviews titled Conversations With Cinematographers: The Eye Behind the Lens. The statement is part of a longer, quite charming commentary by Alberti, who also recalls her arrival in the US as a 19-year-old au pair with almost no exposure to moving images, early work photographing bands for New York Rocker magazine, and eventually shooting Stephanie Black’s 1990 documentary H-2 Worker, […]
The post “Every Shot Has a Beginning, Middle and End”: Conversations With Cinematographers: The Eye Behind the Lens first appeared on Filmmaker Magazine.
The post “Every Shot Has a Beginning, Middle and End”: Conversations With Cinematographers: The Eye Behind the Lens first appeared on Filmmaker Magazine.
- 9/3/2021
- by Holly Willis
- Filmmaker Magazine-Director Interviews
Conversations With Cinematographers: The Eye Behind the Lens Jacqueline B. Frost Routledge, 2021 “I’m attracted to edgy things,” explains cinematographer Maryse Alberti in a matter-of-fact response to a question posed by Jacqueline B. Frost in a new collection of 23 interviews titled Conversations With Cinematographers: The Eye Behind the Lens. The statement is part of a longer, quite charming commentary by Alberti, who also recalls her arrival in the US as a 19-year-old au pair with almost no exposure to moving images, early work photographing bands for New York Rocker magazine, and eventually shooting Stephanie Black’s 1990 documentary H-2 Worker, […]
The post “Every Shot Has a Beginning, Middle and End”: Conversations With Cinematographers: The Eye Behind the Lens first appeared on Filmmaker Magazine.
The post “Every Shot Has a Beginning, Middle and End”: Conversations With Cinematographers: The Eye Behind the Lens first appeared on Filmmaker Magazine.
- 9/3/2021
- by Holly Willis
- Filmmaker Magazine - Blog
While “Nomadland’s” Joshua James Richards and “Mank’s” Erik Messerschmidt lead the field for the cinematography Oscar race, this is a deep competition, and although there are some women contending, they are once again a minority.
As for the forefront of the race, Richards won the Golden Frog from the prestigious Camerimage festival, the National Board of Review gong and has scored a slew of critics awards and nominations, but don’t discount Dariusz Wolski.
Wolski, who has framed such films as “The Crow,” “Pirates of the Caribbean” and “The Martian,” teamed up with Paul Greengrass for the Western “News of the World,” shot in New Mexico. Wolski relied on the Ken Burn doc “The West” and old-fashioned Hollywood Westerns — much as Richards did when capturing America’s sweeping vistas.
He, too, played with color and lighting, whether he was shooting a dusky sunrise, a snowy trek or capturing...
As for the forefront of the race, Richards won the Golden Frog from the prestigious Camerimage festival, the National Board of Review gong and has scored a slew of critics awards and nominations, but don’t discount Dariusz Wolski.
Wolski, who has framed such films as “The Crow,” “Pirates of the Caribbean” and “The Martian,” teamed up with Paul Greengrass for the Western “News of the World,” shot in New Mexico. Wolski relied on the Ken Burn doc “The West” and old-fashioned Hollywood Westerns — much as Richards did when capturing America’s sweeping vistas.
He, too, played with color and lighting, whether he was shooting a dusky sunrise, a snowy trek or capturing...
- 3/4/2021
- by Jazz Tangcay
- Variety Film + TV
Adapted by Oscar nominee Vanessa Taylor (“The Shape of Water”) from J.D. Vance’s bestselling memoir, “Hillbilly Elegy” is exactly the sort of mainstream heart-tugger that many moviegoers and Oscar voters embrace. Ron Howard knows what he is doing. He’s been to the Oscar party many times, from “Apollo 13” to “Frost/Nixon” and “A Beautiful Mind,” which all featured actors in top form.
Howard’s stock-in-trade studio drama is harder to come by these days. Always a canny Hollywood player (with his Imagine Entertainment partner Brian Grazer), Howard pivoted over the past decade to more indie-minded projects such as “Rush” and documentaries like “Rebuilding Paradise.”
Netflix backed “Hillbilly Elegy,” a resonant family story that will likely lure far more viewers than the movie might have generated in theaters, Covid or no. In fact, it’s likely that no studio would have backed this, even with two of the great...
Howard’s stock-in-trade studio drama is harder to come by these days. Always a canny Hollywood player (with his Imagine Entertainment partner Brian Grazer), Howard pivoted over the past decade to more indie-minded projects such as “Rush” and documentaries like “Rebuilding Paradise.”
Netflix backed “Hillbilly Elegy,” a resonant family story that will likely lure far more viewers than the movie might have generated in theaters, Covid or no. In fact, it’s likely that no studio would have backed this, even with two of the great...
- 11/10/2020
- by Anne Thompson
- Thompson on Hollywood
Adapted by Oscar nominee Vanessa Taylor (“The Shape of Water”) from J.D. Vance’s bestselling memoir, “Hillbilly Elegy” is exactly the sort of mainstream heart-tugger that many moviegoers and Oscar voters embrace. Ron Howard knows what he is doing. He’s been to the Oscar party many times, from “Apollo 13” to “Frost/Nixon” and “A Beautiful Mind,” which all featured actors in top form.
Howard’s stock-in-trade studio drama is harder to come by these days. Always a canny Hollywood player (with his Imagine Entertainment partner Brian Grazer), Howard pivoted over the past decade to more indie-minded projects such as “Rush” and documentaries like “Rebuilding Paradise.”
Netflix backed “Hillbilly Elegy,” a resonant family story that will likely lure far more viewers than the movie might have generated in theaters, Covid or no. In fact, it’s likely that no studio would have backed this, even with two of the great...
Howard’s stock-in-trade studio drama is harder to come by these days. Always a canny Hollywood player (with his Imagine Entertainment partner Brian Grazer), Howard pivoted over the past decade to more indie-minded projects such as “Rush” and documentaries like “Rebuilding Paradise.”
Netflix backed “Hillbilly Elegy,” a resonant family story that will likely lure far more viewers than the movie might have generated in theaters, Covid or no. In fact, it’s likely that no studio would have backed this, even with two of the great...
- 11/10/2020
- by Anne Thompson
- Indiewire
Falling squarely into the melodramatic Oscar-bait category that director Ron Howard revisits every now and again, Hillbilly Elegy, adapted from the bestselling novel by conservative writer J.D. Vance, is a shockingly amateurish adaptation. Despite a heavy-hitter cast and Oscar winning screenwriter (The Shape of Water‘s Vanessa Taylor), Elegy dials up the theatrics, asking its players to cry, scream, and punch on cue, offering little besides decontextualized scenes that might be at home on an acting reel, but never add up to a coherent narrative.
Unfurling in two timelines, the main narrative follows a law-school-aged J.D. attemping to juggle rounds of interviews in hope of landing a prestigious summer internship, with the help of his girlfriend Usha. Interrupting Vance’s social climb, his mother Bev (Adams) has relapsed again, with his sister Lindsay (Bennett) unable to continue to take care of her. While traveling to Ohio to get Bev back in rehab,...
Unfurling in two timelines, the main narrative follows a law-school-aged J.D. attemping to juggle rounds of interviews in hope of landing a prestigious summer internship, with the help of his girlfriend Usha. Interrupting Vance’s social climb, his mother Bev (Adams) has relapsed again, with his sister Lindsay (Bennett) unable to continue to take care of her. While traveling to Ohio to get Bev back in rehab,...
- 11/10/2020
- by Christian Gallichio
- The Film Stage
Early in “Hillbilly Elegy,” based on the memoir by J.D. Vance, Yale law student J.D. is dining with partners at a white-shoe law firm, and when he mentions that he is from Ohio and Kentucky, he is greeted with a wave of side-eye and oh-so-polite condescension about his Appalachian origins. It’s a scene that might have more impact if “Hillbilly Elegy” itself weren’t so frequently condescending about the denizens of the Rust Belt.
The results play less like the exploration of a life or an evocation of a time and place and more like an informercial for J.D. Vance, who is more salt-of-the-earth than those snooty lawyers, but also manages not to fall into the traps of ignorance and poverty and addiction that befall so many of the people with whom he grew up. “Hillbilly Elegy” isn’t interested in the systems that create poverty and...
The results play less like the exploration of a life or an evocation of a time and place and more like an informercial for J.D. Vance, who is more salt-of-the-earth than those snooty lawyers, but also manages not to fall into the traps of ignorance and poverty and addiction that befall so many of the people with whom he grew up. “Hillbilly Elegy” isn’t interested in the systems that create poverty and...
- 11/10/2020
- by Alonso Duralde
- The Wrap
This morning, Netflix dropped another potential Academy Award player on us with the release of the first Trailer for Ron Howard’s Hillbilly Elegy. Not only is the movie pegged as a possible major Oscar contender, it features two long overdue nominated actresses in Amy Adams and Glenn Close, both of whom could be competing for wins once again here. Given the weird year we’re in the midst of, anything is possible, but it’s hard not to give streamers a leg up when it comes to getting prestige fare out there this season. You can see the Trailer at the bottom of this post, but as always…first we’ll discuss the flick a bit. The film is a drama, with the official synopsis from Netflix being as follows: “J.D. Vance (Gabriel Basso), a former Marine from southern Ohio and current Yale Law student, is on the verge...
- 10/14/2020
- by Joey Magidson
- Hollywoodnews.com
J.D. Vance (Gabriel Basso), a former Marine from southern Ohio and current Yale Law student, is on the verge of landing his dream job when a family crisis forces him to return to the home he’s tried to forget. J.D. must navigate the complex dynamics of his Appalachian family, including his volatile relationship with his mother Bev (Amy Adams), who’s struggling with addiction. Fueled by memories of his grandmother Mamaw (Glenn Close), the resilient and whip-smart woman who raised him, J.D. comes to embrace his family’s indelible imprint on his own personal journey.
Based on J.D. Vance’s #1 New York Times Bestseller and directed by Academy Award winner Ron Howard, with a screenplay by Vanessa Taylor, Hillbilly Elegy is a powerful personal memoir that offers a window into one family’s personal journey of survival and triumph. By following three colorful generations through their unique struggles,...
Based on J.D. Vance’s #1 New York Times Bestseller and directed by Academy Award winner Ron Howard, with a screenplay by Vanessa Taylor, Hillbilly Elegy is a powerful personal memoir that offers a window into one family’s personal journey of survival and triumph. By following three colorful generations through their unique struggles,...
- 10/14/2020
- by Michelle Hannett
- WeAreMovieGeeks.com
Spike Jonze has joined forces with Free The Work to create a video playlist listing the women cinematographers he wants to work with in the future. Jonze has worked with several female DPs in the past, including Autumn Durald Arkapaw, Zoë White, Mego Lin, and Ellen Kuras. While all four of the director’s feature films have been shot by men (Lance Acord handled Jonze’s first three features and Hoyte van Hoytema stepped in for “Her”), Jonze has collaborated with White, Lin, and Kuras on various advertisements. Kuras worked with Jonze on his famous 2006 Adidas commercial.
As for the women cinematographers Jonze is eyeing for the future, the director’s wish list includes Natasha Braier, Daisy Zhou (check out her Nike Vogue commercial), Rina Yang (the cinematographer behind Sephora’s “We Belong to Something Beautiful” advertisement), Maryse Alberti, and Polly Morgan.
Jonze has yet to announce any narrative feature follow-ups to “Her,...
As for the women cinematographers Jonze is eyeing for the future, the director’s wish list includes Natasha Braier, Daisy Zhou (check out her Nike Vogue commercial), Rina Yang (the cinematographer behind Sephora’s “We Belong to Something Beautiful” advertisement), Maryse Alberti, and Polly Morgan.
Jonze has yet to announce any narrative feature follow-ups to “Her,...
- 2/28/2020
- by Zack Sharf
- Indiewire
by Cláudio Alves
Two years ago, Rachel Morrison made history when she became the first woman to be nominated for Best Cinematography at the Oscars. By no means does that imply Mudbound's wondrous Dp is a pioneer. There are many awards-worthy female DPs working in cinema, past and present, and the Academy's sketchy record should be understood as nothing more than the industry's internalized sexism and biases. Where were the nominations for Maryse Alberti, Agnès Godard, and Ellen Kuras, among others?
This year, critics have been united in their praise of a particular Dp whose double dose of photographic genius could make History, just as Morrison did in 2018. However, Claire Mathon is fighting against even more of the Academy's treacherous biases, including their disinterest in African cinema, Lgbtq stories, and non-English speaking narratives…...
Two years ago, Rachel Morrison made history when she became the first woman to be nominated for Best Cinematography at the Oscars. By no means does that imply Mudbound's wondrous Dp is a pioneer. There are many awards-worthy female DPs working in cinema, past and present, and the Academy's sketchy record should be understood as nothing more than the industry's internalized sexism and biases. Where were the nominations for Maryse Alberti, Agnès Godard, and Ellen Kuras, among others?
This year, critics have been united in their praise of a particular Dp whose double dose of photographic genius could make History, just as Morrison did in 2018. However, Claire Mathon is fighting against even more of the Academy's treacherous biases, including their disinterest in African cinema, Lgbtq stories, and non-English speaking narratives…...
- 1/6/2020
- by Cláudio Alves
- FilmExperience
Written and directed by Andrea Berloff and based on a DC Vertigo comicbook miniseries published in 2015, "The Kitchen" is a tale of crime and punishment.
It is a light-but-not-really-comic drama of three women who become masters of their hellbent fate and the underworld, after their husbands are disposed of to jail after being nabbed for attempted robbery.
The title has a dual meaning. It refers to the Hell's Kitchen neighbourhood where the story is set, and also the room where brutal chauvinistic men think women belong to.
Set in 1978 in New York City, the narrative centres around three sort-of-friends, living in varying states of marital accommodation to low-rung mobsters.
Kathy (Melissa McCarthy) considers her bond with Jimmy (Brian d'Arcy James), her husband and father of her two kids, as a solid one and looks anguished when the judge sentences him for three years.
Claire (Elisabeth Moss) on the other hand,...
It is a light-but-not-really-comic drama of three women who become masters of their hellbent fate and the underworld, after their husbands are disposed of to jail after being nabbed for attempted robbery.
The title has a dual meaning. It refers to the Hell's Kitchen neighbourhood where the story is set, and also the room where brutal chauvinistic men think women belong to.
Set in 1978 in New York City, the narrative centres around three sort-of-friends, living in varying states of marital accommodation to low-rung mobsters.
Kathy (Melissa McCarthy) considers her bond with Jimmy (Brian d'Arcy James), her husband and father of her two kids, as a solid one and looks anguished when the judge sentences him for three years.
Claire (Elisabeth Moss) on the other hand,...
- 8/24/2019
- GlamSham
Across the long history of gangster movies, women have usually been relegated to molls, mothers, or voices of conscience; sometimes tough, but never in control. “The Kitchen,” a violent gender corrective set in an Irish mafia-run ’70s New York, has other plans, eager to present its trio of Hell’s Kitchen wives — Melissa McCarthy, Tiffany Haddish and Elisabeth Moss — as badass, bloodthirsty bosses in their own right.
It’s an exploitation flip whose time has surely come, but what writer-director Andrea Berloff has cobbled together around this concept (based on a DC/Vertigo comic book series by Ollie Masters and Ming Doyle) is little more than another tone-challenged stumble through mob clichés as prevalent as the trash, graffiti and flared threads dominating the period design.
Coming a year after “Widows” disappointingly wrestled with a similar scenario of women taking on their husbands’ lawbreaking, “The Kitchen” has some of the same...
It’s an exploitation flip whose time has surely come, but what writer-director Andrea Berloff has cobbled together around this concept (based on a DC/Vertigo comic book series by Ollie Masters and Ming Doyle) is little more than another tone-challenged stumble through mob clichés as prevalent as the trash, graffiti and flared threads dominating the period design.
Coming a year after “Widows” disappointingly wrestled with a similar scenario of women taking on their husbands’ lawbreaking, “The Kitchen” has some of the same...
- 8/7/2019
- by Robert Abele
- The Wrap
Kathy is good at it. Claire relishes the violence. Ruby wants to control her own destiny. Drawn together by circumstance — or, more appropriately, because their individually unsatisfying husbands all worked together, badly enough that the cops busted them and now their women need to pick up the pieces — the trio at the center of Andrea Berloff’s “The Kitchen” sets about building their own criminal empire with surprising results.
Set in the grit and grime of ’70s-era New York City, mostly in the Hell’s Kitchen neighborhood of its title, Berloff’s feature directorial debut adds a vivid, and yes, very violent new twist on the mob genre, swapping in scrappy ladies in a typically male-dominated world.
That’s the hook of both the film and the story that plays out within it, as Berloff’s film opens with an ill-fated mob job that throws Jimmy (Brian d’Arcy James...
Set in the grit and grime of ’70s-era New York City, mostly in the Hell’s Kitchen neighborhood of its title, Berloff’s feature directorial debut adds a vivid, and yes, very violent new twist on the mob genre, swapping in scrappy ladies in a typically male-dominated world.
That’s the hook of both the film and the story that plays out within it, as Berloff’s film opens with an ill-fated mob job that throws Jimmy (Brian d’Arcy James...
- 8/7/2019
- by Kate Erbland
- Indiewire
New York City, 1978. The 20 blocks of pawnshops, porn palaces and dive bars between 8th Avenue and the Hudson River owned by the Irish mafia and known as Hell’s Kitchen was never the easiest place to live. Or the safest. But for mob wives Kathy, Ruby and Claire–played by Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss–things are about to take a radical, dramatic turn. When their husbands are sent to prison by the FBI the women take business into their own hands, running the rackets and taking out the competition…literally. Now they own the neighborhood. The gritty, female-driven mob drama “The Kitchen,” from New Line Cinema and Bron Creative, is written and directed by Andrea Berloff, who was nominated for an Oscar for Original Screenplay for “Straight Outta Compton.”
The film also stars Domhnall Gleeson (“Star Wars: The Last Jedi”), James Badge Dale (“Only the Brave”), Brian d...
The film also stars Domhnall Gleeson (“Star Wars: The Last Jedi”), James Badge Dale (“Only the Brave”), Brian d...
- 7/26/2019
- by Movie Geeks
- WeAreMovieGeeks.com
This summer, New York is playing home to one of the biggest film events of the season: the Film Society of Lincoln Center’s packed 36-film retrospective featuring the work of 23 women cinematographers. Keying off Rachel Morrison’s first-ever Oscar nomination for a female cinematographer, the series serves the dual purposes of celebrating the incredible work of the pioneering artists who broke into the male-dominated field, as well of re-examining Laura Mulvey’s seminal essay about the male gaze by asking if there is such a thing as the “The Female Gaze?”
In the spirit of the series, IndieWire, with the help of some of our subjects’ closest collaborators and fiercest admirers, took a deeper look at 11 of the DPs featured in the series to discover what makes their work so great.
Maryse Alberti
Key Films: “The Golden Boat,” “Poison,” “Crumb,” “Happiness,” “Velvet Goldmine,” “The Wrestler,” “Creed,” “Chappaquiddick.”
When someone...
In the spirit of the series, IndieWire, with the help of some of our subjects’ closest collaborators and fiercest admirers, took a deeper look at 11 of the DPs featured in the series to discover what makes their work so great.
Maryse Alberti
Key Films: “The Golden Boat,” “Poison,” “Crumb,” “Happiness,” “Velvet Goldmine,” “The Wrestler,” “Creed,” “Chappaquiddick.”
When someone...
- 8/3/2018
- by Chris O'Falt
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.News We are devastated to learn that the late Theodoros Angelopoulos' home, which housed the director's archives, has burnt down amidst the Attica wildfires in Greece. It is currently unclear what has been lost in the fire. This is the house that housed the whole archives of late director Theo Angelopoulos. Everything has been burnt. A massive loss to not only modern Greek culture but world culture. pic.twitter.com/DM60QxWP6a— Konn1e (@ntina79) July 25, 2018Recommended Viewing The ever-elegant "Mandopop diva" Faye Wong reprises her cover of The Cranberries' "Dreams"—best known for its appearance in Wong Kar-Wai's Chungking Express—in the first episode of Phantacity, a Chinese variety show that creates "music video-worthy performances." The full episode can be viewed here. Lucrecia Martel has directed a music video for Argentine...
- 8/1/2018
- MUBI
In an interview with The Criterion Collection in preparation for the release of her masterpiece Jeanne Dielman, 23 Commerce Quay, 1080 Brussels, released in 1975, director Chantal Akerman was asked about why she hired women for nearly every job available on set. She elaborated on the history of the film business and eloquently spoke about the lack of opportunities women get with technical jobs in the film industry. She pointed out that it wasn’t rare to see a woman work in costuming or hair and make-up or even editing, but it was rare to see a woman in the director’s chair or work as a director of photography. She wanted to prove a point that women could work any job a man could on a film set, and she did. It was also in 1975 when Laura Mulvey wrote her landmark essay Visual Pleasure in Narrative Cinema on the theory of the...
- 7/27/2018
- by The Film Stage
- The Film Stage
The Female Gaze is a two-week, July 26 to August 9, survey of 36 films shot by 23 female cinematographers programmed by the Film Society of Lincoln Center in New York. The retrospective will feature incredible films by trailblazing international directors of photography, including Agnès Godard, Natasha Braier, Kirsten Johnson, Joan Churchill, Maryse Alberti, Ellen Kuras, Babette Mangolte, and Rachel Morrison.
Captions are courtesy of the Film Society of Lincoln Center.
Captions are courtesy of the Film Society of Lincoln Center.
- 7/23/2018
- by Chris O'Falt
- Indiewire
The cinematography of an individual movie is oftentimes a difficult thing to judge, not only because it can be tough to separate the work of the cinematographer from the overall visual storytelling, but also because most viewers react to the look and style of a film through the lens of how we felt about the movie itself. Looking at a cinematographer’s body of work, however, can be a very different exercise, as it reveals what aesthetic aspects are specific to the cinematographer and how they impact the storytelling of the films they’ve shot.
When doing these lists, there is always a nagging feeling that we might be under-representing the great international filmmakers from around the world simply based on our own U.S.-centric viewing habits. The interesting thing about modern cinematography, though, is so many of great talents from around the world eventually feel the pull of...
When doing these lists, there is always a nagging feeling that we might be under-representing the great international filmmakers from around the world simply based on our own U.S.-centric viewing habits. The interesting thing about modern cinematography, though, is so many of great talents from around the world eventually feel the pull of...
- 5/25/2018
- by Chris O'Falt, Jude Dry, Bill Desowitz, Eric Kohn, David Ehrlich, Steve Greene, Jamie Righetti, William Earl, Zack Sharf, Jenna Marotta and Michael Nordine
- Indiewire
Maryse Alberti, a cinematographer with dozens of documentary and narrative credits, worked with director John Curran on “Stone” and “We Don’t Live Here Anymore” before teaming with him again for “Chappaquiddick,” a dramatization of the 1969 incident on Martha’s Vineyard in which Sen. Ted Kennedy drove his car off a bridge, resulting in the drowning death of 28-year-old campaign strategist Mary Jo Kopechne. Entertainment Studios will release the film on April 6.
The Dp also faced the visual challenge of isolating Kennedy, played by Jason Clarke, from the group of men tasked with controlling the aftermath of the accident. “It’s what we called the brain trust,” she says. “It worked well. Ted is pretty much always on his own, and the brain trust becomes one character.”
When it came to replicating the 1960s and ’70s, Alberti didn’t want to go too heavy with a period look and managed...
The Dp also faced the visual challenge of isolating Kennedy, played by Jason Clarke, from the group of men tasked with controlling the aftermath of the accident. “It’s what we called the brain trust,” she says. “It worked well. Ted is pretty much always on his own, and the brain trust becomes one character.”
When it came to replicating the 1960s and ’70s, Alberti didn’t want to go too heavy with a period look and managed...
- 4/5/2018
- by Valentina I. Valentini
- Variety Film + TV
Production begins today in Philadelphia on Metro Goldwyn Mayer Pictures and Warner Bros. Pictures’ Creed II, starring Michael B. Jordan and Sylvester Stallone, reprising their roles of Adonis Creed and Rocky Balboa respectively. Creed II is the continuation of the Rocky saga and sequel to the 2015 critically acclaimed and crowd-pleasing 2015 hit Creed, which took in more than $170 million at the worldwide box office. Ryan Coogler (Black Panther), who directed the first film, returns to the franchise as an executive producer on Creed II.
The new film is being directed by Steven Caple Jr., who helmed the acclaimed 2016 drama The Land.
“When I wrote and directed Creed, I wanted to tell a human story about a family from a new perspective, while also paying homage to the Rocky characters we’ve all grown up knowing and loving. I’ve known Steven was an amazing filmmaker since our days at USC film school together,...
The new film is being directed by Steven Caple Jr., who helmed the acclaimed 2016 drama The Land.
“When I wrote and directed Creed, I wanted to tell a human story about a family from a new perspective, while also paying homage to the Rocky characters we’ve all grown up knowing and loving. I’ve known Steven was an amazing filmmaker since our days at USC film school together,...
- 4/2/2018
- by Michelle Hannett
- WeAreMovieGeeks.com
Most of the time, when I look at a star, it tends to be a newfound A-lister or a young Hollywood hotshot. This time around, I want to turn my attention instead to a legend. For this article, it’s going to be one of the most unique actors that the industry has ever seen. His name? Bruce Dern. Much like in 2015 when Quentin Tarantino gave him a plum supporting role in The Hateful Eight, 2018 features Dern in a juicy part. This time around, he’s playing Joseph Kennedy, a presence in the life of the Kennedy clan, especially the male family members, that truly was larger than life. The movie in question is Chappaquiddick, which debuted to solid reviews on the film festival circuit last year, before holding back to debut next month. For those curious what this one is specifically about, it’s an historical drama about the Chappaquiddick incident,...
- 3/26/2018
- by Joey Magidson
- Hollywoodnews.com
The best action scene in Ryan Coogler’s record-breaking Marvel movie “Black Panther” occurs fairly early on in the movie’s runtime. T’Challa (Chadwick Boseman), Okoye (Danai Gurira), and Nakia (Lupita Nyong’o) infiltrate an underground casino game in Busan, South Korea on a mission to apprehend the black-market arms dealer Ulysses Klaue (Andy Serkis). A shootout erupts when Okoye’s cover is blown, but all the chaos taking place becomes thrillingly clear as the camera glides through the casino to the many different action beats all taking place at once. It’s a moment so pure in its delivery you might not even notice the camera never cuts.
Coogler has been rightfully hailed as one of the most humanist storytellers working today, but he’s also become a technical wizard as displayed by his love for one-take action scenes. Coogler is not a showboat; his “Black Panther” one-take...
Coogler has been rightfully hailed as one of the most humanist storytellers working today, but he’s also become a technical wizard as displayed by his love for one-take action scenes. Coogler is not a showboat; his “Black Panther” one-take...
- 2/19/2018
- by Zack Sharf
- Indiewire
“Script girl.” “Best boy.” “Cameraman.” Each of these on-set job descriptions are terribly outdated, but only one of them persists in our collective vocabulary, such an ingrained part of the cinematic lexicon that few people ever think to challenge what it implies. “Script girl” has been rebranded as the more inclusive script supervisor, while “best boy” — a relic from a time when it was automatically assumed that a man would be a master’s most capable apprentice — remains common parlance in the film industry, yet meaningless to the rest of the world.
“Cameraman,” on the other hand, remains the kind of thing that people say without thinking, every utterance of the word helping to reaffirm the gender bias that created it. And so we find ourselves in a world where women comprise only four percent of the American Society of Cinematographers (as of 2015, anyway), and the phrase “female cinematographer” is...
“Cameraman,” on the other hand, remains the kind of thing that people say without thinking, every utterance of the word helping to reaffirm the gender bias that created it. And so we find ourselves in a world where women comprise only four percent of the American Society of Cinematographers (as of 2015, anyway), and the phrase “female cinematographer” is...
- 1/31/2018
- by David Ehrlich
- Indiewire
Last week, somewhat lost in the shuffle, a promising Trailer dropped for Chappaquiddick, a look at one of the defining moments in the life of the late politician Ted Kennedy. Initially scheduled for a late 2017 release, it opted to avoid the glut of titles and hold back for next year, which could prove a wise decision. This politically tinged historical drama could appeal to both sides of the aisle, admittedly for different reasons. New distributor on the block Entertainment Studios is trying to make a name for themselves, so a strong push for this one could be in the cards. From the Trailer at least, it looks like something to watch out for. If you’ve ever been curious about this particular Kennedy and his scandal, you’re in luck. For those curious what this one specifically is about, it’s a drama about the Chappaquiddick incident, as it would come to be known.
- 12/26/2017
- by Joey Magidson
- Hollywoodnews.com
When Ryan Coogler brought his first feature “Fruitvale Station” to the 2012 Sundance Film Festival, it was Harvey Weinstein who bought and distributed the breakout film. The success of “Fruitvale” helped kickstart the director’s career, which continued with “Creed” and next summer’s “Black Panther” in just five years since Weinstein released the film.
Coogler has now addressed the multiple accusations being made by several women who say they have been sexually harassed or assaulted by Weinstein.
“I am disturbed and saddened at the news that several women have been victimized by a person I had come to know through the purchase of my first feature film,” said Coogler in statement sent to IndieWire. “While I had no further business dealings with Harvey Weinstein, and no knowledge of this predatory behavior, my career did benefit from this brief involvement. Because of that, I feel a responsibility to speak up on this issue.
Coogler has now addressed the multiple accusations being made by several women who say they have been sexually harassed or assaulted by Weinstein.
“I am disturbed and saddened at the news that several women have been victimized by a person I had come to know through the purchase of my first feature film,” said Coogler in statement sent to IndieWire. “While I had no further business dealings with Harvey Weinstein, and no knowledge of this predatory behavior, my career did benefit from this brief involvement. Because of that, I feel a responsibility to speak up on this issue.
- 10/11/2017
- by Chris O'Falt
- Indiewire
Most single-shot sequences, aren’t. What you’d swear are single takes are actually seamless edits — but that doesn’t dilute their mind-bending power. Even better: one-take action sequences like the third-act corker in “Atomic Blonde,” which sees Charlize Theron battling scads of baddies in a longform, long-take sequence designed to look like a single shot.
David Deitch’s film is filled with heart-pounding action scenes (Theron cracked multiple teeth while filming the Cold War-set Berlin spy thriller), but it’s that big final battle that action fans will remember. And while “Atomic Blonde” feels fresh, the sequence takes plenty of cues from single-shots that have come before.
Read More‘Atomic Blonde’ Review: Charlize Theron Kicks Ass In Cold War Action-Thriller — SXSW 2017
Fans of both Theron and single-shot sequences can get a small taste of the ass-kicking to come in “Atomic Blonde” (for the really curious, the single-shot segment plays out mostly on the stairs,...
David Deitch’s film is filled with heart-pounding action scenes (Theron cracked multiple teeth while filming the Cold War-set Berlin spy thriller), but it’s that big final battle that action fans will remember. And while “Atomic Blonde” feels fresh, the sequence takes plenty of cues from single-shots that have come before.
Read More‘Atomic Blonde’ Review: Charlize Theron Kicks Ass In Cold War Action-Thriller — SXSW 2017
Fans of both Theron and single-shot sequences can get a small taste of the ass-kicking to come in “Atomic Blonde” (for the really curious, the single-shot segment plays out mostly on the stairs,...
- 7/25/2017
- by Kate Erbland
- Indiewire
Here’s how studios say they see it: Sure, we really want to hire women directors. But there’s almost no studio movie that isn’t big budget, and we can’t find women who have the experience necessary to handle the really big movies. (Never mind Colin Trevorrow. Or Marc Webb. Or Gareth Edwards. Or Jon Watts.)
Of course, that logic is a vicious cycle at best, but here’s a chance to break it. Director Reed Morano’s dazzling execution of the first three episodes of Hulu’s “The Handmaid’s Tale” suggests another excellent source for future women directors: top cinematographers.
Read More: 7 Female Genre Filmmakers You Should Get to Know Right Now
Women cinematographers work harder, longer, and have to be gifted and tough in order to keep landing jobs. As a cinematographer, make one mistake and you’re through. Any working cinematographer has more than...
Of course, that logic is a vicious cycle at best, but here’s a chance to break it. Director Reed Morano’s dazzling execution of the first three episodes of Hulu’s “The Handmaid’s Tale” suggests another excellent source for future women directors: top cinematographers.
Read More: 7 Female Genre Filmmakers You Should Get to Know Right Now
Women cinematographers work harder, longer, and have to be gifted and tough in order to keep landing jobs. As a cinematographer, make one mistake and you’re through. Any working cinematographer has more than...
- 5/10/2017
- by Anne Thompson
- Indiewire
Here’s how studios say they see it: Sure, we really want to hire women directors. But there’s almost no studio movie that isn’t big budget, and we can’t find women who have the experience necessary to handle the really big movies. (Never mind Colin Trevorrow. Or Marc Webb. Or Gareth Edwards. Or Jon Watts.)
Of course, that logic is a vicious cycle at best, but here’s a chance to break it. Director Reed Morano’s dazzling execution of the first three episodes of Hulu’s “The Handmaid’s Tale” suggests another excellent source for future women directors: top cinematographers.
Read More: 7 Female Genre Filmmakers You Should Get to Know Right Now
Women cinematographers work harder, longer, and have to be gifted and tough in order to keep landing jobs. As a cinematographer, make one mistake and you’re through. Any working cinematographer has more than...
Of course, that logic is a vicious cycle at best, but here’s a chance to break it. Director Reed Morano’s dazzling execution of the first three episodes of Hulu’s “The Handmaid’s Tale” suggests another excellent source for future women directors: top cinematographers.
Read More: 7 Female Genre Filmmakers You Should Get to Know Right Now
Women cinematographers work harder, longer, and have to be gifted and tough in order to keep landing jobs. As a cinematographer, make one mistake and you’re through. Any working cinematographer has more than...
- 5/10/2017
- by Anne Thompson
- Thompson on Hollywood
#2017PreviewBecause they deserve way more recognition.First Look: Mudbound
Movie awards ceremonies are a trivia gold mine. And since I prefer to stuff my brain with an assortment of facts rather than, say, how to do my taxes, I know a lot. For example, did you know that Bob Hope hosted the Academy Awards 18 times? Or that the Golden Globe statuette weighs 5.5 pounds? How about: the first and last time a woman won Best Director Motion Picture at the Golden Globes was in 1983 (Barbra Streisand, Yentl). And: only one Academy Award Best Picture nominee has been directed by a woman of color (Ava DuVernay, Selma).
Perhaps the most incredulous and infuriating bit of trivia I’ve come across is that no woman has ever won an Oscar for Best Cinematography because no woman has ever even been nominated. Seriously. It’s actually the only category in which a woman has yet to be nominated. Congratulations...
Movie awards ceremonies are a trivia gold mine. And since I prefer to stuff my brain with an assortment of facts rather than, say, how to do my taxes, I know a lot. For example, did you know that Bob Hope hosted the Academy Awards 18 times? Or that the Golden Globe statuette weighs 5.5 pounds? How about: the first and last time a woman won Best Director Motion Picture at the Golden Globes was in 1983 (Barbra Streisand, Yentl). And: only one Academy Award Best Picture nominee has been directed by a woman of color (Ava DuVernay, Selma).
Perhaps the most incredulous and infuriating bit of trivia I’ve come across is that no woman has ever won an Oscar for Best Cinematography because no woman has ever even been nominated. Seriously. It’s actually the only category in which a woman has yet to be nominated. Congratulations...
- 12/28/2016
- by siân melton
- FilmSchoolRejects.com
When a successful New York advertising executive suffers a great tragedy he retreats from life. While his concerned friends try desperately to reconnect with him, he seeks answers from the universe by writing letters to Love, Time and Death.
But it’s not until his notes bring unexpected personal responses that he begins to understand how these constants interlock in a life fully lived, and how even the deepest loss can reveal moments of meaning and beauty.
From Oscar-winning director David Frankel, the thought-provoking drama Collateral Beauty features an all-star cast, including Will Smith (“Suicide Squad,” “Concussion”), Edward Norton (“Birdman or [The Unexpected Virtue of Ignorance]”), Keira Knightley (“The Imitation Game”), Michael Peña (“The Martian”), Naomie Harris (“Spectre”), Jacob Latimore (“The Maze Runner”), with Oscar winners Kate Winslet (“The Reader,” “Steve Jobs”) and Helen Mirren (“The Queen,” “Trumbo”).
Frankel (“Marley & Me,” “The Devil Wears Prada,” “Dear Diary”) directs from a screenplay written by Allan Loeb (“Wall Street: Money Never Sleeps,...
But it’s not until his notes bring unexpected personal responses that he begins to understand how these constants interlock in a life fully lived, and how even the deepest loss can reveal moments of meaning and beauty.
From Oscar-winning director David Frankel, the thought-provoking drama Collateral Beauty features an all-star cast, including Will Smith (“Suicide Squad,” “Concussion”), Edward Norton (“Birdman or [The Unexpected Virtue of Ignorance]”), Keira Knightley (“The Imitation Game”), Michael Peña (“The Martian”), Naomie Harris (“Spectre”), Jacob Latimore (“The Maze Runner”), with Oscar winners Kate Winslet (“The Reader,” “Steve Jobs”) and Helen Mirren (“The Queen,” “Trumbo”).
Frankel (“Marley & Me,” “The Devil Wears Prada,” “Dear Diary”) directs from a screenplay written by Allan Loeb (“Wall Street: Money Never Sleeps,...
- 12/4/2016
- by Movie Geeks
- WeAreMovieGeeks.com
The Hollywood gender divide isn’t exclusive to acting or directing; there is a serious gap in the world of cinematography, notwithstanding some of the boundless, triumphant work that has been created by women in the past decade (and then some). For every Roger Deakins or Emmanuel Lubezki there’s a Reed Morano or a Maryse Alberti, women who have shot some of the most notoriously beautiful and breathtaking films, yet you, and even this author alike, perhaps didn’t know about all of them.
Continue reading Video Essay Highlights The Extraordinary Vision Of 12 Essential Female Cinematographers at The Playlist.
Continue reading Video Essay Highlights The Extraordinary Vision Of 12 Essential Female Cinematographers at The Playlist.
- 9/19/2016
- by Samantha Vacca
- The Playlist
Tania Lambert shoots a Toyota Tvc.
If speaks to cinematographers Anna Howard, Tania Lambert, Katie Milwright, Mandy Walker, Bonnie Elliott, Emma Paine, Velinda Wardell, Sky Davies and Ashley Barron about rising up the ranks, the gender gap and the DPs that inspire them.
No woman has ever won the Oscar for best cinematography. In fact, no woman has ever been nominated. In Australia, Abs statistics to 2011 put the percentage of female directors of photography at around 6 percent. Were you aware of the gender divide at the beginning of your career?
Lambert: I was keenly aware of the gender imbalance in the camera department when I first started as a camera assistant. It didn.t bother me a huge deal, but I felt I had to work extra hard to be respected in that role. There were only a few female camera assistants I knew of and one female Dop, Anna Howard,...
If speaks to cinematographers Anna Howard, Tania Lambert, Katie Milwright, Mandy Walker, Bonnie Elliott, Emma Paine, Velinda Wardell, Sky Davies and Ashley Barron about rising up the ranks, the gender gap and the DPs that inspire them.
No woman has ever won the Oscar for best cinematography. In fact, no woman has ever been nominated. In Australia, Abs statistics to 2011 put the percentage of female directors of photography at around 6 percent. Were you aware of the gender divide at the beginning of your career?
Lambert: I was keenly aware of the gender imbalance in the camera department when I first started as a camera assistant. It didn.t bother me a huge deal, but I felt I had to work extra hard to be respected in that role. There were only a few female camera assistants I knew of and one female Dop, Anna Howard,...
- 9/15/2016
- by Harry Windsor
- IF.com.au
Looking for a crash course on some of the film world’s most impressive cinematographers? Look no further than a brand new video essay from Fandor’s Keyframe site, which features some of the most stunning shots from the starry careers of 12 essential cinematographers. Oh, yeah, and they just so happen to all be women.
The new video essay explores notable cinematographers, from Maryse Alberti to Maya Bankovic, Reed Morano to Mandy Walker, showing off some of their impressive bodies of work along the way. With titles like “Velvet Goldmine,” “Hustle & Flow” and “Eternal Sunshine of the Spotless Mind” popping up in this visual feast (and so, so many more), the video provides a solid look at some stunning work by a variety of talented lensers.
Read More: Female Filmmakers Want to Direct Blockbusters; Here’s Why They Don’t – Girl Talk
Check out the (just wonderful) Fandor video below.
The new video essay explores notable cinematographers, from Maryse Alberti to Maya Bankovic, Reed Morano to Mandy Walker, showing off some of their impressive bodies of work along the way. With titles like “Velvet Goldmine,” “Hustle & Flow” and “Eternal Sunshine of the Spotless Mind” popping up in this visual feast (and so, so many more), the video provides a solid look at some stunning work by a variety of talented lensers.
Read More: Female Filmmakers Want to Direct Blockbusters; Here’s Why They Don’t – Girl Talk
Check out the (just wonderful) Fandor video below.
- 8/12/2016
- by Kate Erbland
- Indiewire
What does it take to succeed in a man’s world? A Los Angeles Film Festival panel of women cinematographers ivealed what it took to make it to the top of a competitive industry.
1. A shot of LSD. Cinema verite shooter Joan Churchill (“Last Days in Vietnam”) started out by recovering from an eight-hour acid trip, she admitted, to shoot some of the most iconic images from the Rolling Stones Altamont doc, “Gimme Shelter.” That led to the assignment of shooting the Louds in PBS’s “An American Family.” A documentary cameraperson, often working with a hand-held camera and natural light, has to have “people skills,” she said. “You have to be interested in your subjects.” When she moved to London, she couldn’t get work until she joined the Asc—and became its first woman member. Her membership card read: “Lady Cameraman.”
2. Read and reread the script. French-born Maryse Alberti...
1. A shot of LSD. Cinema verite shooter Joan Churchill (“Last Days in Vietnam”) started out by recovering from an eight-hour acid trip, she admitted, to shoot some of the most iconic images from the Rolling Stones Altamont doc, “Gimme Shelter.” That led to the assignment of shooting the Louds in PBS’s “An American Family.” A documentary cameraperson, often working with a hand-held camera and natural light, has to have “people skills,” she said. “You have to be interested in your subjects.” When she moved to London, she couldn’t get work until she joined the Asc—and became its first woman member. Her membership card read: “Lady Cameraman.”
2. Read and reread the script. French-born Maryse Alberti...
- 6/6/2016
- by Anne Thompson
- Thompson on Hollywood
Jonas Cuaron’s thriller starring Gael Garcia Bernal and Jeffrey Dean Morgan will receive its Us premiere on June 9 and James Wan’s The Conjuring 2 will get its world premiere on June 7.
Additional programming will feature an on-stage conversation with The Birth Of A Nation writer-director, producer and star Nate Parker, Aja Naomi King and the cast.
Festival guest director Ryan Coogler and sound designer Steve Boeddeker will talk sound design and production designer Alex McDowell will give a primer on virtual reality world-building in the Master Classes sessions.
The cast and creators of TV hit The People v. O.J. Simpson will attend a screening of the final episode and to discuss the making of the show on June 7, when writers Scott Alexander and Larry Karaszewski will be joined by actors Sarah Paulson, Sterling K. Brown and Courtney B. Vance for a post-screening Q&A.
Cinematographer Maryse Alberti will receive the Jaeger-LeCoultre Glory to the Filmmaker...
Additional programming will feature an on-stage conversation with The Birth Of A Nation writer-director, producer and star Nate Parker, Aja Naomi King and the cast.
Festival guest director Ryan Coogler and sound designer Steve Boeddeker will talk sound design and production designer Alex McDowell will give a primer on virtual reality world-building in the Master Classes sessions.
The cast and creators of TV hit The People v. O.J. Simpson will attend a screening of the final episode and to discuss the making of the show on June 7, when writers Scott Alexander and Larry Karaszewski will be joined by actors Sarah Paulson, Sterling K. Brown and Courtney B. Vance for a post-screening Q&A.
Cinematographer Maryse Alberti will receive the Jaeger-LeCoultre Glory to the Filmmaker...
- 5/5/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Principal photography has begun on New Line Cinema’s and Village Roadshow Pictures’ thought-provoking drama Collateral Beauty, being helmed by Oscar-winning director David Frankel (“Dear Diary,” “The Devil Wears Prada”). The film has been slated for release on December 16, 2016.
Collateral Beauty features an all-star cast, including Will Smith (upcoming “Suicide Squad,” “Concussion”), Edward Norton (“Birdman or [The Unexpected Virtue of Ignorance]”), Keira Knightley (“The Imitation Game”), Michael Peña (“The Martian”), Naomie Harris (“Spectre”), and Jacob Latimore (“The Maze Runner”), with Oscar winners Kate Winslet (“The Reader,” “Steve Jobs”) and Helen Mirren (“The Queen,” “Trumbo”).
When a successful New York advertising executive (Smith) experiences a deep personal tragedy and retreats from life entirely, his colleagues devise a drastic plan to force him to confront his grief in a surprising and profoundly human way.
Frankel is directing Collateral Beauty from an original screenplay by Allan Loeb (“Wall Street: Money Never Sleeps,” “21”). Loeb is also a producer on the film,...
Collateral Beauty features an all-star cast, including Will Smith (upcoming “Suicide Squad,” “Concussion”), Edward Norton (“Birdman or [The Unexpected Virtue of Ignorance]”), Keira Knightley (“The Imitation Game”), Michael Peña (“The Martian”), Naomie Harris (“Spectre”), and Jacob Latimore (“The Maze Runner”), with Oscar winners Kate Winslet (“The Reader,” “Steve Jobs”) and Helen Mirren (“The Queen,” “Trumbo”).
When a successful New York advertising executive (Smith) experiences a deep personal tragedy and retreats from life entirely, his colleagues devise a drastic plan to force him to confront his grief in a surprising and profoundly human way.
Frankel is directing Collateral Beauty from an original screenplay by Allan Loeb (“Wall Street: Money Never Sleeps,” “21”). Loeb is also a producer on the film,...
- 2/26/2016
- by Kellvin Chavez
- LRMonline.com
Today signals the one week mark as we head into the home stretch to Hollywood’s biggest night, the 88th Academy Awards. For the die-hard awards season watcher, this year’s Oscar race has been both a dream and an absolute hair-pulling nightmare.
The race for Best Picture has never been more exciting with no clear front runner. For the first time in years, it’s anyone’s game and a nail biter down to when the final award is announced.
The precursor guild awards, along with last week’s British Academy Film Awards (the BAFTAs), did little to help the quandary with the predictions. The Big Short received a huge boost when it won the Producers Guild award, while filmmaker Alejandro G. Iñárritu took home the Directors Guild award for helming The Revenant.
The Revenant received 12 nominations and Mad Max: Fury Road has 10 leaving the Oscar pundits with varying predictions.
The race for Best Picture has never been more exciting with no clear front runner. For the first time in years, it’s anyone’s game and a nail biter down to when the final award is announced.
The precursor guild awards, along with last week’s British Academy Film Awards (the BAFTAs), did little to help the quandary with the predictions. The Big Short received a huge boost when it won the Producers Guild award, while filmmaker Alejandro G. Iñárritu took home the Directors Guild award for helming The Revenant.
The Revenant received 12 nominations and Mad Max: Fury Road has 10 leaving the Oscar pundits with varying predictions.
- 2/22/2016
- by Movie Geeks
- WeAreMovieGeeks.com
After giving our picks for the best cinematography of 2015, today brings conversation with some of the directors of photography from last year’s notable features. THR has gathered Robert Richardson (The Hateful Eight), Alwin Kuchler (Steve Jobs), Danny Cohen (The Danish Girl, Room), Linus Sandgren (Joy), Masanobu Takayanagi (Black Mass, Spotlight) and Mandy Walker (Truth) for a one-hour talk on their prcoess.
While it’s embarrassing that the trade couldn’t find room for Emmanuel Lubezki, Roger Deakins, Edward Lachman, Ping Bin Lee, Adam Arkapaw, John Seale, Maryse Alberti, and more, it’s interesting to hear about the experience of shooting 70mm for Quentin Tarantino‘s western from Richardson, as well as why he took his name off World War Z. Check out the full roundtable below, and Richardson’s thoughts on getting awards for CG-heavy cinematography.
I wish there were two categories for Academy Awards. There are films that are shot relatively normal,...
While it’s embarrassing that the trade couldn’t find room for Emmanuel Lubezki, Roger Deakins, Edward Lachman, Ping Bin Lee, Adam Arkapaw, John Seale, Maryse Alberti, and more, it’s interesting to hear about the experience of shooting 70mm for Quentin Tarantino‘s western from Richardson, as well as why he took his name off World War Z. Check out the full roundtable below, and Richardson’s thoughts on getting awards for CG-heavy cinematography.
I wish there were two categories for Academy Awards. There are films that are shot relatively normal,...
- 2/3/2016
- by Jordan Raup
- The Film Stage
Sylvester Stallone’s Rocky Balboa turns trainer to a young star in a decent boxing picture with room for a sequel
In 2006’s Rocky Balboa, Sly Stallone’s ageing boxer was ridiculously called out of retirement for one last fight, going toe-to-toe with Antonio Tarver’s Mason “The Line” Dixon. After such nonsense, surely there could be no life left in this serial punchbag? Astonishingly, there is – and the result has already earned Stallone his first Golden Globe, for best supporting actor. Director and co-writer Ryan Coogler reteams with Fruitvale Station star Michael B Jordan to take the series on a left turn which will sensibly push Balboa to the side of the ring while newcomer Adonis Johnson takes centre stage. Johnson (Jordan) is the privileged son of boxing champion Apollo Creed, the father he never knew, but whose widow saved him from juvenile hall. Determined to make a name...
In 2006’s Rocky Balboa, Sly Stallone’s ageing boxer was ridiculously called out of retirement for one last fight, going toe-to-toe with Antonio Tarver’s Mason “The Line” Dixon. After such nonsense, surely there could be no life left in this serial punchbag? Astonishingly, there is – and the result has already earned Stallone his first Golden Globe, for best supporting actor. Director and co-writer Ryan Coogler reteams with Fruitvale Station star Michael B Jordan to take the series on a left turn which will sensibly push Balboa to the side of the ring while newcomer Adonis Johnson takes centre stage. Johnson (Jordan) is the privileged son of boxing champion Apollo Creed, the father he never knew, but whose widow saved him from juvenile hall. Determined to make a name...
- 1/17/2016
- by Mark Kermode, Observer film critic
- The Guardian - Film News
“There is one night, we all dream in Gold.”
The Academy has unveiled the new posters and TV spots for the 88th Oscars (Feb. 28, 2016).
The 2016 Oscar campaign illustrates the emotional power of movies and their ability to inspire all of us to achieve our dreams. Movies remind us that imagination is limitless. The Oscar is, at once, a representation of excellence in film and a tangible symbol that dreams can–and do–come true.
“The Dream campaign embodies what people love about the Oscars—the range of emotions and excitement that comes with those unforgettable moments in a live show,” said Christina Kounelias, Academy Cmo. “Fans also look for the comedy and the unexpected, and that’s what they’ll get with our host, Chris Rock. His comedic perspective will be a great complement to the more dramatic moments.”
The deadline for AMPAS voters to have their ballots into the...
The Academy has unveiled the new posters and TV spots for the 88th Oscars (Feb. 28, 2016).
The 2016 Oscar campaign illustrates the emotional power of movies and their ability to inspire all of us to achieve our dreams. Movies remind us that imagination is limitless. The Oscar is, at once, a representation of excellence in film and a tangible symbol that dreams can–and do–come true.
“The Dream campaign embodies what people love about the Oscars—the range of emotions and excitement that comes with those unforgettable moments in a live show,” said Christina Kounelias, Academy Cmo. “Fans also look for the comedy and the unexpected, and that’s what they’ll get with our host, Chris Rock. His comedic perspective will be a great complement to the more dramatic moments.”
The deadline for AMPAS voters to have their ballots into the...
- 1/13/2016
- by Movie Geeks
- WeAreMovieGeeks.com
Available on Digital HD December 15th & Blu-ray and DVD today from Universal Pictures Home Entertainment, M. Night Shyamalan's The Visit explores the eerie side of grandma and grandpa's house, and we've been provided with one Blu-ray / DVD combo pack to give away.
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Prize Details: (1) Winner will receive (1) Blu-ray / DVD combo pack copy of The Visit.
How to Enter: For a chance to win, email contest@dailydead.com with the subject “The Visit Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on January 11th. This contest is only open to those who are eighteen years of age or older that live in the United States. Only one entry per household will be accepted.
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Previous press release: Universal City, California, November 16, 2015 – A family visit takes a terrifying turn when two siblings learn who Grandma and Grandpa really are in The Visit,...
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Prize Details: (1) Winner will receive (1) Blu-ray / DVD combo pack copy of The Visit.
How to Enter: For a chance to win, email contest@dailydead.com with the subject “The Visit Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on January 11th. This contest is only open to those who are eighteen years of age or older that live in the United States. Only one entry per household will be accepted.
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Previous press release: Universal City, California, November 16, 2015 – A family visit takes a terrifying turn when two siblings learn who Grandma and Grandpa really are in The Visit,...
- 1/5/2016
- by Derek Anderson
- DailyDead
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