The National’s Matt Berninger has confirmed that he is still working on a long-gestating sitcom with his director/actor brother, Tom Berninger. In an interview with NME, he spilled details about the semi-autobiographical series, including its working title: Dos Apes.
According to Berninger, he tabled the project while dealing with writer’s block and depression during lockdown, but now it’s back on. “Not unlike Frankenstein, a lightning bolt has started its heart again!” he said. “It’s called Dos Apes, and with the pandemic, we had to put it down. Dos Apes is alive, and that’s all I can say. There was nothing happening because of the writers strikes and stuff like that, but we’ll see. I’m not going to drown in projects like I was before, but that it is one of them that I really want to do and it might happen.”
Berninger...
According to Berninger, he tabled the project while dealing with writer’s block and depression during lockdown, but now it’s back on. “Not unlike Frankenstein, a lightning bolt has started its heart again!” he said. “It’s called Dos Apes, and with the pandemic, we had to put it down. Dos Apes is alive, and that’s all I can say. There was nothing happening because of the writers strikes and stuff like that, but we’ll see. I’m not going to drown in projects like I was before, but that it is one of them that I really want to do and it might happen.”
Berninger...
- 10/3/2023
- by Eddie Fu
- Consequence - Music
Mike, Justin and Chris do their best to walk through their thoughts on Paul Schrader’s newest film, First Reformed, starring Ethan Hawke and Amanda Seyfried. Listen as we attempt to unpack everything this movie is trying to say.
The First Reformed review does contain a spoiler free section, followed by an in-depth, spoiler-filled discussion of the film. Chris talks about the season 3 premier of Preacher, on AMC. Mike discusses the band documentary Mistaken For Strangers, about the indie rock band The National, and the French thriller The Double Lover. Meanwhile, Justin is on a nostalgic comedy binge with an older Anthony and Joe Russo comedy, You Me and Dupree, and of course, Sinbad's 90's touchstone, Houseguest.
The First Reformed review does contain a spoiler free section, followed by an in-depth, spoiler-filled discussion of the film. Chris talks about the season 3 premier of Preacher, on AMC. Mike discusses the band documentary Mistaken For Strangers, about the indie rock band The National, and the French thriller The Double Lover. Meanwhile, Justin is on a nostalgic comedy binge with an older Anthony and Joe Russo comedy, You Me and Dupree, and of course, Sinbad's 90's touchstone, Houseguest.
- 7/5/2018
- by feeds@cinelinx.com (Mike Johnson)
- Cinelinx
The National lead singer Matt Berninger is currently developing a TV show based on his own life, according to Pitchfork. Following the “Crashing”/”Better Things”/”I’m Sorry” mold, Berninger would play a version of himself, as would his brother Tom. Working alongside Trent O’Donnell (creator of “No Activity” and the original Australian series that formed the basis for “Review”), the creative team for this new Berninger show would also include Matt’s wife Carin Besser.
What this show doesn’t have yet is a title. Since there’s a .001% chance it doesn’t take the name from one of The National’s songs, we thought we’d offer up our ideas for the series’ best prospective titles. Some of the band’s top songs don’t lend themselves well to a TV show. (“Empire Line” is objectively the greatest song of 2017, but it’s hard to see that...
What this show doesn’t have yet is a title. Since there’s a .001% chance it doesn’t take the name from one of The National’s songs, we thought we’d offer up our ideas for the series’ best prospective titles. Some of the band’s top songs don’t lend themselves well to a TV show. (“Empire Line” is objectively the greatest song of 2017, but it’s hard to see that...
- 2/21/2018
- by Steve Greene
- Indiewire
Dave Lawrie Aug 4, 2017
Blackfish, The Act Of Killing - we celebrate the great documentaries distributed by the UK's Dogwoof...
Did you know that around 20 percent of the films released in the UK are documentaries? It’s a surprisingly large figure. I think the reason behind it might be that ‘documentary’ is considered to be a genre in and of itself. “And the Academy Award for best documentary feature goes to…”. They're all lumped into the same bracket. Also, they're relatively cheap to make and can be assembled independently by a team of only a few people. Success at the box office is often down on the priorities list for creators wanting to spread a message, tell a story or get a point across and, when they only need to recoup that small amount to be considered successful, documentary cinema becomes fertile ground for ambitions to grow in.
See related Preacher...
Blackfish, The Act Of Killing - we celebrate the great documentaries distributed by the UK's Dogwoof...
Did you know that around 20 percent of the films released in the UK are documentaries? It’s a surprisingly large figure. I think the reason behind it might be that ‘documentary’ is considered to be a genre in and of itself. “And the Academy Award for best documentary feature goes to…”. They're all lumped into the same bracket. Also, they're relatively cheap to make and can be assembled independently by a team of only a few people. Success at the box office is often down on the priorities list for creators wanting to spread a message, tell a story or get a point across and, when they only need to recoup that small amount to be considered successful, documentary cinema becomes fertile ground for ambitions to grow in.
See related Preacher...
- 8/3/2017
- Den of Geek
This year’s Tribeca Film Festival has announced today that it will open its 16th edition with the world premiere of the feature-length documentary “Clive Davis: The Soundtrack of Our Lives” at Radio City Music Hall on Wednesday, April 19. The premiere will be followed by a special concert that features performances by superstars including Aretha Franklin; Jennifer Hudson; Earth, Wind & Fire and more.
Directed by Chris Perkel, the film is based on Davis’ 2013 bestselling autobiography and chronicles the historic influence of the so-called “Man with the Golden Ears,” tracking his humble beginnings all the way through his dominance in the often cutthroat world of music production and talent discovery.
Read More: Tribeca Film Institute Names Amy Hobby Executive Director — Exclusive
“Directing this film provided a wonderful challenge because Clive Davis stands at the center of a culture-defining array of talent that has shaped the last half century of contemporary music.
Directed by Chris Perkel, the film is based on Davis’ 2013 bestselling autobiography and chronicles the historic influence of the so-called “Man with the Golden Ears,” tracking his humble beginnings all the way through his dominance in the often cutthroat world of music production and talent discovery.
Read More: Tribeca Film Institute Names Amy Hobby Executive Director — Exclusive
“Directing this film provided a wonderful challenge because Clive Davis stands at the center of a culture-defining array of talent that has shaped the last half century of contemporary music.
- 2/2/2017
- by Kate Erbland
- Indiewire
Matt Berninger of band The National, Karim Amer and Jehane Noujaim from Academy-nominated The Square and Blue Valentine co-writer Cami Delavigne are among participants selected for Sundance Institute’s second Episodic Story Lab.
The 10 Fellows are:
Michael Krikorian for 12 Miles South;
John Lopez for Crude;
Christianne Hedtke for Degenerates;
Maria Melnik for Hell or High Water;
Mishna Wolff for I’m Down;
Matt Berninger and Carin Besser for Mistaken For Strangers;
Mac Smullen for Mk-ultra;
Karim Amer and Jehane Noujaim for Radicals;
Cami Delavigne for The Sleep; and
Akilah Hughes and Lyle Friedman for Unlikely.
Fellows will receive yer-rund support and will work under creative advisors Rich Appel from Family Guy, Mara Brock Akil from Being Mary Jane, Howard Gordon from Homeland and Jenni Konner from Girls, among others.
The 2015 Episodic Story Lab is one of the 24 workshops the Institute hosts each year for independent artists in theatre, film, new media and episodic content.
“By offering...
The 10 Fellows are:
Michael Krikorian for 12 Miles South;
John Lopez for Crude;
Christianne Hedtke for Degenerates;
Maria Melnik for Hell or High Water;
Mishna Wolff for I’m Down;
Matt Berninger and Carin Besser for Mistaken For Strangers;
Mac Smullen for Mk-ultra;
Karim Amer and Jehane Noujaim for Radicals;
Cami Delavigne for The Sleep; and
Akilah Hughes and Lyle Friedman for Unlikely.
Fellows will receive yer-rund support and will work under creative advisors Rich Appel from Family Guy, Mara Brock Akil from Being Mary Jane, Howard Gordon from Homeland and Jenni Konner from Girls, among others.
The 2015 Episodic Story Lab is one of the 24 workshops the Institute hosts each year for independent artists in theatre, film, new media and episodic content.
“By offering...
- 9/22/2015
- ScreenDaily
The Reflektor Tapes
Directed by Kahlil Joseph
Canada, 2015
After Arcade Fire won the Grammy for The Suburbs in 2010, they went from becoming the biggest indie rock band in the world to simply one of the biggest bands in the world. In turn, their sound on their 2013 album Reflektor grew far more eclectic, embracing more of the polyrhythms and exotic influences that had colored all of their previous records. But as the band has blown up, they’ve turned increasingly inward, moving away from the twee indie hipsters of “Wake Up” and toward the more esoteric and mysterious. Before the release of Reflektor they performed several pop-up shows as The Reflektors and turned their album into a double album opus drawing on the Greek tragedies of Orpheus and Eurydice. This is hardly the arc of your typical pop stars.
The Reflektor Tapes then, the first official Arcade Fire documentary, was a...
Directed by Kahlil Joseph
Canada, 2015
After Arcade Fire won the Grammy for The Suburbs in 2010, they went from becoming the biggest indie rock band in the world to simply one of the biggest bands in the world. In turn, their sound on their 2013 album Reflektor grew far more eclectic, embracing more of the polyrhythms and exotic influences that had colored all of their previous records. But as the band has blown up, they’ve turned increasingly inward, moving away from the twee indie hipsters of “Wake Up” and toward the more esoteric and mysterious. Before the release of Reflektor they performed several pop-up shows as The Reflektors and turned their album into a double album opus drawing on the Greek tragedies of Orpheus and Eurydice. This is hardly the arc of your typical pop stars.
The Reflektor Tapes then, the first official Arcade Fire documentary, was a...
- 9/16/2015
- by Brian Welk
- SoundOnSight
My look at 2014 continues as I review the best documentaries of 2014. Documentaries can serve a multitude of purposes. You will have your change the world docs that pick a certain cause and attempt to spread the word so people will rise up and do something. You have those that are just about a particular story that is just too incredible to believe. You also have those experimental docs that are all about playing with the perimeters with film and experience. My list covers those categories and much more. It shows documentaries can really be used to do just about anything.
10. Kids for Cash Directed By: Robert May
Synopsis: Kids For Cash is a riveting look behind the notorious judicial scandal that rocked the nation. Beyond the millions paid and high stakes corruption, Kids For Cash exposes a shocking American secret. In the wake of the shootings at Columbine, a small...
10. Kids for Cash Directed By: Robert May
Synopsis: Kids For Cash is a riveting look behind the notorious judicial scandal that rocked the nation. Beyond the millions paid and high stakes corruption, Kids For Cash exposes a shocking American secret. In the wake of the shootings at Columbine, a small...
- 1/6/2015
- by Dan Clark
- Nerdly
Yes, that’s a six and a zero. It’s not a typo. While excessive might be the first adjective that comes to mind when looking at a year-end list with 60 films, it was the only way that I was able to highlight all the great works that I was able to watch this year. Even with such an extensive best-of countdown I was forced to leave at least another dozen great films. In 2014 I watched around 300 theatrically released films, and about 130 more between unreleased films from the festival circuit, the Oscar Foreign Language Submissions, and new films I watched as a screener for a couple festivals. Taking all these into consideration, a Top 60 list did not seem like an outrageous feat.
There were many other films that I did in fact watch but didn’t make the list, such as “Wild,” “Interstellar,” “The Imitation Game,” “Unbroken,” “The Theory of Everything,” “Big Hero 6,” “Big Eyes,” "A Most Violent Year" and “Into the Woods.” Although none of these ended up among my favorites, many of them served as vehicles for the cast to deliver outstanding performances or showcased great cinematography and VFX. I mention this to clarify that their omission was a conscious decision.
Evidently, there were several acclaimed films I did not manage to watch, which could have made a difference. These include films like "Love is Strange," “Maps to the Stars,” “Stray Dogs,” “Top Five,” and “Rosewater.”
The films on this list include films that had a regular release in 2014, films that some consider to be 2013 films but which got a full release in 2014, and films that had a one-week qualifying run in 2014 but which will officially open in 2015. Other amazing films that I saw at festivals, but which did not have a theatrical release of any form this year will be included in next year’s list. Examples of these include “The Tribe,” “Timbuktu,” “The Voices” “Gueros,” “Viktoria,” and “Kumiko, the Treasure Hunter.”
Like with all lists, this is a very personal selection of films that connected with me on different levels. Some choices might be strange, others expected, but all of them speak to what I find interesting or great about cinema. I hope that with this list you can find titles you haven’t hear of or others you might have forgotten about. It has been such a terrific year for films. Here is hoping for 2015 to be even more inspiring.
Feel free to share with us what your favorite films of 2014 were in the comments section.
Honorary Mention for Favorite TV Series: "Over the Garden Wall"
In Patrick McHale’s enchanting Cartoon Network miniseries, “Over the Garden Wall,” brothers Wirt (Elijah Wood) and adorable Greg (Collin Dean) travel through the Unknown, a magical forest filled with peculiar characters. Blending a classic fable look with witty humor and catchy songs for a fantastically refreshing 2D cartoon, the show is rapidly - and deservingly - becoming a fan favorite. Once you see little Greg performing the sweet tune Potatoes and Molasses, it will all make sense.
Top 60 Films Of 2014
60. "Happy Christmas"
Anna Kendrick is an irresponsible, yet charming, young woman in Joe Swanberg’s holiday-infused family dramedy. “Happy Christmas” is small in scope but big in subtle amusement. Baby Jude Swanberg steals every scene.
59."Mood Indigo"
Whimsical, ingenious, and uniquely confected, Michel Gondry’s adaption of Boris Vian’s novel stars Audrey Tautou and Romain Duris. His latest romantic fantasy is heartwarming visual candy.
Review "Mood Indigo"
Carlos Aguilar's interview with Tautou
58. "Lilting"
A cross-cultural connection in the aftermath of tragedy is at the center of Hong Khaou’s touching debut. Through great performances and ethereal cinematography the filmmaker reassures us love is the only language that matters.
Carlos Aguilar's interview with Hong Khaou
57. "Captain America: The Winter Soldier"
With an intelligent and fun screenplay, this new entry in the Marvel universe showed us that - despite all the badassery he is capable of - all that Steve Rogers wants is his best friend back.
Review "Captain America: The Winter Soldier"
56. "Oculus"
Mike Flanagan doesn’t resort to excessive gore or a monumental story to instill fear. Instead, he uses the effective mechanics of his story to turn a room with an old mirror, a camera, and a pair of youngsters into a terrifying space.
55. "Rich Hill"
Looking at a segment of the American population from a uniquely compassionate and insightful perspective, “Rich Hill” cherishes the humanity of its subject rather than patronizing them.
54. "The Notebook"
The brutality of war is observed through the eyes of a pair of twin brothers who decide to detach themselves from any emotional connection in order to survive. Unflinching and powerful, “The Notebook” is part dark fairytale and part historical drama.
Review "The Notebook"
Carlos Aguilar's interview with János Szász
53. "Blue Ruin"
This gritty and unpredictable thriller follows a man whose thirst for revenge becomes his death sentence. Macon Blair’s character goes from passively hiding in the shadows to becoming a ruthless rookie assassin. Tension is the name of the game here.
52. "The Book of Life"
The ancient Mexican celebration of Day of the Death comes to life in this vibrant and surprisingly authentic animated feature from Jorge Gutierrez and producer Guillermo del Toro. It’s a colorful and intricately designed vision of beloved tradition.
51. "The German Doctor" (Wakolda)
Lucia Puenzo’s captivating mystery focuses on infamous Nazi physician Josef Mengele, as he tries to test his disturbing practices on family while hiding in the Argentine countryside. Elegantly executed and definitely unsettling
Review "The German Doctor"
Carlos Aguilar's interview with Lucia Puenzo
Sydney Levine's Case Study on "The German Doctor"
50. "Still Alice"
Lost, confused, but still fighting to preserve her individuality while facing the imminent effects of Alzheimer’s disease, Alice refuses to give up. Julianne Moor is absolutely stunning and heartbreaking.
49. "American Sniper"
Eastwood’s best film in a long time packs thrilling combat sequences as it looks at post-9/11 American patriotism via a simple man turned murder weapon. Bradley Cooper delivers the best performance of his career.
48. "The Lego Movie "
Pop culture has never been as hilarious and witty as in this uniquely animated story about individuality, the nature of heroism, and the power of a child’s imagination. With cameos galore and jokes aplenty, everything is indeed awesome.
47. "Manuscripts Don't Burn "
Mohammad Rasoulof’s fearless cinematic statement denouncing the Iranian regime is an incredible testament to the power of film as a cultural weapon against injustice. Not only is the film politically relevant, but also an all-around gripping thriller.
Review "Manuscripts Don't Burn"
46. "Guardians of the Galaxy "
This summer Marvel outdid itself with the truly enjoyable first installment of its newest franchise. Charismatic Chris Pratt as Star Lord, a more than memorable soundtrack, and an eclectic group of sidekicks made this the smartest summer hit.
45. "In Bloom"
Set in Tbilisi, Georgia, this unique coming-of-age tale is a riveting hidden gem that sports mesmerizing performances from its young cast. The filmmakers find evocative, everyday beauty in the hardships of life in a war-torn country.
Review "In Bloom"
44. "Goodbye to Language"
Godard’s use of 3D in this highly experimental work produces a physical reaction on the viewer that proves how alive the auteur’s vision still is. He is as cryptic, curious, innovative, unapologetic, and brilliant as he was over 50 years ago.
43. "Mistaken for Strangers"
Tom Berninger’s personal documentary is not a film about The National, but about a man trying to find his own path while reconnecting with his older brother – who happens to be a rock star. Fun, heartfelt, and honest.
Carlos Aguilar's interview with Tom and Matt Berninger
42. "Manakamana"
Simple on the surface but hauntingly poetic, this documentary focuses on a series of people as they travel up to a sacred shrine in Nepal. Their faces speak in silences, laughter, and visible sadness, which form a language far more stirring than ephemeral words.
41. "Whiplash"
J.K. Simmons is a nightmarish instructor in Damien Chazelle’s fascinating debut about a young drummer by obsessive passion. The final sequence is an astonishing showstopper that sports marvelous, flawless editing
40. "The Overnighters"
What starts as the story about a Good Samaritan helping those in need despite criticisms, turns into an examination of a conflicted man. Faith, lies, regret and the judgmental eyes of an entire community will become his agonizing cross to bear.
39. "Rocks in My Pockets"
Latvian artist Signe Baumane uses 2D animation to work through her insecurities, her relationships with her estrange family, and depression. Craft and substance merge to construct an absorbing personal statement that is unexpectedly relatable.
Sydney Levine's Feature Piece on "Rocks in My Pockets"
38. "The Missing Picture"
To reconstruct his family’s past, and by extension that of his homeland under the Khmer Rouge, director Rithy Panh uses clay figurines and evocative narration in the absence of images from the time. One of the most original documentaries ever made.
Review "The Missing Picture"
37. "Snowpiercer"
Art house sensibilities imbedded into a powerful post-apocalyptic tale from South Korean director Bong Joon-ho gave us a superbly sophisticated actioner. Chris Evans delivers a different, but equally great heroic performance. However, Tilda Swinton takes the prize here.
36. "Life Itself"
Roger Ebert’s love for life and movies was endless. Despite major health issues near the end, his spirits and voice were never weakened. Steve James intimate documentary captures both the man and the critic in a lovely manner.
35. "Gone Girl"
Fincher’s latest focuses on a media circus fueled by a couple’s despicable lies and the public’s voyeuristic desire to find a villain and a victim. While Ben Affleck is good here, the film thrives on Rosamund Pike’s wickedly clever role.
34. "Two Days, One Night"
Only the Dardenne brothers can transform seemingly banal situations into compelling narratives that question the morality of their characters. In their latest masterful effort Marion Cotillard’s talent shines as she balances desperation, pride, and hope.
33. "Foxcatcher"
Driven by a trifecta of great performances, Bennett Miller’s drama shows a disturbed man in search of recognition and validation by any means necessary. Channing Tatum deserves more praise for his nuanced work here.
32. "Omar"
At once timeless and decisively current, Hany Abu-Asad’s Shakespearean crime drama deals with Israeli-Palestinian relations from a humanistic point of view. The political issues that serve as context become more urgent when seen through the characters’ struggles.
Review "Omar"
Carlos Aguilar's interview with Hany Abu-Assad
31. "Mr. Turner"
The awe-inspiring cinematography and Timothy Spall’s grumpy, yet endearing portrayal of one of Britain’s most revered painters make of “Mr. Turner” another successful addition to Mike Leigh’s near-perfect track record.
30. "Nymphomaniac"
Blasphemous, explicit, and cerebral as most of Lars von Trier’s works, this two-part recollection of the anecdotes takes us into the tortured mind of a sex addict. There is no sugarcoating or redemption to be found here, only a skillful provocateur who loves to revel in the playful bleakness of it all.
Review "Nymphomaniac Vol. 1"
Review "Nymphomaniac Vol. 2"
29. "Gloria"
A middle-aged woman takes control of her life in this excellent Chilean dramedy. The title character, played by the lovely Paulina Garcia, wants to find love once again and to live without restrains. As she dances the night away we are certain that, despite the hardships, she will.
Review "Gloria"
Sydney Levine's interview with Sebastian Lelio and Paulina Garcia
28. "The Babadook"
A vicious boogieman terrorizes a mother and her son in this Australian horror masterpiece. Like with the best films in the genre, is what you don’t see that’s the most disturbing. Dir. Jennifer Kent uses creepy guttural sounds, shadows, and a malevolent children’s book to psychologically inflict fear.
27. "Ernest & Celestine"
Delightfully crafted to look like a collection of gorgeous moving watercolors, this French animated feature based on Gabrielle Vincent’s books is a visual treat and reminds us of the innocent fables from yesteryear.
Carlos Aguilar's interview with Benjamin Renner
26. "Hide Your Smiling Faces"
Two brothers growing up in a small town are confronted with the notion of death and the complexities of the adult world in this remarkably done debut by Daniel Patrick Carbone. An absolute must-see that deserves a wider audience.
Review "Hide Your Smiling Faces"
25. "Stranger by the Lake"
In Alain Guiraudie’s beachside mystery, a murderous romance hides underneath warm weather and desire. This provocative, darkly comedic and splendidly acted slow-burner shows that danger is sometimes the most lethal aphrodisiac.
Carlos Aguilar's interview with Alain Guiraudie
24. "Heli"
Amat Escalante’s brave and brutally honest depiction of Mexico’s violent present is unquestionably a difficult cinematic experience. However, the filmmaker is capable of finding resilient hope in the midst of overwhelming despair.
Review "Heli"
Carlos Aguilar's interview with Amat Escalante
23. "CitizenFour"
Few embellishments are needed when you have such a shocking and important story told not from an outsider’s perspective, but from its source. Fiction falls short in comparison to the truths and secrets encompassed in Laura Poitras account of the Edward Snowden case.
22. "Force Majeure"
Gender roles are questioned with humorous but poignant observations on marriage and societal expectations in this Swedish hit from Ruben Östlund. Laugh-out-loud moments galore and an unforgettable “man cry” sequence are the result of a catastrophic controlled avalanche.
Carlos Aguilar's interview with Ruben Östlund and Johannes Kuhnke
21. "The Guest"
Adam Wingard’s perversely comedic stunner about a devilishly deceiving visitor was by far one of the most outrageously fun films I saw this year. It’s a masterwork of madness. I can’t wait to see what Wingard, writer Simon Barrett, and star Dan Stevens do next.
20. "Obvious Child"
Jenny Slate’s Donna Stern is navigating adulthood through laughter. Her standup performances are unfiltered, moving, and often hilariously distasteful, but always sincere. Slate and director Gillian Robespierre are a match made in comedy heaven.
Review "Obvious Child"
Carlos Aguilar's interview with Gillian Robespierre and Jenny Slate
19. "Inherent Vice"
There are numerous wacky characters and subplots in Paul Thomas Anderson’s adaption of Thomas Pynchon novel, but the real magic happens when Joaquin Phoenix and Josh Brolin are together on screen. “Motto panukeiku!” is all I have to say.
18. "Starred Up"
Jack O’Connell’s award-deserving performance packs raw energy, ferocious anger, and tragic vulnerability. Violence and respect are the only useful currencies in this potent prison drama that’s as thrilling as it’s emotionally devastating.
Carlos Aguilar's interview with David Mackenzie
17. "Listen Up Philip"
Brimming with originality and uncompromising humor, Alex Ross Perry’s look at the writing craft is pure brilliance. Jason Schwartzman stars as an obnoxious, self-centered young author. He is as utterly amusing and revels in his character’s hilarious arrogance.
16. "Boyhood"
Thanks to Richard Linklater’s perseverance we were able to experience an incredible and incomparable cinematic journey. Filled with small, but affecting moments of sorrow and joy, a child’s life - and that of those around him - literally unfolds on screen somewhere between reality and fiction.
15. "Selma"
Avoiding all the dreaded biopic clichés, director Ava DuVernay created a powerful historical drama that couldn’t be more opportune. Among a star-studded cast, David Oyelowo delivers a knockout performance as Dr. Martin Luther King Jr.
14. "Under the Skin"
Life on earth as seen by a seductive alien is simultaneously frightening and revelatory in Jonathan Glazer’s dazzling sci-fi character study. Scarlett Johansson is superb as a creature intrigued by the virtues and shortcomings of human nature.
Review "Under the Skin"
13. "The Grand Budapest Hotel"
Everything we love about Wes Anderson and much more is included in this stylized beauty of a film. Ralph Fiennes is an irreverent, classy, womanizer that gets into trouble with an array of quirky villains played by a topnotch cast. From its score to the production design, this is Anderson at his best.
12. "The Boxtrolls"
Laika’s craftsmanship reached a new level of delightful greatness with this darkly comedic period piece. Their brand of stop-motion animation is impeccable. Each character is meticulously created with a wonderful physicality that no other medium can provide.
Review "The Boxtrolls"
11. "Leviathan"
Andrey Zvyagintsev’s masterpiece dissects the complexity of Russian society through a family drama that is as intimate as it is monumental in the themes it explores. Religion, government, and betrayal are all monsters haunting a righteous man at the mercy or their powers.
Carlos Aguilar's interview with Andrey Zvyagintsev
10. "Only Lovers Left Alive"
Between desolated Detroit and a moody Marrakesh, Jim Jarmusch's darkly comedic film delivers an incredibly original tale about familiar bloodsuckers. Permeated in groovy rock and roll music, vintage wardrobe, blissful production design, and an otherworldly atmosphere, “Only Lovers Left Alive” reclaims vampires as graceful, complex, and cultured beings, rather than the vehicle for teenage fantasies
Review "Only Lovers Left Alive"
9. "Nightcrawler"
Brutally unapologetic about the bloodthirsty practices of today’s media, Dan Gilroy’s directorial debut is a fantastic vehicle for Jake Gyllenhaal to deliver a performance unlike anything he’s done before. Outrageously insightful, Gilroy’s writing is a perverse delight that is at once analytical and utterly entertaining.
8. "Birdman"
While definitely hilarious, Inarritu’s latest work offers sharp observations on the nature of art and artists. This is a giant leap into new territory for the acclaimed Mexican filmmaker. His undeniable talent directing actors is what elevates his work from just a brilliant idea to a work that thrives on touching human vulnerability. Added to this, Emanuel Lubeski’s work in the cinematography department is a visual treat.
7. "Wild Tales"
This insanely inventive collection of deranged stories questions violence and revenge from a comedic angle. Besides being a complete riot that packs in uproarious humor, Damian Szifron’s film demonstrates his ability to create a cohesive film out of diverse vignettes united by the dark side of human nature. From start to finish, “Wild Tales” is truly a savagely fun trip.
Sydney Levine's Feature Piece on "Wild Tales"
6. "The Tale of the Princess Kaguya"
Studio Ghibli’s co-founder Isao Takahata demonstrates once more that his work is as spectacular as anything else the studio has created. His brand of handcrafted animation is of a uniquely exquisite kind that flows on the screen like streams of vibrant beauty. ‘The Tale of the Princess Kaguya” is perhaps his most striking work
5. "A Girl Walks Home Alone at Night"
This black and white, Persian-language vampire film is a revelation. Style and story elegantly arranged to be poetic and ethereal throughout. Undoubtedly the most dazzling feature debut of the year. Ana Lily Amirpour has a unique vision forged out of her fascination with genre films, music, and other peculiar interests, all of which blend into a delightful cocktail of beauty, danger, and pure originality.
4. "Winter Sleep"
Nuri Bilge Ceylan defines what being an auteur means every times he is behind the camera. Palme d’Or or not, “Winter Sleep” is the only film over 3 hours that has kept me fully engaged for every second of it. Every line of dialogue is as thought provoking as the next without being pretentious. He finds the fibers of human behavior and stretches them to their limit in every single scene. Absolutely mesmerizing
Review "Winter Sleep"
Sydney Levine's Feature Piece on "Winter Sleep" from Cannes
3. "Mommy"
The tenderly violent love between a mother and a son make for an intoxicating tour de force. Xavier Dolan plays with aspect ratios, music, evocative cinematography and raw, maddening emotions to produce one of the most heartbreaking and intense experiences I’ve ever had watching a film. I was in a complete state of exhilaration until the very last, perfect, frame.
2. "Ida"
There is not a single miscalculation in Pawel Pawlikowski’s immaculate post-Holocaust drama. Each frame is a stunning work of sheer perfection. Flawless cinematography, riveting performances by both leading actresses, and a story that is subtle on the surface but carries intense undertones about spirituality and the consequences of guilt, make of “Ida” a masterwork to be cherished for years to come
Review "Ida"
Sydney Levine's interview with Pawel Pawlikowski
1. "Song of the Sea"
I'm certain some people will think me crazy for choosing this film as my favorite of the year, but witnessing Tomm Moore’s gorgeous and ethereal craftsmanship was an unforgettable experience. What he was able to achieve here, both in technique and emotional poignancy, is absolutely outstanding. "Song of the Sea" is one of the most blissfully beautiful animated films ever made. It is a gem beaming with awe-inspiring, heartwarming magic. It will be a long time before animation reaches this level of mesmerizing artistry again.
Review "Song of the Sea"
Carlos Aguilar's interview with Tomm Moore...
There were many other films that I did in fact watch but didn’t make the list, such as “Wild,” “Interstellar,” “The Imitation Game,” “Unbroken,” “The Theory of Everything,” “Big Hero 6,” “Big Eyes,” "A Most Violent Year" and “Into the Woods.” Although none of these ended up among my favorites, many of them served as vehicles for the cast to deliver outstanding performances or showcased great cinematography and VFX. I mention this to clarify that their omission was a conscious decision.
Evidently, there were several acclaimed films I did not manage to watch, which could have made a difference. These include films like "Love is Strange," “Maps to the Stars,” “Stray Dogs,” “Top Five,” and “Rosewater.”
The films on this list include films that had a regular release in 2014, films that some consider to be 2013 films but which got a full release in 2014, and films that had a one-week qualifying run in 2014 but which will officially open in 2015. Other amazing films that I saw at festivals, but which did not have a theatrical release of any form this year will be included in next year’s list. Examples of these include “The Tribe,” “Timbuktu,” “The Voices” “Gueros,” “Viktoria,” and “Kumiko, the Treasure Hunter.”
Like with all lists, this is a very personal selection of films that connected with me on different levels. Some choices might be strange, others expected, but all of them speak to what I find interesting or great about cinema. I hope that with this list you can find titles you haven’t hear of or others you might have forgotten about. It has been such a terrific year for films. Here is hoping for 2015 to be even more inspiring.
Feel free to share with us what your favorite films of 2014 were in the comments section.
Honorary Mention for Favorite TV Series: "Over the Garden Wall"
In Patrick McHale’s enchanting Cartoon Network miniseries, “Over the Garden Wall,” brothers Wirt (Elijah Wood) and adorable Greg (Collin Dean) travel through the Unknown, a magical forest filled with peculiar characters. Blending a classic fable look with witty humor and catchy songs for a fantastically refreshing 2D cartoon, the show is rapidly - and deservingly - becoming a fan favorite. Once you see little Greg performing the sweet tune Potatoes and Molasses, it will all make sense.
Top 60 Films Of 2014
60. "Happy Christmas"
Anna Kendrick is an irresponsible, yet charming, young woman in Joe Swanberg’s holiday-infused family dramedy. “Happy Christmas” is small in scope but big in subtle amusement. Baby Jude Swanberg steals every scene.
59."Mood Indigo"
Whimsical, ingenious, and uniquely confected, Michel Gondry’s adaption of Boris Vian’s novel stars Audrey Tautou and Romain Duris. His latest romantic fantasy is heartwarming visual candy.
Review "Mood Indigo"
Carlos Aguilar's interview with Tautou
58. "Lilting"
A cross-cultural connection in the aftermath of tragedy is at the center of Hong Khaou’s touching debut. Through great performances and ethereal cinematography the filmmaker reassures us love is the only language that matters.
Carlos Aguilar's interview with Hong Khaou
57. "Captain America: The Winter Soldier"
With an intelligent and fun screenplay, this new entry in the Marvel universe showed us that - despite all the badassery he is capable of - all that Steve Rogers wants is his best friend back.
Review "Captain America: The Winter Soldier"
56. "Oculus"
Mike Flanagan doesn’t resort to excessive gore or a monumental story to instill fear. Instead, he uses the effective mechanics of his story to turn a room with an old mirror, a camera, and a pair of youngsters into a terrifying space.
55. "Rich Hill"
Looking at a segment of the American population from a uniquely compassionate and insightful perspective, “Rich Hill” cherishes the humanity of its subject rather than patronizing them.
54. "The Notebook"
The brutality of war is observed through the eyes of a pair of twin brothers who decide to detach themselves from any emotional connection in order to survive. Unflinching and powerful, “The Notebook” is part dark fairytale and part historical drama.
Review "The Notebook"
Carlos Aguilar's interview with János Szász
53. "Blue Ruin"
This gritty and unpredictable thriller follows a man whose thirst for revenge becomes his death sentence. Macon Blair’s character goes from passively hiding in the shadows to becoming a ruthless rookie assassin. Tension is the name of the game here.
52. "The Book of Life"
The ancient Mexican celebration of Day of the Death comes to life in this vibrant and surprisingly authentic animated feature from Jorge Gutierrez and producer Guillermo del Toro. It’s a colorful and intricately designed vision of beloved tradition.
51. "The German Doctor" (Wakolda)
Lucia Puenzo’s captivating mystery focuses on infamous Nazi physician Josef Mengele, as he tries to test his disturbing practices on family while hiding in the Argentine countryside. Elegantly executed and definitely unsettling
Review "The German Doctor"
Carlos Aguilar's interview with Lucia Puenzo
Sydney Levine's Case Study on "The German Doctor"
50. "Still Alice"
Lost, confused, but still fighting to preserve her individuality while facing the imminent effects of Alzheimer’s disease, Alice refuses to give up. Julianne Moor is absolutely stunning and heartbreaking.
49. "American Sniper"
Eastwood’s best film in a long time packs thrilling combat sequences as it looks at post-9/11 American patriotism via a simple man turned murder weapon. Bradley Cooper delivers the best performance of his career.
48. "The Lego Movie "
Pop culture has never been as hilarious and witty as in this uniquely animated story about individuality, the nature of heroism, and the power of a child’s imagination. With cameos galore and jokes aplenty, everything is indeed awesome.
47. "Manuscripts Don't Burn "
Mohammad Rasoulof’s fearless cinematic statement denouncing the Iranian regime is an incredible testament to the power of film as a cultural weapon against injustice. Not only is the film politically relevant, but also an all-around gripping thriller.
Review "Manuscripts Don't Burn"
46. "Guardians of the Galaxy "
This summer Marvel outdid itself with the truly enjoyable first installment of its newest franchise. Charismatic Chris Pratt as Star Lord, a more than memorable soundtrack, and an eclectic group of sidekicks made this the smartest summer hit.
45. "In Bloom"
Set in Tbilisi, Georgia, this unique coming-of-age tale is a riveting hidden gem that sports mesmerizing performances from its young cast. The filmmakers find evocative, everyday beauty in the hardships of life in a war-torn country.
Review "In Bloom"
44. "Goodbye to Language"
Godard’s use of 3D in this highly experimental work produces a physical reaction on the viewer that proves how alive the auteur’s vision still is. He is as cryptic, curious, innovative, unapologetic, and brilliant as he was over 50 years ago.
43. "Mistaken for Strangers"
Tom Berninger’s personal documentary is not a film about The National, but about a man trying to find his own path while reconnecting with his older brother – who happens to be a rock star. Fun, heartfelt, and honest.
Carlos Aguilar's interview with Tom and Matt Berninger
42. "Manakamana"
Simple on the surface but hauntingly poetic, this documentary focuses on a series of people as they travel up to a sacred shrine in Nepal. Their faces speak in silences, laughter, and visible sadness, which form a language far more stirring than ephemeral words.
41. "Whiplash"
J.K. Simmons is a nightmarish instructor in Damien Chazelle’s fascinating debut about a young drummer by obsessive passion. The final sequence is an astonishing showstopper that sports marvelous, flawless editing
40. "The Overnighters"
What starts as the story about a Good Samaritan helping those in need despite criticisms, turns into an examination of a conflicted man. Faith, lies, regret and the judgmental eyes of an entire community will become his agonizing cross to bear.
39. "Rocks in My Pockets"
Latvian artist Signe Baumane uses 2D animation to work through her insecurities, her relationships with her estrange family, and depression. Craft and substance merge to construct an absorbing personal statement that is unexpectedly relatable.
Sydney Levine's Feature Piece on "Rocks in My Pockets"
38. "The Missing Picture"
To reconstruct his family’s past, and by extension that of his homeland under the Khmer Rouge, director Rithy Panh uses clay figurines and evocative narration in the absence of images from the time. One of the most original documentaries ever made.
Review "The Missing Picture"
37. "Snowpiercer"
Art house sensibilities imbedded into a powerful post-apocalyptic tale from South Korean director Bong Joon-ho gave us a superbly sophisticated actioner. Chris Evans delivers a different, but equally great heroic performance. However, Tilda Swinton takes the prize here.
36. "Life Itself"
Roger Ebert’s love for life and movies was endless. Despite major health issues near the end, his spirits and voice were never weakened. Steve James intimate documentary captures both the man and the critic in a lovely manner.
35. "Gone Girl"
Fincher’s latest focuses on a media circus fueled by a couple’s despicable lies and the public’s voyeuristic desire to find a villain and a victim. While Ben Affleck is good here, the film thrives on Rosamund Pike’s wickedly clever role.
34. "Two Days, One Night"
Only the Dardenne brothers can transform seemingly banal situations into compelling narratives that question the morality of their characters. In their latest masterful effort Marion Cotillard’s talent shines as she balances desperation, pride, and hope.
33. "Foxcatcher"
Driven by a trifecta of great performances, Bennett Miller’s drama shows a disturbed man in search of recognition and validation by any means necessary. Channing Tatum deserves more praise for his nuanced work here.
32. "Omar"
At once timeless and decisively current, Hany Abu-Asad’s Shakespearean crime drama deals with Israeli-Palestinian relations from a humanistic point of view. The political issues that serve as context become more urgent when seen through the characters’ struggles.
Review "Omar"
Carlos Aguilar's interview with Hany Abu-Assad
31. "Mr. Turner"
The awe-inspiring cinematography and Timothy Spall’s grumpy, yet endearing portrayal of one of Britain’s most revered painters make of “Mr. Turner” another successful addition to Mike Leigh’s near-perfect track record.
30. "Nymphomaniac"
Blasphemous, explicit, and cerebral as most of Lars von Trier’s works, this two-part recollection of the anecdotes takes us into the tortured mind of a sex addict. There is no sugarcoating or redemption to be found here, only a skillful provocateur who loves to revel in the playful bleakness of it all.
Review "Nymphomaniac Vol. 1"
Review "Nymphomaniac Vol. 2"
29. "Gloria"
A middle-aged woman takes control of her life in this excellent Chilean dramedy. The title character, played by the lovely Paulina Garcia, wants to find love once again and to live without restrains. As she dances the night away we are certain that, despite the hardships, she will.
Review "Gloria"
Sydney Levine's interview with Sebastian Lelio and Paulina Garcia
28. "The Babadook"
A vicious boogieman terrorizes a mother and her son in this Australian horror masterpiece. Like with the best films in the genre, is what you don’t see that’s the most disturbing. Dir. Jennifer Kent uses creepy guttural sounds, shadows, and a malevolent children’s book to psychologically inflict fear.
27. "Ernest & Celestine"
Delightfully crafted to look like a collection of gorgeous moving watercolors, this French animated feature based on Gabrielle Vincent’s books is a visual treat and reminds us of the innocent fables from yesteryear.
Carlos Aguilar's interview with Benjamin Renner
26. "Hide Your Smiling Faces"
Two brothers growing up in a small town are confronted with the notion of death and the complexities of the adult world in this remarkably done debut by Daniel Patrick Carbone. An absolute must-see that deserves a wider audience.
Review "Hide Your Smiling Faces"
25. "Stranger by the Lake"
In Alain Guiraudie’s beachside mystery, a murderous romance hides underneath warm weather and desire. This provocative, darkly comedic and splendidly acted slow-burner shows that danger is sometimes the most lethal aphrodisiac.
Carlos Aguilar's interview with Alain Guiraudie
24. "Heli"
Amat Escalante’s brave and brutally honest depiction of Mexico’s violent present is unquestionably a difficult cinematic experience. However, the filmmaker is capable of finding resilient hope in the midst of overwhelming despair.
Review "Heli"
Carlos Aguilar's interview with Amat Escalante
23. "CitizenFour"
Few embellishments are needed when you have such a shocking and important story told not from an outsider’s perspective, but from its source. Fiction falls short in comparison to the truths and secrets encompassed in Laura Poitras account of the Edward Snowden case.
22. "Force Majeure"
Gender roles are questioned with humorous but poignant observations on marriage and societal expectations in this Swedish hit from Ruben Östlund. Laugh-out-loud moments galore and an unforgettable “man cry” sequence are the result of a catastrophic controlled avalanche.
Carlos Aguilar's interview with Ruben Östlund and Johannes Kuhnke
21. "The Guest"
Adam Wingard’s perversely comedic stunner about a devilishly deceiving visitor was by far one of the most outrageously fun films I saw this year. It’s a masterwork of madness. I can’t wait to see what Wingard, writer Simon Barrett, and star Dan Stevens do next.
20. "Obvious Child"
Jenny Slate’s Donna Stern is navigating adulthood through laughter. Her standup performances are unfiltered, moving, and often hilariously distasteful, but always sincere. Slate and director Gillian Robespierre are a match made in comedy heaven.
Review "Obvious Child"
Carlos Aguilar's interview with Gillian Robespierre and Jenny Slate
19. "Inherent Vice"
There are numerous wacky characters and subplots in Paul Thomas Anderson’s adaption of Thomas Pynchon novel, but the real magic happens when Joaquin Phoenix and Josh Brolin are together on screen. “Motto panukeiku!” is all I have to say.
18. "Starred Up"
Jack O’Connell’s award-deserving performance packs raw energy, ferocious anger, and tragic vulnerability. Violence and respect are the only useful currencies in this potent prison drama that’s as thrilling as it’s emotionally devastating.
Carlos Aguilar's interview with David Mackenzie
17. "Listen Up Philip"
Brimming with originality and uncompromising humor, Alex Ross Perry’s look at the writing craft is pure brilliance. Jason Schwartzman stars as an obnoxious, self-centered young author. He is as utterly amusing and revels in his character’s hilarious arrogance.
16. "Boyhood"
Thanks to Richard Linklater’s perseverance we were able to experience an incredible and incomparable cinematic journey. Filled with small, but affecting moments of sorrow and joy, a child’s life - and that of those around him - literally unfolds on screen somewhere between reality and fiction.
15. "Selma"
Avoiding all the dreaded biopic clichés, director Ava DuVernay created a powerful historical drama that couldn’t be more opportune. Among a star-studded cast, David Oyelowo delivers a knockout performance as Dr. Martin Luther King Jr.
14. "Under the Skin"
Life on earth as seen by a seductive alien is simultaneously frightening and revelatory in Jonathan Glazer’s dazzling sci-fi character study. Scarlett Johansson is superb as a creature intrigued by the virtues and shortcomings of human nature.
Review "Under the Skin"
13. "The Grand Budapest Hotel"
Everything we love about Wes Anderson and much more is included in this stylized beauty of a film. Ralph Fiennes is an irreverent, classy, womanizer that gets into trouble with an array of quirky villains played by a topnotch cast. From its score to the production design, this is Anderson at his best.
12. "The Boxtrolls"
Laika’s craftsmanship reached a new level of delightful greatness with this darkly comedic period piece. Their brand of stop-motion animation is impeccable. Each character is meticulously created with a wonderful physicality that no other medium can provide.
Review "The Boxtrolls"
11. "Leviathan"
Andrey Zvyagintsev’s masterpiece dissects the complexity of Russian society through a family drama that is as intimate as it is monumental in the themes it explores. Religion, government, and betrayal are all monsters haunting a righteous man at the mercy or their powers.
Carlos Aguilar's interview with Andrey Zvyagintsev
10. "Only Lovers Left Alive"
Between desolated Detroit and a moody Marrakesh, Jim Jarmusch's darkly comedic film delivers an incredibly original tale about familiar bloodsuckers. Permeated in groovy rock and roll music, vintage wardrobe, blissful production design, and an otherworldly atmosphere, “Only Lovers Left Alive” reclaims vampires as graceful, complex, and cultured beings, rather than the vehicle for teenage fantasies
Review "Only Lovers Left Alive"
9. "Nightcrawler"
Brutally unapologetic about the bloodthirsty practices of today’s media, Dan Gilroy’s directorial debut is a fantastic vehicle for Jake Gyllenhaal to deliver a performance unlike anything he’s done before. Outrageously insightful, Gilroy’s writing is a perverse delight that is at once analytical and utterly entertaining.
8. "Birdman"
While definitely hilarious, Inarritu’s latest work offers sharp observations on the nature of art and artists. This is a giant leap into new territory for the acclaimed Mexican filmmaker. His undeniable talent directing actors is what elevates his work from just a brilliant idea to a work that thrives on touching human vulnerability. Added to this, Emanuel Lubeski’s work in the cinematography department is a visual treat.
7. "Wild Tales"
This insanely inventive collection of deranged stories questions violence and revenge from a comedic angle. Besides being a complete riot that packs in uproarious humor, Damian Szifron’s film demonstrates his ability to create a cohesive film out of diverse vignettes united by the dark side of human nature. From start to finish, “Wild Tales” is truly a savagely fun trip.
Sydney Levine's Feature Piece on "Wild Tales"
6. "The Tale of the Princess Kaguya"
Studio Ghibli’s co-founder Isao Takahata demonstrates once more that his work is as spectacular as anything else the studio has created. His brand of handcrafted animation is of a uniquely exquisite kind that flows on the screen like streams of vibrant beauty. ‘The Tale of the Princess Kaguya” is perhaps his most striking work
5. "A Girl Walks Home Alone at Night"
This black and white, Persian-language vampire film is a revelation. Style and story elegantly arranged to be poetic and ethereal throughout. Undoubtedly the most dazzling feature debut of the year. Ana Lily Amirpour has a unique vision forged out of her fascination with genre films, music, and other peculiar interests, all of which blend into a delightful cocktail of beauty, danger, and pure originality.
4. "Winter Sleep"
Nuri Bilge Ceylan defines what being an auteur means every times he is behind the camera. Palme d’Or or not, “Winter Sleep” is the only film over 3 hours that has kept me fully engaged for every second of it. Every line of dialogue is as thought provoking as the next without being pretentious. He finds the fibers of human behavior and stretches them to their limit in every single scene. Absolutely mesmerizing
Review "Winter Sleep"
Sydney Levine's Feature Piece on "Winter Sleep" from Cannes
3. "Mommy"
The tenderly violent love between a mother and a son make for an intoxicating tour de force. Xavier Dolan plays with aspect ratios, music, evocative cinematography and raw, maddening emotions to produce one of the most heartbreaking and intense experiences I’ve ever had watching a film. I was in a complete state of exhilaration until the very last, perfect, frame.
2. "Ida"
There is not a single miscalculation in Pawel Pawlikowski’s immaculate post-Holocaust drama. Each frame is a stunning work of sheer perfection. Flawless cinematography, riveting performances by both leading actresses, and a story that is subtle on the surface but carries intense undertones about spirituality and the consequences of guilt, make of “Ida” a masterwork to be cherished for years to come
Review "Ida"
Sydney Levine's interview with Pawel Pawlikowski
1. "Song of the Sea"
I'm certain some people will think me crazy for choosing this film as my favorite of the year, but witnessing Tomm Moore’s gorgeous and ethereal craftsmanship was an unforgettable experience. What he was able to achieve here, both in technique and emotional poignancy, is absolutely outstanding. "Song of the Sea" is one of the most blissfully beautiful animated films ever made. It is a gem beaming with awe-inspiring, heartwarming magic. It will be a long time before animation reaches this level of mesmerizing artistry again.
Review "Song of the Sea"
Carlos Aguilar's interview with Tomm Moore...
- 1/1/2015
- by Carlos Aguilar
- Sydney's Buzz
This year, Richard Linklater’s "Boyhood" played in the closing night slot of the True/False Film Fest, a festival dedicated to documentaries. The organizers explained the that, because of its documentary-like production schedule, the film represented something that only non-fiction is capable of. "For most casual filmgoers, the role of the producer may be mysterious, in part because their efforts are designed to be invisible onscreen. But a film like 'Boyhood,' seamless as a viewing experience, also demands that we acknowledge the epic care and attention to detail than went into its creation. What's more, Linklater's artistic process, by necessity, took into account the natural meanderings of his actor's lives, lending a verisimilitude to the action missing from many other fiction films." The folks behind the Cinema Eye awards clearly agree with True/False’s assessment and in the possibility that fiction can transcend its own narrative...
- 12/8/2014
- by Matt Patches
- Hitfix
Months after Tom Berninger's documentary “Mistaken for Strangers” opened the Tribeca Film Festival, I became aware of The National’s plan to premier the film in L.A. with a concert event at The Shrine. At this point, and despite having read several glowing reviews of the film, I must admit that my interest was sparked mostly by the fact that The National is one of my favorite bands. Their incredibly nuance sound and their quietly vibrant lyrics have an intoxicating quality loved by hordes of fans around the world. Yet, when I finally had the chance to see the film, I instantly realized that I was witnessing something real, perhaps too honest to be on screen. There was of course great behind the scenes footage of The National and striking images of lead singer Matt Berninger losing himself to the tunes. But above all that there was Tom Berninger’s profound quest to find purpose in his own life and reconnect with his rock-star brother.
For years they had in fact, unintentionally, mistaken each other for strangers because their lives had taken different roads. Tom wanted to make movies and Matt’s band had earned a great following and critical praise. But through the making of this documentary, which changed courses during editing, they both rediscovered each other beyond the glossy stage lights and the endless tour bus trips. Tom joined Matt on the High Violet tour for several months to work as a crewmember and to make a fun film about The National and his perception of them. Still, as things usually go, this plan did not turn out as clear-cut as either of them had expected. What was meant to be a humorous depiction of a heavily poetic indie rock band turned out to be a story about two brothers and how one of them struggles to overcome self-doubt in order to make an utterly enjoyable, but deeply touching film.
This week I met with Tom and Matt Berninger in Los Angeles to chat about this personal and uproarious movie that will forever be a testimony to their fraternal reconnection. There were some margaritas involved, there was maddening rain in L.A, and there were fan-boy questions on my part that were difficult to avoid. Yet, what was most present during this interview was truth. Their brotherly love and all the intricacies it involves was always there, in the flesh, real. One can only be thankful to have talked to a pair of very different, but unquestionably talented people. Here is what they had to say.
Carlos Aguilar: Tell me about this insane and touching journey you both went through while spending time on tour and making the film. What were you expecting to be the outcome in terms of the film and what it would represent for each one of you? The film certainly is much introspective than just simply a film about a band.
Tom: It’s been so long ago now. I was working in few movies as a Pa, but mostly I was working at a TV station in Cincinnati as a tech person. I always wanted to make movies. I went to film school. Matt knew that this is what I wanted to do. We would talk movies all the time when we saw each other over the holidays. I hardly ever got to see him, but when I did we would talk about movies. I was stuck in a rot and feeling like I could live in Cincinnati, Ohio for the rest of my life or I could do something fun and kind of experience what he experiences, such as traveling around the world with a band.
I also knew that the band was getting bigger and I wanted to see that. I wanted to taste a little bit of his fame [Laughs]. He brought up this idea that I should come on tour and bring a camera, film some fun goofy stuff, and see what could come out of it. I hoped it would be something that I could use to further my career as videographer or to get a job maybe in NYC with some multimedia firm thanks to the fact that I had this little thing I made with The National. I didn’t know what it was going to be, but that was the idea, to get on my feet using their name or their kind of cloud as this cool indie rock band to get my foot in the door into some sort of job opportunity in NYC. At least that was my angle.
Matt: Mostly it was to give him a job and to get him out of Cincinnati for a while, but also because I missed him. A third of it was a charity thing, another third was that I missed him, and the last third was me thinking “Hey, maybe he could make something cool.” What I had thought he would make was not what he made in the end, but it wasn’t a fake job. I actually did believe he could make something cool and that together we could have fun trying to make, and we did. You don’t actually see much of us goofing around and having fun in the final product because it wasn’t that interesting to the real story.
What became the film was Tom struggling with his other job of being a roadie and struggling with the making of this project. Focusing on Tom’s struggle made for a much better film and not what we had originally set out to do. Originally we though of making a goofy film, almost like a Monkey’s movie or “A Hard Day’s Night,” a tour film that’s all wacky and silly, but all that stuff is just stupid.
My wife Carin Besser, who edited the film alongside Tom, thought that stuff was kind of boring. She was looking at all the footage of when Tom started to go off the rails and said, “You don’t have a movie with that stuff.” But when she saw him drunk on the bus and the other humiliating things Tom went through, she was like, “That’s what I’m interested in!” I think we were already half way into that direction anyway and I thought, “Yes, let’s just throw everything out and let’s just focus the movie on what happened to you, not the band”
Tom: The National, the band members are super cool. I’ve known these guys long before they were in a band. I’ve known them throughout their careers and through many years of struggling. I knew whatever I would be filming wouldn’t be a real documentary about the band, because I don’t really listen to them. I’m a fan of them and I’m a fan of their success and I know they make music that’s very special to some people, but the music was never really important to me simply because it’s not my taste in music or my scene.
I didn’t really have any idea of what to make. I certainly didn’t want to dive into something like, “Matt, what’s your creative process?” I wouldn’t even know where to go from there, but what I was interested in was getting to know these guys behind the scenes and seeing them start get famous. I was very interesting in things like, “What’s it like to have all these people staring at you? And all these girls!” To me that’s awesome, and that’s what I think most people want to know, “What does it feel to be super famous to your group of fans?”
That was the most interesting part to me and that’s what I wanted to figure out. I wanted to try to make them feel embarrassed and get some real funny stuff. I kind of got that, there are some elements of that in the movie, but it became something else. Also I felt like I had to somewhat document myself like on the tour bus when I was getting drunk by myself.
Matt: [To Tom] You thought that would be funny
Tom: Yes, I thought that would be funny and I thought, “I’m the only one on this tour bus and I’m going to get wasted because that’s what people do on tour buses. The band is in their nice hotel sleeping and I’m the only one taking advantage of this tour bus”
Matt: [To Tom] And it was funny but not quiet in the way you thought it would be
Tom: No, it wasn’t funny at all
Matt: It was kind of depressing. That’s some of the most uncomfortable stuff to watch, which are the things that he thought would be kind of funny or cool.
Tom: When I filmed them I thought, “Let’s see how it plays” [Laughs]. “We’ll see if this is as fun as I think it is.”
Matt: [To Tom] There was a point where you were filming stuff and you were like “Oh, this is so awkward and terrible.” You would tell the other guys in the band to do something because you were trying to get “cool” stuff, but then you thought, “This is all going to be garbage.” Then early in the editing process you realized “Actually this stuff is funny! The stuff about me trying to make this other movie is actually what’s funny.” You recognized the comedy quickly. It didn’t take anybody else to show you what worked. Like when you made Bryce pick up the sunglasses, that’s funny.
Tom: There were a bunch of moments, that one included, where I thought” What kind of footage do I have of this band, The National. I don’t know if it’s any good or not but it’s weird and I kind of like it.” Early on I had shot my brother casually looking at the camera and though “He looks good there, he looks cool.” I looked at the footage and it was great. I thought” Wow, if I could get a moment like with every single guy in the band that’d be great. I don’t know where I’d used it but it’d be great”
Matt: [To Tom] Which one is the one of me?
Tom: It’s a shot I used in the “Terrible Love” music video. In that video there is a shot of Matt, which is very casual and it’s like four seconds long, but he looks like a rock star. I wanted to get everyone of them in a cool rock star pose. I wanted something like a moving portrait or a video portrait.
Aguilar: Tom, at what point did you look at all this footage and decided what you were going to do with it to make a meaningful film out of this experience?
Tom: We saw the footage where I shot these guys in “cool” poses and we realized they were awful and awkward [Laughs]. That’s when I started to think that I had failed to get what I wanted, I failed at making a cool movie. Instead I felt like I kind of took advantage of them, but I was also getting them in a real moment. They are trying to be rock stars but then you see how awkward they are. There is something underneath. They are these normal guys who happen to have an awesome job. That’s when we started trying to figure out how to piece together all this footage of me trying to make an awesome movie and failing at that, but at the same time capturing this journey to try to find myself and finish my project.
Aguilar: Making such a personal film, were there moments where it became to intimate to show? How difficult was it to look at this footage, which sometimes shows both of you in an unflattering way?
Matt: There were many times during the process when he was shooting stuff on tour and asking questions to which I would say, “Don’t use any of this.” At some point Bryan literally says, “Don’t use any of this interview,” and Tom laughs. It didn’t make into the film because it was too personal. There were also a lot of times that I just didn’t want him filming, but when the story started to come together and I saw some of he unflattering stuff, I was fine with it because I knew he was already putting so much unflattering stuff about himself in the film.
By the time they were actually creating something that was coming together, they had changed the focus and turned it inward towards Tom’s relationship with me. At that point all of these unflattering elements became relevant and interesting in the context of this new movie. I was Ok with it. The other guys in the band, well, I didn’t tell them what was happening for a long time. I kept them in the dark about it. They were pretty much in the dark until they saw part of a rough cut at a screening that went badly. It’s the screening you see in the film where the screen goes blank. That was the first time anybody in the band had seen anything.
All they saw was about 10 minutes of awkward, weird, uncomfortable stuff and then the screen went blank, but they were laughing at that. They got it. They thought that stuff was cool. It was actually kind of a lucky thing that when Tom tried to screen it the band didn’t get to see very much because what they saw was the funny stuff. At that point they backed away and let Tom go ahead and finish it. If they had seen the whole thing I bet they would have jumped in and gotten more involved. Tom would have lost some control.
The finishing of it was like a cat-and-mouse game between what the movie really was and what the band thought it was. Even with me, Corine and Tom were not totally letting me understand that it was going to be about until they started getting close to something good.
Tom: It took a long time to make it what it is. In the first 6 months of working on it, when Matt didn’t know anything and it was only me trying to figure out what I had shot, that was when I noticed the awkwardness of some of the things that I did with the guys. Then I saw myself crying and getting drunk on the bus and I thought,“ I don’t know how this goes into a movie. “ I was still thinking it was going to be about the band.
For a long time that was the driving force, it had to be about the band with an undercurrent about the brother making this documentary and screwing up. Mainly it was all about he band, but slowly we showed it to a few friends and, with me being the room, Matt would ask them, “ How much of Tom do you want to see? Are you annoyed at Tom? Are you guys tired of seeing Tom or do you like seeing Tom?” And they would all say “We like seeing Tom.”
I thought, “Alright, they like seeing me. “ We thought that stuff with me was funny and somewhat dramatic and sad, and I didn’t know how to react to that. I also thought it was sad, but it was also my life. Still, I’m all about making a good movie and if people like that and people think that makes it a better movie then I’m all for it. I thought, “Ok, let’s take more of The National out and put more of the shit that I was going through in the movie.” It just became a better movie that way.
Aguilar: What have you learned about each other after looking at one another through this filter, the film? Tom as the one behind the camera and Matt as sort of the original subject for the documentary.
Matt: It’s been funny. Through the process of him being of tour making the film I learned a certain type of thing: I learned that I missed my brother and I learned that I liked having him around. Putting it in perspective, I also realized that when he was around while we where on tour I was much happier, even if you don’t see much of that in the film [Laughs]. I don’t like to tour. I like doing shows, but I don’t like being away from home. I don’t like to travel that much, and I get really lost. I get pretty weird in the head after 5 or 6 weeks traveling around on a bus, doing shows, and the anxiety of it all. Having Tom around kept me grounded and more connected to the things that are important. Having him around put this whole rock and roll thing in perspective, which is good for me.
Tom: [To Matt] Also, when the shows are not going on the two pairs of brothers in the band pair up and go out to do some shopping, or whatever brotherly things they do. But you don’t really have anybody to go with. It was fun for me because I had never been to Europe and I was able to go out with him, eat dinner, and see all these places I had never been to. It was also a great chance for him to get out of the hotel room occasionally.
Matt: The band is a crucible of creative tensions, and it was nice to be able to go out to dinner with Tom, just Tom and I, and let out all my frustrations with the tour or the shows, or even share my enthusiasm and happiness. It’s hard to do it sometimes with the band because we are in this thing together and it’s loaded with all kinds of other tensions. Therefore, having Tom around was a huge tension release, a relief valve that released a lot of the pressure.
Tom: I was so unaware of the band’s small talk, subtle innuendos, and the subtle ways a band rips each other apart.
Matt: [To Tom] They went totally over your head. You didn’t even know.
Tom : I didn’t know that things weren’t going well certain days. I’m kind of everybody’s friend because everyone knows that I have no idea what’s going on.
Matt: If there were some sort of tension going on in the bad for whatever reason Tom wouldn’t have any idea of what was going on. So he and I would go out to dinner and I’d be bitching about the show and he would say, “I though the show was awesome!” It would put it in perspective for me. “Why am I complaining?” [To Tom] You did that for everyone else, having you around just relieved all kinds of tension within the band, mostly because you were making everybody laugh.
Tom: I’m at 0 for 80 as far as The National shows I’ve seen and how always I get their reaction to the show wrong. Sometimes I’d say, “That was a good show,” and they’ll say, “No, that was a terrible show.” Then another time I’d say, “That was really bad show,” and they’ll be like “We all thought that was a great show.” My read of every show was different from the band’s reaction. I couldn’t understand it. When I felt the energy apparently nobody else did.
Matt: He always got it wrong. Or maybe you always got it right [Laughs]. Another thing that happened in the process of this whole thing is that I saw Tom’s talents that I didn’t actually know of. There are a lot of things that I would not do the way Tom does. He is a very different person from me. I saw how different he is from me….
Tom: Like how I drink my Margarita? [Laughs]
Matt: I saw how different he is from me, and how brilliant he is in some things. I think through the process of him being on tour and him living with us, I think Tom and I are starting to understand what we are good at and what the other person is good at. We are starting to respect each other in a different way. Our old dynamic of older successful brother and younger less successful brother, that cliché, has changed.
I was always trying to help him and give him guidance, and all that. At a certain point I was giving him guidance that was meant for me not for him. I started recognizing that he is on a different road than I am. I started to understand his road and I think he understood where I’m coming from. What has happened is that a lot of the animosity between us has dissolved. He still drives me crazy and I drive him crazy, but underneath all that he knows that what I do is good even if it’s not his type of thing. I know that the things that he does are good, we just do different types of things
Aguilar: Was making the film a cathartic experience? Do you guys now see each other more like different creative people, besides being brothers, thanks to this shared experience?
Tom : Making this film has helped me discover things that I’m good at. As far as how the movie works, how it plays, how funny it is, I have my own take on that. Making it I did find some fun, comfort, and success. It was fun to see people liked the movie. That’s what I always wanted to do. With me being in my own movie so much, I didn’t know that it was going to be such a fun thing for people to watch me.
Matt: We know the movie is funny, and we knew what was funny about it when we were editing it, but there is a lot of therapy in there too. The movie is a lot about us working out problems. The editing of the movie was an extension of us trying to, not only look for what’s interesting about each other, but also finding what’s interesting about our relationship. Ultimately we wanted people to not be bored, and we wanted to tell a story that was meaningful and we kept coming back to our relationship and the complicated thorns that are in a real relationship between brothers or between anybody. This just happens to be about two brothers that are far apart in age.
Even if we had to show unflattering sides of each other that was what we were most interested in. My wife was definitely interested in the weird details of any relationship. Two human beings trying to understand each other, who love each other, but who also hate each other. How does that play out? All the most important things that happen in a human being’s life are usually the things that have to do with communicating with another human being. Everything revolves around that.
A person’s success - in terms of critical success or financial success - is pretty insignificant to a person’s happiness, but their relationships with themselves and people that are close to them that’s all that matters. The movie became about Tom’s search to understand his relationship with himself and with me. The process of making the film made me think about Tom differently than just being my little brother. He is another man in the world who has struggles. He is going to have to solve his struggles in a different way than I did mine.
Tom: My struggle is that this is not spicy tequila, it’s regular tequila [Laughs]
Aguilar: What was your parents' reaction to the film? It's clearly a film that revolves around your family more than the band.
Tom: Our parents love it. My mom loved being in a movie.
Matt: When they both saw the whole thing for the first time we were at our house in Cincinnati, my dad had to get up and leave the room. I think both of them when into the next room and cried for about 20 minutes. My dad didn’t want to openly cry in front of us. He couldn’t talk on the way out.
Tom: We didn’t realize that we had such a family oriented movie on our hand until it was almost finished and our sister Rachel was a little bit bummed out because she was not in it.
Matt: She lives in Seattle and we had footage of her, and when the movie ended being so much about our family and my sister was not in it, she was bummed. There is a really funny piece of bonus material out there, which is an interview with her.
Tom: Our sister loves the movie, but she was little upset. She was like “I had some things to say too.” [Laughs]
Aguilar: The title "Mistaken for Strangers" is of course from one The National’s songs, but how did you guys come to an agreement to name the film after this particular phrase? It's definitely very fitting.
Matt: We didn’t know what to call this thing and it had many, many names.
Tom: The firs title was a lyric from one of The National’s song, “Summer lovin’ torture party,” which I wasn’t so sure about.
Matt: I still like that title
Tom: I thought it was a mouthful. Our second idea was going to play the themes of me being a heavy metal fan trying to make a movie about an indie rock band, and it was going to be taken from the Acdc album “For Those About to Rock.” Our title was going to be “For Those About to Weep,” because The National is such a sadsack kind of band [Laughs]. I really liked that title.
Matt: Then, when the film was about to open the Tribeca Film Festival, the head of Tribeca said, “I love your movie, but the title ‘For Those About to Weep,’ I don’t know what that meas.” She didn’t know about the Acdc album. For Tom and I it made sense, that’s a household phrase “For Those About to Rock.” She didn’t understand our title, and she didn’t really know much about The National. It wasn’t funny to her because she wasn’t aware that we are known as a sad, depressing band.
That’s when we thought, “We don’t want only The National fans to like this movie.” So we were stuck, and this is the night before Tribeca’s press release was going to go out. They were asking, “What are you guys calling your movie? Because we are telling the world that we are opening our festival with it.” We were walking in circles thinking of what to call it. I said, “Let’s just call it ‘Lemonworld,’ that’s another thing that means nothing but is kind of mysterious”
Tom: It was going to be called “Lemonworld,” that night I was fine with that. The next morning - and this is the only time I went over anybody’s head - I called the band’s manager who was in talks with Tribeca. I said, “Wait, I don’t want my life to be called ‘Lemonworld,’ my life is not a lemmondworld!”
Matt: I had sent out an email to a bunch of trusted friends asking for suggestions since many of them had seen pieces of the film. Then my wife’s old work colleague in New York, his name is Willing Davidson who works as an editor at The New Yorker, wrote back saying, “I’ve always wonder why you guys aren’t calling this film ‘Mistaken for Strangers,’ it just seems like a perfect title for your movie.”
Tom: I thought, “That’s it ‘Mistaken for Strangers,’ done.”
Matt: That was a leap of faith. We didn’t know if it would work, but I think it’s a good title. Willing Davidson than you!
Tom: You know how we were talking about The National being known as a sadsack, depressing band. I wanted to say that, though I’m not a big fan of their music, but the one thing I know is that they are not a sadsack, depressing band. They just write songs that may be deeper than those from a lot of other bands. The one think I knew going on tour was that Matt wanted a fun movie that played with their image, taking the piss out them, making fun of the fact that people think they are sad and depressing, and showing that they are not.
I didn’t want super serious The National film showing Matt writing lyrics in a serious pose because I know that’s not how he writes lyrics, he does it in the back getting drunk. [Laughs]. The last thing I wanted was a black and white, deep and serious indie rock movie. No, I thought, “Let’s make a fun movie.” Yes they write god songs and they play music that’s very meaningful to a lot of people, but they are also good guys. They are just normal dudes that are not always trying to be the super serious artist.
Aguilar: [To Tom] I know you are not a big fan of their music, but do you a have a favorite song by The National?
Tom: I think “Friend of Mine” was always kind of my favorite song from them. There are other good ones out there but I’ve always liked “Friend of mine.”
Aguilar: [To Matt] What’s your favorite film by Tom?
Matt: Definitely “Mistaken for Strangers,” his other films are less good. [To Tom] I’m not saying they are bad…
Tom: [To Matt] I’m not saying they are good either, but I think they are interesting [Laughs]. The one I’m very proud is “Insane Animal Trapper.” I know they are very weird.
Matt: He’s also got a movie about Johnny Appleseed. In “Mistaken for Strangers” there is clip from Tom’s movie “Wages of Sin,” in that scene there is a guy who is tied to a rock and is hanging there dead. That guy is the star of Tom’s Johnny Appleseed film.
Tom: I think that all the movies I’ve made have always been weird ideas, granted I haven’t made many and most are shorts. Still, I’m proud of the fact that I’ve never made a movie just to hop of a trend. I’ve never made a rip-off of “The Matrix” and I haven’t tried to make another “Usual Suspects,” like a lot of film students do. I want to make a Johnny Appleseed movie!
Aguilar: [To Tom] Would you ever direct one The National's music videos?
Tom: Before I did this movie I directed the “Terrible Love” music video, the alternate version, and it’s all made up of tour footage.
Aguilar: How about a music video with more a narrative story?
Matt: There have been talks about Tom making a feature film based on a whole album by The National, sort of like Pink Floyd’s “The Wall,” but that’s not going to happen because the band and I would have to have most of the creative control.
Tom: And I don’t want to have my brother breathing down my neck. [Laughs]
Aguilar: [To Tom] After this very particular filmmaking experience, what are you working on next? Another documentary?
Tom: I’m taking it slow. I’ve got a few things going with some friends that might involve some Internet content. I’m taking acting lessons while being a dishwasher. I’m trying to do my best to work in this industry. I’m definitely going more on the acting route, but I still would like to direct my own stuff. I’m not a documentarian, and I feel like that’s how people see me right now - if they see me as anything that's probably what they see me as. People might think, “What other band is Tom going to follow now?” But I think that boat has sailed. I’m trying to figure out what's next.
Aguilar: [To Matt] I know you just finished touring with The National last week, are you taking a break now or working on a followup to Trouble Will Find Me?
Matt: I think we are all recalibrating. We hadn’t been actively on tour, but the last show of the tour just happened last week in London. I think everybody is trying to fix the rest of their lives, but everybody is really happy. We are getting along better than we ever have. I think this is because it’s gone well for us and because almost everybody has a family now. Family puts everything into perspective so that we realize how great we have it and how lucky we are to be where we are. Any petty resentments, anxieties, problems or tensions within the band pale in comparison to the big picture. This is the first time in along time we’ve been in that spot. We are going to start working on a new record, we sort of already are.
Aguilar: Certainly, with both with film and music, after you make something successful people have high expectations for the followup .
Mat: It’s a great problem to have. We’ve done stuff that people really think is good and now we have to do more! [Laughs]. People anticipating and having high expectations is a great problem to have, and we do have that problem. The National is not going to make another record like the ones we’ve made before, so it might take longer. [To Tom] You don’t want to make another documentary, but you also want to do something different.
Tom: It will definitely be something different, and not necessarily what people expect.
"Mistaken for Strangers" will have a one-week run at the Laemmle's Music Hall starting today December 5th. Tom and Matt Berninger will be there for a Q&A following the film tonight Friday Dec. 5 and tomorrow Saturday Dec 6 after the after the 7:10 and 9:30 shows.
For years they had in fact, unintentionally, mistaken each other for strangers because their lives had taken different roads. Tom wanted to make movies and Matt’s band had earned a great following and critical praise. But through the making of this documentary, which changed courses during editing, they both rediscovered each other beyond the glossy stage lights and the endless tour bus trips. Tom joined Matt on the High Violet tour for several months to work as a crewmember and to make a fun film about The National and his perception of them. Still, as things usually go, this plan did not turn out as clear-cut as either of them had expected. What was meant to be a humorous depiction of a heavily poetic indie rock band turned out to be a story about two brothers and how one of them struggles to overcome self-doubt in order to make an utterly enjoyable, but deeply touching film.
This week I met with Tom and Matt Berninger in Los Angeles to chat about this personal and uproarious movie that will forever be a testimony to their fraternal reconnection. There were some margaritas involved, there was maddening rain in L.A, and there were fan-boy questions on my part that were difficult to avoid. Yet, what was most present during this interview was truth. Their brotherly love and all the intricacies it involves was always there, in the flesh, real. One can only be thankful to have talked to a pair of very different, but unquestionably talented people. Here is what they had to say.
Carlos Aguilar: Tell me about this insane and touching journey you both went through while spending time on tour and making the film. What were you expecting to be the outcome in terms of the film and what it would represent for each one of you? The film certainly is much introspective than just simply a film about a band.
Tom: It’s been so long ago now. I was working in few movies as a Pa, but mostly I was working at a TV station in Cincinnati as a tech person. I always wanted to make movies. I went to film school. Matt knew that this is what I wanted to do. We would talk movies all the time when we saw each other over the holidays. I hardly ever got to see him, but when I did we would talk about movies. I was stuck in a rot and feeling like I could live in Cincinnati, Ohio for the rest of my life or I could do something fun and kind of experience what he experiences, such as traveling around the world with a band.
I also knew that the band was getting bigger and I wanted to see that. I wanted to taste a little bit of his fame [Laughs]. He brought up this idea that I should come on tour and bring a camera, film some fun goofy stuff, and see what could come out of it. I hoped it would be something that I could use to further my career as videographer or to get a job maybe in NYC with some multimedia firm thanks to the fact that I had this little thing I made with The National. I didn’t know what it was going to be, but that was the idea, to get on my feet using their name or their kind of cloud as this cool indie rock band to get my foot in the door into some sort of job opportunity in NYC. At least that was my angle.
Matt: Mostly it was to give him a job and to get him out of Cincinnati for a while, but also because I missed him. A third of it was a charity thing, another third was that I missed him, and the last third was me thinking “Hey, maybe he could make something cool.” What I had thought he would make was not what he made in the end, but it wasn’t a fake job. I actually did believe he could make something cool and that together we could have fun trying to make, and we did. You don’t actually see much of us goofing around and having fun in the final product because it wasn’t that interesting to the real story.
What became the film was Tom struggling with his other job of being a roadie and struggling with the making of this project. Focusing on Tom’s struggle made for a much better film and not what we had originally set out to do. Originally we though of making a goofy film, almost like a Monkey’s movie or “A Hard Day’s Night,” a tour film that’s all wacky and silly, but all that stuff is just stupid.
My wife Carin Besser, who edited the film alongside Tom, thought that stuff was kind of boring. She was looking at all the footage of when Tom started to go off the rails and said, “You don’t have a movie with that stuff.” But when she saw him drunk on the bus and the other humiliating things Tom went through, she was like, “That’s what I’m interested in!” I think we were already half way into that direction anyway and I thought, “Yes, let’s just throw everything out and let’s just focus the movie on what happened to you, not the band”
Tom: The National, the band members are super cool. I’ve known these guys long before they were in a band. I’ve known them throughout their careers and through many years of struggling. I knew whatever I would be filming wouldn’t be a real documentary about the band, because I don’t really listen to them. I’m a fan of them and I’m a fan of their success and I know they make music that’s very special to some people, but the music was never really important to me simply because it’s not my taste in music or my scene.
I didn’t really have any idea of what to make. I certainly didn’t want to dive into something like, “Matt, what’s your creative process?” I wouldn’t even know where to go from there, but what I was interested in was getting to know these guys behind the scenes and seeing them start get famous. I was very interesting in things like, “What’s it like to have all these people staring at you? And all these girls!” To me that’s awesome, and that’s what I think most people want to know, “What does it feel to be super famous to your group of fans?”
That was the most interesting part to me and that’s what I wanted to figure out. I wanted to try to make them feel embarrassed and get some real funny stuff. I kind of got that, there are some elements of that in the movie, but it became something else. Also I felt like I had to somewhat document myself like on the tour bus when I was getting drunk by myself.
Matt: [To Tom] You thought that would be funny
Tom: Yes, I thought that would be funny and I thought, “I’m the only one on this tour bus and I’m going to get wasted because that’s what people do on tour buses. The band is in their nice hotel sleeping and I’m the only one taking advantage of this tour bus”
Matt: [To Tom] And it was funny but not quiet in the way you thought it would be
Tom: No, it wasn’t funny at all
Matt: It was kind of depressing. That’s some of the most uncomfortable stuff to watch, which are the things that he thought would be kind of funny or cool.
Tom: When I filmed them I thought, “Let’s see how it plays” [Laughs]. “We’ll see if this is as fun as I think it is.”
Matt: [To Tom] There was a point where you were filming stuff and you were like “Oh, this is so awkward and terrible.” You would tell the other guys in the band to do something because you were trying to get “cool” stuff, but then you thought, “This is all going to be garbage.” Then early in the editing process you realized “Actually this stuff is funny! The stuff about me trying to make this other movie is actually what’s funny.” You recognized the comedy quickly. It didn’t take anybody else to show you what worked. Like when you made Bryce pick up the sunglasses, that’s funny.
Tom: There were a bunch of moments, that one included, where I thought” What kind of footage do I have of this band, The National. I don’t know if it’s any good or not but it’s weird and I kind of like it.” Early on I had shot my brother casually looking at the camera and though “He looks good there, he looks cool.” I looked at the footage and it was great. I thought” Wow, if I could get a moment like with every single guy in the band that’d be great. I don’t know where I’d used it but it’d be great”
Matt: [To Tom] Which one is the one of me?
Tom: It’s a shot I used in the “Terrible Love” music video. In that video there is a shot of Matt, which is very casual and it’s like four seconds long, but he looks like a rock star. I wanted to get everyone of them in a cool rock star pose. I wanted something like a moving portrait or a video portrait.
Aguilar: Tom, at what point did you look at all this footage and decided what you were going to do with it to make a meaningful film out of this experience?
Tom: We saw the footage where I shot these guys in “cool” poses and we realized they were awful and awkward [Laughs]. That’s when I started to think that I had failed to get what I wanted, I failed at making a cool movie. Instead I felt like I kind of took advantage of them, but I was also getting them in a real moment. They are trying to be rock stars but then you see how awkward they are. There is something underneath. They are these normal guys who happen to have an awesome job. That’s when we started trying to figure out how to piece together all this footage of me trying to make an awesome movie and failing at that, but at the same time capturing this journey to try to find myself and finish my project.
Aguilar: Making such a personal film, were there moments where it became to intimate to show? How difficult was it to look at this footage, which sometimes shows both of you in an unflattering way?
Matt: There were many times during the process when he was shooting stuff on tour and asking questions to which I would say, “Don’t use any of this.” At some point Bryan literally says, “Don’t use any of this interview,” and Tom laughs. It didn’t make into the film because it was too personal. There were also a lot of times that I just didn’t want him filming, but when the story started to come together and I saw some of he unflattering stuff, I was fine with it because I knew he was already putting so much unflattering stuff about himself in the film.
By the time they were actually creating something that was coming together, they had changed the focus and turned it inward towards Tom’s relationship with me. At that point all of these unflattering elements became relevant and interesting in the context of this new movie. I was Ok with it. The other guys in the band, well, I didn’t tell them what was happening for a long time. I kept them in the dark about it. They were pretty much in the dark until they saw part of a rough cut at a screening that went badly. It’s the screening you see in the film where the screen goes blank. That was the first time anybody in the band had seen anything.
All they saw was about 10 minutes of awkward, weird, uncomfortable stuff and then the screen went blank, but they were laughing at that. They got it. They thought that stuff was cool. It was actually kind of a lucky thing that when Tom tried to screen it the band didn’t get to see very much because what they saw was the funny stuff. At that point they backed away and let Tom go ahead and finish it. If they had seen the whole thing I bet they would have jumped in and gotten more involved. Tom would have lost some control.
The finishing of it was like a cat-and-mouse game between what the movie really was and what the band thought it was. Even with me, Corine and Tom were not totally letting me understand that it was going to be about until they started getting close to something good.
Tom: It took a long time to make it what it is. In the first 6 months of working on it, when Matt didn’t know anything and it was only me trying to figure out what I had shot, that was when I noticed the awkwardness of some of the things that I did with the guys. Then I saw myself crying and getting drunk on the bus and I thought,“ I don’t know how this goes into a movie. “ I was still thinking it was going to be about the band.
For a long time that was the driving force, it had to be about the band with an undercurrent about the brother making this documentary and screwing up. Mainly it was all about he band, but slowly we showed it to a few friends and, with me being the room, Matt would ask them, “ How much of Tom do you want to see? Are you annoyed at Tom? Are you guys tired of seeing Tom or do you like seeing Tom?” And they would all say “We like seeing Tom.”
I thought, “Alright, they like seeing me. “ We thought that stuff with me was funny and somewhat dramatic and sad, and I didn’t know how to react to that. I also thought it was sad, but it was also my life. Still, I’m all about making a good movie and if people like that and people think that makes it a better movie then I’m all for it. I thought, “Ok, let’s take more of The National out and put more of the shit that I was going through in the movie.” It just became a better movie that way.
Aguilar: What have you learned about each other after looking at one another through this filter, the film? Tom as the one behind the camera and Matt as sort of the original subject for the documentary.
Matt: It’s been funny. Through the process of him being of tour making the film I learned a certain type of thing: I learned that I missed my brother and I learned that I liked having him around. Putting it in perspective, I also realized that when he was around while we where on tour I was much happier, even if you don’t see much of that in the film [Laughs]. I don’t like to tour. I like doing shows, but I don’t like being away from home. I don’t like to travel that much, and I get really lost. I get pretty weird in the head after 5 or 6 weeks traveling around on a bus, doing shows, and the anxiety of it all. Having Tom around kept me grounded and more connected to the things that are important. Having him around put this whole rock and roll thing in perspective, which is good for me.
Tom: [To Matt] Also, when the shows are not going on the two pairs of brothers in the band pair up and go out to do some shopping, or whatever brotherly things they do. But you don’t really have anybody to go with. It was fun for me because I had never been to Europe and I was able to go out with him, eat dinner, and see all these places I had never been to. It was also a great chance for him to get out of the hotel room occasionally.
Matt: The band is a crucible of creative tensions, and it was nice to be able to go out to dinner with Tom, just Tom and I, and let out all my frustrations with the tour or the shows, or even share my enthusiasm and happiness. It’s hard to do it sometimes with the band because we are in this thing together and it’s loaded with all kinds of other tensions. Therefore, having Tom around was a huge tension release, a relief valve that released a lot of the pressure.
Tom: I was so unaware of the band’s small talk, subtle innuendos, and the subtle ways a band rips each other apart.
Matt: [To Tom] They went totally over your head. You didn’t even know.
Tom : I didn’t know that things weren’t going well certain days. I’m kind of everybody’s friend because everyone knows that I have no idea what’s going on.
Matt: If there were some sort of tension going on in the bad for whatever reason Tom wouldn’t have any idea of what was going on. So he and I would go out to dinner and I’d be bitching about the show and he would say, “I though the show was awesome!” It would put it in perspective for me. “Why am I complaining?” [To Tom] You did that for everyone else, having you around just relieved all kinds of tension within the band, mostly because you were making everybody laugh.
Tom: I’m at 0 for 80 as far as The National shows I’ve seen and how always I get their reaction to the show wrong. Sometimes I’d say, “That was a good show,” and they’ll say, “No, that was a terrible show.” Then another time I’d say, “That was really bad show,” and they’ll be like “We all thought that was a great show.” My read of every show was different from the band’s reaction. I couldn’t understand it. When I felt the energy apparently nobody else did.
Matt: He always got it wrong. Or maybe you always got it right [Laughs]. Another thing that happened in the process of this whole thing is that I saw Tom’s talents that I didn’t actually know of. There are a lot of things that I would not do the way Tom does. He is a very different person from me. I saw how different he is from me….
Tom: Like how I drink my Margarita? [Laughs]
Matt: I saw how different he is from me, and how brilliant he is in some things. I think through the process of him being on tour and him living with us, I think Tom and I are starting to understand what we are good at and what the other person is good at. We are starting to respect each other in a different way. Our old dynamic of older successful brother and younger less successful brother, that cliché, has changed.
I was always trying to help him and give him guidance, and all that. At a certain point I was giving him guidance that was meant for me not for him. I started recognizing that he is on a different road than I am. I started to understand his road and I think he understood where I’m coming from. What has happened is that a lot of the animosity between us has dissolved. He still drives me crazy and I drive him crazy, but underneath all that he knows that what I do is good even if it’s not his type of thing. I know that the things that he does are good, we just do different types of things
Aguilar: Was making the film a cathartic experience? Do you guys now see each other more like different creative people, besides being brothers, thanks to this shared experience?
Tom : Making this film has helped me discover things that I’m good at. As far as how the movie works, how it plays, how funny it is, I have my own take on that. Making it I did find some fun, comfort, and success. It was fun to see people liked the movie. That’s what I always wanted to do. With me being in my own movie so much, I didn’t know that it was going to be such a fun thing for people to watch me.
Matt: We know the movie is funny, and we knew what was funny about it when we were editing it, but there is a lot of therapy in there too. The movie is a lot about us working out problems. The editing of the movie was an extension of us trying to, not only look for what’s interesting about each other, but also finding what’s interesting about our relationship. Ultimately we wanted people to not be bored, and we wanted to tell a story that was meaningful and we kept coming back to our relationship and the complicated thorns that are in a real relationship between brothers or between anybody. This just happens to be about two brothers that are far apart in age.
Even if we had to show unflattering sides of each other that was what we were most interested in. My wife was definitely interested in the weird details of any relationship. Two human beings trying to understand each other, who love each other, but who also hate each other. How does that play out? All the most important things that happen in a human being’s life are usually the things that have to do with communicating with another human being. Everything revolves around that.
A person’s success - in terms of critical success or financial success - is pretty insignificant to a person’s happiness, but their relationships with themselves and people that are close to them that’s all that matters. The movie became about Tom’s search to understand his relationship with himself and with me. The process of making the film made me think about Tom differently than just being my little brother. He is another man in the world who has struggles. He is going to have to solve his struggles in a different way than I did mine.
Tom: My struggle is that this is not spicy tequila, it’s regular tequila [Laughs]
Aguilar: What was your parents' reaction to the film? It's clearly a film that revolves around your family more than the band.
Tom: Our parents love it. My mom loved being in a movie.
Matt: When they both saw the whole thing for the first time we were at our house in Cincinnati, my dad had to get up and leave the room. I think both of them when into the next room and cried for about 20 minutes. My dad didn’t want to openly cry in front of us. He couldn’t talk on the way out.
Tom: We didn’t realize that we had such a family oriented movie on our hand until it was almost finished and our sister Rachel was a little bit bummed out because she was not in it.
Matt: She lives in Seattle and we had footage of her, and when the movie ended being so much about our family and my sister was not in it, she was bummed. There is a really funny piece of bonus material out there, which is an interview with her.
Tom: Our sister loves the movie, but she was little upset. She was like “I had some things to say too.” [Laughs]
Aguilar: The title "Mistaken for Strangers" is of course from one The National’s songs, but how did you guys come to an agreement to name the film after this particular phrase? It's definitely very fitting.
Matt: We didn’t know what to call this thing and it had many, many names.
Tom: The firs title was a lyric from one of The National’s song, “Summer lovin’ torture party,” which I wasn’t so sure about.
Matt: I still like that title
Tom: I thought it was a mouthful. Our second idea was going to play the themes of me being a heavy metal fan trying to make a movie about an indie rock band, and it was going to be taken from the Acdc album “For Those About to Rock.” Our title was going to be “For Those About to Weep,” because The National is such a sadsack kind of band [Laughs]. I really liked that title.
Matt: Then, when the film was about to open the Tribeca Film Festival, the head of Tribeca said, “I love your movie, but the title ‘For Those About to Weep,’ I don’t know what that meas.” She didn’t know about the Acdc album. For Tom and I it made sense, that’s a household phrase “For Those About to Rock.” She didn’t understand our title, and she didn’t really know much about The National. It wasn’t funny to her because she wasn’t aware that we are known as a sad, depressing band.
That’s when we thought, “We don’t want only The National fans to like this movie.” So we were stuck, and this is the night before Tribeca’s press release was going to go out. They were asking, “What are you guys calling your movie? Because we are telling the world that we are opening our festival with it.” We were walking in circles thinking of what to call it. I said, “Let’s just call it ‘Lemonworld,’ that’s another thing that means nothing but is kind of mysterious”
Tom: It was going to be called “Lemonworld,” that night I was fine with that. The next morning - and this is the only time I went over anybody’s head - I called the band’s manager who was in talks with Tribeca. I said, “Wait, I don’t want my life to be called ‘Lemonworld,’ my life is not a lemmondworld!”
Matt: I had sent out an email to a bunch of trusted friends asking for suggestions since many of them had seen pieces of the film. Then my wife’s old work colleague in New York, his name is Willing Davidson who works as an editor at The New Yorker, wrote back saying, “I’ve always wonder why you guys aren’t calling this film ‘Mistaken for Strangers,’ it just seems like a perfect title for your movie.”
Tom: I thought, “That’s it ‘Mistaken for Strangers,’ done.”
Matt: That was a leap of faith. We didn’t know if it would work, but I think it’s a good title. Willing Davidson than you!
Tom: You know how we were talking about The National being known as a sadsack, depressing band. I wanted to say that, though I’m not a big fan of their music, but the one thing I know is that they are not a sadsack, depressing band. They just write songs that may be deeper than those from a lot of other bands. The one think I knew going on tour was that Matt wanted a fun movie that played with their image, taking the piss out them, making fun of the fact that people think they are sad and depressing, and showing that they are not.
I didn’t want super serious The National film showing Matt writing lyrics in a serious pose because I know that’s not how he writes lyrics, he does it in the back getting drunk. [Laughs]. The last thing I wanted was a black and white, deep and serious indie rock movie. No, I thought, “Let’s make a fun movie.” Yes they write god songs and they play music that’s very meaningful to a lot of people, but they are also good guys. They are just normal dudes that are not always trying to be the super serious artist.
Aguilar: [To Tom] I know you are not a big fan of their music, but do you a have a favorite song by The National?
Tom: I think “Friend of Mine” was always kind of my favorite song from them. There are other good ones out there but I’ve always liked “Friend of mine.”
Aguilar: [To Matt] What’s your favorite film by Tom?
Matt: Definitely “Mistaken for Strangers,” his other films are less good. [To Tom] I’m not saying they are bad…
Tom: [To Matt] I’m not saying they are good either, but I think they are interesting [Laughs]. The one I’m very proud is “Insane Animal Trapper.” I know they are very weird.
Matt: He’s also got a movie about Johnny Appleseed. In “Mistaken for Strangers” there is clip from Tom’s movie “Wages of Sin,” in that scene there is a guy who is tied to a rock and is hanging there dead. That guy is the star of Tom’s Johnny Appleseed film.
Tom: I think that all the movies I’ve made have always been weird ideas, granted I haven’t made many and most are shorts. Still, I’m proud of the fact that I’ve never made a movie just to hop of a trend. I’ve never made a rip-off of “The Matrix” and I haven’t tried to make another “Usual Suspects,” like a lot of film students do. I want to make a Johnny Appleseed movie!
Aguilar: [To Tom] Would you ever direct one The National's music videos?
Tom: Before I did this movie I directed the “Terrible Love” music video, the alternate version, and it’s all made up of tour footage.
Aguilar: How about a music video with more a narrative story?
Matt: There have been talks about Tom making a feature film based on a whole album by The National, sort of like Pink Floyd’s “The Wall,” but that’s not going to happen because the band and I would have to have most of the creative control.
Tom: And I don’t want to have my brother breathing down my neck. [Laughs]
Aguilar: [To Tom] After this very particular filmmaking experience, what are you working on next? Another documentary?
Tom: I’m taking it slow. I’ve got a few things going with some friends that might involve some Internet content. I’m taking acting lessons while being a dishwasher. I’m trying to do my best to work in this industry. I’m definitely going more on the acting route, but I still would like to direct my own stuff. I’m not a documentarian, and I feel like that’s how people see me right now - if they see me as anything that's probably what they see me as. People might think, “What other band is Tom going to follow now?” But I think that boat has sailed. I’m trying to figure out what's next.
Aguilar: [To Matt] I know you just finished touring with The National last week, are you taking a break now or working on a followup to Trouble Will Find Me?
Matt: I think we are all recalibrating. We hadn’t been actively on tour, but the last show of the tour just happened last week in London. I think everybody is trying to fix the rest of their lives, but everybody is really happy. We are getting along better than we ever have. I think this is because it’s gone well for us and because almost everybody has a family now. Family puts everything into perspective so that we realize how great we have it and how lucky we are to be where we are. Any petty resentments, anxieties, problems or tensions within the band pale in comparison to the big picture. This is the first time in along time we’ve been in that spot. We are going to start working on a new record, we sort of already are.
Aguilar: Certainly, with both with film and music, after you make something successful people have high expectations for the followup .
Mat: It’s a great problem to have. We’ve done stuff that people really think is good and now we have to do more! [Laughs]. People anticipating and having high expectations is a great problem to have, and we do have that problem. The National is not going to make another record like the ones we’ve made before, so it might take longer. [To Tom] You don’t want to make another documentary, but you also want to do something different.
Tom: It will definitely be something different, and not necessarily what people expect.
"Mistaken for Strangers" will have a one-week run at the Laemmle's Music Hall starting today December 5th. Tom and Matt Berninger will be there for a Q&A following the film tonight Friday Dec. 5 and tomorrow Saturday Dec 6 after the after the 7:10 and 9:30 shows.
- 12/5/2014
- by Carlos Aguilar
- Sydney's Buzz
One of the most consistently controversial categories in the Oscar race is the Best Documentary category, a branch that has snubbed Steve James, Werner Herzog and Errol Morris in past years.
This year however, Steve James did make the list with his documentary Life Itself, based on the life of Roger Ebert, along with the presumed frontrunner Citizenfour, which some are demanding earn a nomination for Best Picture.
Here’s the full list of 15 feature documentaries, all of which will now be eligible to choose from for nomination come January.
Art and Craft
The Case against 8
Citizen Koch
CitizenFour
Finding Vivian Maier
The Internet’s Own Boy
Jodorowsky’s Dune
Keep On Keepin’ On
The Kill Team
Last Days in Vietnam
Life Itself
The Overnighters
The Salt of the Earth
Tales of the Grim Sleeper
Virunga
While this is a fairly representative list, 2014 was an especially great year for documentaries,...
This year however, Steve James did make the list with his documentary Life Itself, based on the life of Roger Ebert, along with the presumed frontrunner Citizenfour, which some are demanding earn a nomination for Best Picture.
Here’s the full list of 15 feature documentaries, all of which will now be eligible to choose from for nomination come January.
Art and Craft
The Case against 8
Citizen Koch
CitizenFour
Finding Vivian Maier
The Internet’s Own Boy
Jodorowsky’s Dune
Keep On Keepin’ On
The Kill Team
Last Days in Vietnam
Life Itself
The Overnighters
The Salt of the Earth
Tales of the Grim Sleeper
Virunga
While this is a fairly representative list, 2014 was an especially great year for documentaries,...
- 12/2/2014
- by Brian Welk
- SoundOnSight
Mistaken For Strangers screens tonight Friday, November 14 at 7:00 at Kdhx as part of the St. Louis International Film Festival
Get ticket information here
Even though Mistaken For Strangers may sound like just your standard rock doc about indie darlings The National, the important aspect of this unique film is the man sitting in the director’s chair. Tom Berninger is the brother to singer Matt Berninger. Aside from serving as director and editor he also is one of the main characters in the film. His slacker, bumbling goof persona is as important to the film as the band in question – maybe even more so. Mistaken For Strangers follows Tom as he attempts to make a film about his brother’s band while on tour through Europe and the Us.
The relationship between the two brothers becomes an important aspect to the film. Certain moments give way to the feeling...
Get ticket information here
Even though Mistaken For Strangers may sound like just your standard rock doc about indie darlings The National, the important aspect of this unique film is the man sitting in the director’s chair. Tom Berninger is the brother to singer Matt Berninger. Aside from serving as director and editor he also is one of the main characters in the film. His slacker, bumbling goof persona is as important to the film as the band in question – maybe even more so. Mistaken For Strangers follows Tom as he attempts to make a film about his brother’s band while on tour through Europe and the Us.
The relationship between the two brothers becomes an important aspect to the film. Certain moments give way to the feeling...
- 11/14/2014
- by Michael Haffner
- WeAreMovieGeeks.com
Other leading nominees are Life Itself and 20,000 Days on Earth.
Laura Poitras’ Citizenfour, about Nsa whistleblower Edward Snowden, leads the pack at the Cinema Eye Awards nominations, with six nods.
Steve James’ Life Itself about Roger Ebert and Iain Forsythe and Jane Pollard’s 20,000 Days on Earth about Nick Cave followed close behind with five nominations each.
The nominees for the awards, which recognise exemplary craft and innovation in nonfiction film, were announced last night at an industry party at Cph: Dox in Copenhagen.
In addition to those three, the other nominations for the Nonfiction Feature Film were Jesse Moss’ The Overnighters and Orlando von Einsiedel’s Virunga.
Poitras and James are also nominated in the Direction category, and each has previously won that Cinema Eye prize, Poitras with The Oath in 2011 and James in 2012 with The Interrupters. Poitras becomes the most nominated filmmaker in Cinema Eye history with nine nominations.
Other films nominated...
Laura Poitras’ Citizenfour, about Nsa whistleblower Edward Snowden, leads the pack at the Cinema Eye Awards nominations, with six nods.
Steve James’ Life Itself about Roger Ebert and Iain Forsythe and Jane Pollard’s 20,000 Days on Earth about Nick Cave followed close behind with five nominations each.
The nominees for the awards, which recognise exemplary craft and innovation in nonfiction film, were announced last night at an industry party at Cph: Dox in Copenhagen.
In addition to those three, the other nominations for the Nonfiction Feature Film were Jesse Moss’ The Overnighters and Orlando von Einsiedel’s Virunga.
Poitras and James are also nominated in the Direction category, and each has previously won that Cinema Eye prize, Poitras with The Oath in 2011 and James in 2012 with The Interrupters. Poitras becomes the most nominated filmmaker in Cinema Eye history with nine nominations.
Other films nominated...
- 11/13/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Whoopsy. I forgot to share this list... Herewith the films that could be up for Best Documentary Feature this year. We'll get a finalist of 15 at some point next month followed by 5 nominees in January "until we crown A Winnah!" If we've reviewed the titles, you'll notice their pretty color which you can then click on to read about them. The magic of the internet. You can also see the animated and documentary Oscar charts here.
The 134 Semi-Finalists
A-c
Afternoon of a Faun: Tanaquil Le Clercq, Ai Weiwei: The Fake Case, Algorithms, Alive Inside, All You Need Is Love, Altina, America: Imagine the World without Her, American Revolutionary: The Evolution of Grace Lee Boggs, Anita, Antarctica: A Year on Ice, Art and Craft, Awake: The Life of Yogananda, The Barefoot Artist, The Battered Bastards of Baseball, Before You Know It, Bitter Honey, Born to Fly: Elizabeth Streb vs. Gravity, Botso The Teacher from Tbilisi,...
The 134 Semi-Finalists
A-c
Afternoon of a Faun: Tanaquil Le Clercq, Ai Weiwei: The Fake Case, Algorithms, Alive Inside, All You Need Is Love, Altina, America: Imagine the World without Her, American Revolutionary: The Evolution of Grace Lee Boggs, Anita, Antarctica: A Year on Ice, Art and Craft, Awake: The Life of Yogananda, The Barefoot Artist, The Battered Bastards of Baseball, Before You Know It, Bitter Honey, Born to Fly: Elizabeth Streb vs. Gravity, Botso The Teacher from Tbilisi,...
- 11/3/2014
- by NATHANIEL R
- FilmExperience
One hundred thirty-four features have been submitted for consideration in the Documentary Feature category for the 87th Academy Awards. A shortlist of 15 films will be announced in December.
The submitted features, listed in alphabetical order, are:
“Afternoon of a Faun: Tanaquil Le Clercq”
“Ai Weiwei: The Fake Case”
“Algorithms”
“Alive Inside”
“All You Need Is Love”
“Altina”
“America: Imagine the World without Her”
“American Revolutionary: The Evolution of Grace Lee Boggs”
“Anita”
“Antarctica: A Year on Ice”
“Art and Craft”
“Awake: The Life of Yogananda”
“The Barefoot Artist”
“The Battered Bastards of Baseball”
“Before You Know It”
“Bitter Honey”
“Born to Fly: Elizabeth Streb vs. Gravity”
“Botso The Teacher from Tbilisi”
“Captivated The Trials of Pamela Smart”
“The Case against 8”
“Cesar’s Last Fast”
“Citizen Koch”
“CitizenFour”
“Code Black”
“Concerning Violence”
“The Culture High”
“Cyber-Seniors”
“DamNation”
“Dancing in Jaffa”
“Death Metal Angola”
“The Decent One”
“Dinosaur 13”
“Do You Know What My Name Is?...
The submitted features, listed in alphabetical order, are:
“Afternoon of a Faun: Tanaquil Le Clercq”
“Ai Weiwei: The Fake Case”
“Algorithms”
“Alive Inside”
“All You Need Is Love”
“Altina”
“America: Imagine the World without Her”
“American Revolutionary: The Evolution of Grace Lee Boggs”
“Anita”
“Antarctica: A Year on Ice”
“Art and Craft”
“Awake: The Life of Yogananda”
“The Barefoot Artist”
“The Battered Bastards of Baseball”
“Before You Know It”
“Bitter Honey”
“Born to Fly: Elizabeth Streb vs. Gravity”
“Botso The Teacher from Tbilisi”
“Captivated The Trials of Pamela Smart”
“The Case against 8”
“Cesar’s Last Fast”
“Citizen Koch”
“CitizenFour”
“Code Black”
“Concerning Violence”
“The Culture High”
“Cyber-Seniors”
“DamNation”
“Dancing in Jaffa”
“Death Metal Angola”
“The Decent One”
“Dinosaur 13”
“Do You Know What My Name Is?...
- 11/2/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Citizenfour, Life Itself, Red Army, Warsaw Uprising among long-list contenters for the 87th Academy Awards.
The Salt Of The Earth, Happy Valley, Jodorowsky’s Dune, Elaine Stritch: Shoot Me, Food Chains and Point And Shoot are also named.
The submitted features, listed in alphabetical order, are:
20,000 Days On Earth
Afternoon Of A Faun: Tanaquil Le Clercq
Ai Weiwei: The Fake Case
Algorithms
Alive Inside
All You Need Is Love
Altina
America: Imagine The World Without Her
American Revolutionary: The Evolution Of Grace Lee Boggs
Anita
Antarctica: A Year On Ice
Art And Craft
Awake: The Life Of Yogananda
The Barefoot Artist
The Battered Bastards Of Baseball
Before You Know It
Bitter Honey
Born To Fly: Elizabeth Streb vs. Gravity
Botso The Teacher From Tbilisi
Captivated The Trials Of Pamela Smart
The Case Against 8
Cesar’s Last Fast
Citizen Koch
Citizenfour
Code Black
Concerning Violence
The Culture High
Cyber-Seniors
Damnation
Dancing In Jaffa
Death Metal Angola
The...
The Salt Of The Earth, Happy Valley, Jodorowsky’s Dune, Elaine Stritch: Shoot Me, Food Chains and Point And Shoot are also named.
The submitted features, listed in alphabetical order, are:
20,000 Days On Earth
Afternoon Of A Faun: Tanaquil Le Clercq
Ai Weiwei: The Fake Case
Algorithms
Alive Inside
All You Need Is Love
Altina
America: Imagine The World Without Her
American Revolutionary: The Evolution Of Grace Lee Boggs
Anita
Antarctica: A Year On Ice
Art And Craft
Awake: The Life Of Yogananda
The Barefoot Artist
The Battered Bastards Of Baseball
Before You Know It
Bitter Honey
Born To Fly: Elizabeth Streb vs. Gravity
Botso The Teacher From Tbilisi
Captivated The Trials Of Pamela Smart
The Case Against 8
Cesar’s Last Fast
Citizen Koch
Citizenfour
Code Black
Concerning Violence
The Culture High
Cyber-Seniors
Damnation
Dancing In Jaffa
Death Metal Angola
The...
- 10/31/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Academy of Motion Picture Arts and Sciences has released its list of 134 film vying for the Best Feature Documentary Oscar at the 87th Annual Academy Awards in February. A number of the nonfic hopefuls have yet to get their required Los Angeles and New York qualifying releases. Those that don’t will be cut from the contention. A shortlist of 15 films will be announced in December. Oscar noms will be revealed January 15, and ABC will broadcast Hollywood’s Big Night live on February 22 from the Dolby Theatre.
Here are the docu feature submissions:
Afternoon of a Faun: Tanaquil Le Clercq
Ai Weiwei: The Fake Case
Algorithms
Alive Inside
All You Need Is Love
Altina
America: Imagine the World without Her
American Revolutionary: The Evolution of Grace Lee Boggs
Anita
Antarctica: A Year on Ice
Art and Craft
Awake: The Life of Yogananda
The Barefoot Artist
The Battered Bastards of Baseball...
Here are the docu feature submissions:
Afternoon of a Faun: Tanaquil Le Clercq
Ai Weiwei: The Fake Case
Algorithms
Alive Inside
All You Need Is Love
Altina
America: Imagine the World without Her
American Revolutionary: The Evolution of Grace Lee Boggs
Anita
Antarctica: A Year on Ice
Art and Craft
Awake: The Life of Yogananda
The Barefoot Artist
The Battered Bastards of Baseball...
- 10/31/2014
- by The Deadline Team
- Deadline
One hundred thirty-four features have been submitted for consideration in the Documentary Feature category for the 87th Academy Awards®. Several of the films have not yet had their required Los Angeles and New York qualifying releases. Submitted features must fulfill the theatrical release requirements and comply with all of the category's other qualifying rules in order to advance in the voting process. A shortlist of 15 films will be announced in December. Films submitted in the Documentary Feature category also may qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories. The 87th Academy Awards nominations will be announced live on Thursday, January 15, 2015, at 5:30 a.m. Pt in the Academy's Samuel Goldwyn Theater. The Oscars® will be held on Sunday, February 22, 2015, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network. The Oscar...
- 10/31/2014
- by Steve Montgomery
- Alt Film Guide
Ruben Ostlund presents Cannes hit Force Majeure [pictured] as a gala screening; Jens Lien previews TV series Viva Hate.
Gothenburg’s Way Out West wrapped its fourth film edition on Saturday with a record-breaking 27,000 in attendance and 42 films, including a gala premiere of local Ruben Östlund’s Force Majeure and Nordic premieres of Richard Linklater’s Boyhood and Alex Gibney’s Finding Fela.
Running alongside the Way Out West music festival, now in its ninth year, additional film programming catered to the music fanbase by screening world premieres of Swedish actress Alexandra Dahlström’s All We Have is Now, documenting Stockholm-based rock band Vulkano; and Liza Minou Morberg’s Alone Together that follows three women on a journey to Way Out West.
Other music-oriented films included Eric Green’s guitar documentary Beautiful Noise, Nick Cave doc 20,000 Days on Earth, Tom Berninger’s depiction of his brother on tour with The National in Mistaken for Strangers, and [link=tt...
Gothenburg’s Way Out West wrapped its fourth film edition on Saturday with a record-breaking 27,000 in attendance and 42 films, including a gala premiere of local Ruben Östlund’s Force Majeure and Nordic premieres of Richard Linklater’s Boyhood and Alex Gibney’s Finding Fela.
Running alongside the Way Out West music festival, now in its ninth year, additional film programming catered to the music fanbase by screening world premieres of Swedish actress Alexandra Dahlström’s All We Have is Now, documenting Stockholm-based rock band Vulkano; and Liza Minou Morberg’s Alone Together that follows three women on a journey to Way Out West.
Other music-oriented films included Eric Green’s guitar documentary Beautiful Noise, Nick Cave doc 20,000 Days on Earth, Tom Berninger’s depiction of his brother on tour with The National in Mistaken for Strangers, and [link=tt...
- 8/11/2014
- ScreenDaily
Ruben Ostlund presents Cannes hit Force Majeure [pictured] as a gala screening; Jens Lien previews TV series Viva Hate.
Gothenburg’s Way Out West wrapped its fourth film edition on Saturday with a record-breaking 27,000 in attendance,42 films, including a gala premiere of local Ruben Östlund’s Force Majeure and Nordic premieres of Richard Linklater’s Boyhood and Alex Gibney’s Finding Fela.
Running alongside the Way Out West music festival, now in its ninth year, additional film programming catered to the music fanbase by screening world premieres of Swedish actress Alexandra Dahlström’s All We Have is Now, documenting Stockholm-based rock band Vulkano; and Liza Minou Morberg’s Alone Together that follows three women on a journey to Way Out West.
Other music-oriented films included Eric Green’s guitar documentary Beautiful Noise, Nick Cave doc 20,000 Days on Earth, Tom Berninger’s depiction of his brother on tour with The National in Mistaken for Strangers, and [link=tt...
Gothenburg’s Way Out West wrapped its fourth film edition on Saturday with a record-breaking 27,000 in attendance,42 films, including a gala premiere of local Ruben Östlund’s Force Majeure and Nordic premieres of Richard Linklater’s Boyhood and Alex Gibney’s Finding Fela.
Running alongside the Way Out West music festival, now in its ninth year, additional film programming catered to the music fanbase by screening world premieres of Swedish actress Alexandra Dahlström’s All We Have is Now, documenting Stockholm-based rock band Vulkano; and Liza Minou Morberg’s Alone Together that follows three women on a journey to Way Out West.
Other music-oriented films included Eric Green’s guitar documentary Beautiful Noise, Nick Cave doc 20,000 Days on Earth, Tom Berninger’s depiction of his brother on tour with The National in Mistaken for Strangers, and [link=tt...
- 8/11/2014
- ScreenDaily
Movie trailers are an art unto themselves, but the creative minds who come together to create them are rarely given proper credit from fans or the media. As important as footage from a film is, the music in a trailer is equally key to its success. With that in mind, TheWrap presents the 10 best songs used in movie trailers so far this year, some of which feature explanations regarding the choices from those involved in the decision-making process. Now, a few caveats before we get started. Movies like “Get On Up,” “Jersey Boys” and “Mistaken For Strangers” were disqualified from contention because they have.
- 8/1/2014
- by Jeff Sneider
- The Wrap
Other films in programme include Boyhood, Force Majeure, plus world premiere of Jens Lien’s new TV series.
Way Out West, the music and film event in Gothenberg, Sweden that runs Aug 7-9, will host the world premiere of Alexandra Dahlstrom’s All We Have Is Now [pictured], about the band Vulkano. Dahlstrom is a Swedish actress who makes her feature directorial debut.
Other world premieres at Way Out West will be Liza Morberg’s coming of age story Alone Together, about a group of friends on their way to the music festival; Klas Sivertson’s 7 Stripes; and Mia Thermænius’ The Group And The Gentlemen!.
The festival will also offer a gala screening of Ruben Ostlund’s Cannes hit Force Majeure (aka Turist) [a Nordic premiere], plus the Nordic premiere of Richard Linklater’s Boyhood. Other titles include Goran Hugo Olsson’s Concerning Violence.
IIn addition to the musical offerings of Motörhead, Outkast, Robyn & Röyksopp, Queens of the Stone Age, Janelle...
Way Out West, the music and film event in Gothenberg, Sweden that runs Aug 7-9, will host the world premiere of Alexandra Dahlstrom’s All We Have Is Now [pictured], about the band Vulkano. Dahlstrom is a Swedish actress who makes her feature directorial debut.
Other world premieres at Way Out West will be Liza Morberg’s coming of age story Alone Together, about a group of friends on their way to the music festival; Klas Sivertson’s 7 Stripes; and Mia Thermænius’ The Group And The Gentlemen!.
The festival will also offer a gala screening of Ruben Ostlund’s Cannes hit Force Majeure (aka Turist) [a Nordic premiere], plus the Nordic premiere of Richard Linklater’s Boyhood. Other titles include Goran Hugo Olsson’s Concerning Violence.
IIn addition to the musical offerings of Motörhead, Outkast, Robyn & Röyksopp, Queens of the Stone Age, Janelle...
- 7/23/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
In Hollywood, when big celebrities discover a splendid little documentary, they’re sometimes tempted to adapt it into a big-budget feature film—which may destroy what they loved about that little doc in the first place. But Ted Danson and Zach Galiafanakis aren’t your typical power-mad narcissists. They fell in love with Mistaken for Strangers, the poignant music doc about slacker Tom Berninger and his brother, Matt, who happens to be the lead singer of The National. Rather than turn it into a film, the two former Bored to Death co-stars took that pure story to the only place...
- 7/22/2014
- by Jeff Labrecque
- EW.com - PopWatch
Once co-stars on the criminally underrated HBO comedy “Bored to Death,” Zach Galifianakis and Ted Danson reunited at the behest of Funny or Die for a new video meant to promote the brothers rock doc “Mistaken for Strangers.” That's a lot of Brooklyn, and as it turns out, a lot of drama. Also read: ‘Mistaken for Strangers’ Director Tom Berninger: All the Attention Is Overwhelming The promo video is a remarkably meta spin on the “Mistaken for Strangers” doc itself, which was comprised of the video that Tom Berninger, little brother of The National lead singer Matt Berninger, took while serving as a.
- 7/22/2014
- by Jordan Zakarin
- The Wrap
The National's Mistaken for Strangers turned out to be less of a traditional rockumentary than a fascinating portrait of two brothers who couldn't be less alike. Now, Zach Galifianakis has his heart set on turning the story of brothers Matt and Tom Berninger into an intense, emotionally harrowing theatrical production, as chronicled in this excellent new Funny or Die clip.
Kindness of 'Strangers': 6 Things We Learned From the National Doc
Galifianakis — burnt out by his turn in the off-Broadway production of Shrek and in search of a role with more...
Kindness of 'Strangers': 6 Things We Learned From the National Doc
Galifianakis — burnt out by his turn in the off-Broadway production of Shrek and in search of a role with more...
- 7/22/2014
- Rollingstone.com
Since the sensational dark sitcom Bored to Death wrapped in 2011, fans have hungered for its stars to reteam. While we're still waiting on a Bored to Death movie, two of the three leads from this celebrated HBO series have reunited for Mistaken For Strangers: The Play. Okay, so it's not a real production. It's a sketch from Funny or Die. But hey, it has Ten Danson fighting with Zach Galifianakis. So, we're happy to have it. (Cheers!) Mistaken For Strangers: The Play is a bizarre bit of viral advertising for a compelling and surprisingly funny documentary called Mistaken For Strangers. As suggested above, the doc follows the popular indie rock band The National on their High Violet tour. But far from your standard concert doc, Mistaken For Strangers doesn't focus on the band's wild successes or the trials and travails of life on the road. Instead, the movie...
- 7/22/2014
- cinemablend.com
The documentary Mistaken For Strangers, a profile of indie rock darlings The National, was, not unlike the band themselves, a sleeper hit and under-appreciated gem that experimented with form and proved to be mighty daring and emotional in the process. Director Tom Berninger, brother of The National lead singer Matt Berninger, made the film while on tour with the band as a roadie. What’s surprising is how Berninger ultimately diverts the focus away from the band to himself, providing a turbulent, meta, navel gazing character study along the way.
And in a perfect compliment of absurdist comedy, Funny or Die put together a video going behind the scenes of Mistaken for Strangers The Play, a live Broadway production starring Ted Danson as Matt and Zach Galifianakis as the shlubby Tom.
Watch below as Matt teaches Danson how to climb across chairs during a performance and Galifianakis explain why he...
And in a perfect compliment of absurdist comedy, Funny or Die put together a video going behind the scenes of Mistaken for Strangers The Play, a live Broadway production starring Ted Danson as Matt and Zach Galifianakis as the shlubby Tom.
Watch below as Matt teaches Danson how to climb across chairs during a performance and Galifianakis explain why he...
- 7/22/2014
- by Brian Welk
- SoundOnSight
In 2010, Us rock band The National released their fifth album, High Violet. After ten years as critical darlings, the band was finally enjoying wider recognition. As they were about to embark on the biggest tour of their career, lead singer Matt Berninger invited his younger brother, Tom, to be a part of their tour crew. A budding filmmaker and horror movie enthusiast, Tom brought along his camera to film the experience. To celebrate the DVD release of Mistaken for Strangers (2013) this Monday (14 July), we have Three copies to give away courtesy of UK distributors Dogwoof. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
- 7/22/2014
- by CineVue UK
- CineVue
what’s on Netflix UK, Amazon UK Instant Video, blinkbox, BBC iPlayer, Curzon on Demand (from Jun 30)
What’s new, what’s hot, and what you may have missed, now available to stream.
new to stream
Carrie: a story four decades old about religious misogyny and basic feminism and the perniciousness of bullying still feels fresh and relevant [my review] [at Netflix] Le Week-end: a marvelous little unpacking of the meaning of happiness, precisely what constitutes it, and how to know whether you’ve found it [my review] [at Netflix]
streaming now, while it’s still in theaters
Mistaken for Strangers: perhaps the least bullshitting, most unostentatious rock doc ever, often as hilarious as This Is Spinal Tap, though with a different aim in mind in the end [my review] [at Amazon UK Instant Video]
streaming now, before it’s on dvd
Beyond the Edge: through gorgeous archival footage and new re-creations, thrillingly places us amidst the first successful summit of Everest in 1953 [my review] [at Amazon UK Instant Video] The Grand Budapest Hotel: the most Wes Anderson-y film ever, a delightful concoction that’s like...
new to stream
Carrie: a story four decades old about religious misogyny and basic feminism and the perniciousness of bullying still feels fresh and relevant [my review] [at Netflix] Le Week-end: a marvelous little unpacking of the meaning of happiness, precisely what constitutes it, and how to know whether you’ve found it [my review] [at Netflix]
streaming now, while it’s still in theaters
Mistaken for Strangers: perhaps the least bullshitting, most unostentatious rock doc ever, often as hilarious as This Is Spinal Tap, though with a different aim in mind in the end [my review] [at Amazon UK Instant Video]
streaming now, before it’s on dvd
Beyond the Edge: through gorgeous archival footage and new re-creations, thrillingly places us amidst the first successful summit of Everest in 1953 [my review] [at Amazon UK Instant Video] The Grand Budapest Hotel: the most Wes Anderson-y film ever, a delightful concoction that’s like...
- 6/30/2014
- by MaryAnn Johanson
- www.flickfilosopher.com
Mistaken for Strangers, the documentary about The National frontman Matt Berninger and his wayward filmmaker brother Tom, arrives in UK cinemas today (June 27), and is a reminder that siblings can sometimes make for great cinema.
Whether it's the constant squabbling of Will Ferrell and John C Reilly in Step Brothers, the epic Corleone rivalry in The Godfather or Marlon Brando and Rod Steiger in On the Waterfront, brothers can make for highly-charged drama.
The National: Matt, Tom Berninger on their rock doc Mistaken for Strangers
The National to release "huge bonus version" of Mistaken for Strangers doc
Digital Spy takes a look back at 5 movies about brothers - from entirely different genres - that are essential viewing for film fans.
Dead Ringers (1988)
A typically ambitious psychological thriller from David Cronenberg, Dead Ringers saw Jeremy Irons take on the role of Beverly and Elliot Mantle, identical twin brothers who work as...
Whether it's the constant squabbling of Will Ferrell and John C Reilly in Step Brothers, the epic Corleone rivalry in The Godfather or Marlon Brando and Rod Steiger in On the Waterfront, brothers can make for highly-charged drama.
The National: Matt, Tom Berninger on their rock doc Mistaken for Strangers
The National to release "huge bonus version" of Mistaken for Strangers doc
Digital Spy takes a look back at 5 movies about brothers - from entirely different genres - that are essential viewing for film fans.
Dead Ringers (1988)
A typically ambitious psychological thriller from David Cronenberg, Dead Ringers saw Jeremy Irons take on the role of Beverly and Elliot Mantle, identical twin brothers who work as...
- 6/27/2014
- Digital Spy
East End Film Festival has unveiled its 2014 award winners, bringing 13th edition to a close.
White Shadow has won the Best Feature award at this year’s East End Film Festival (Eeff).
Noaz Deshe’s debut feature is set in Tanzania and, focusing on a young albino, is an exploration of folk religion.
The film was chosen by a jury comprising of Eeff’s director-in-residence Sebastian Hofmann, Screen International chief film critic Mark Adams, BFI director of partnerships Eddie Berg, English photographer and video artist Gillian Wearing and screenwriter Peter Straughan.
Deshe will be invited to the festival in 2015 as director-in-residence.
In addition, Tom Berninger’s Mistaken for Strangers was named Best Documentary by a jury comprising British film-makers Iain Forsythe and Jane Pollard, director Emad Burnat, documentary film-maker Tristan Anderson and BBC Storyville’s Shanida Scotland.
The inaugural Accession Award, championing the art of cinematography, was judged by Barry Ackroyd and awarded to Jonathan Fairburn’s [link...
White Shadow has won the Best Feature award at this year’s East End Film Festival (Eeff).
Noaz Deshe’s debut feature is set in Tanzania and, focusing on a young albino, is an exploration of folk religion.
The film was chosen by a jury comprising of Eeff’s director-in-residence Sebastian Hofmann, Screen International chief film critic Mark Adams, BFI director of partnerships Eddie Berg, English photographer and video artist Gillian Wearing and screenwriter Peter Straughan.
Deshe will be invited to the festival in 2015 as director-in-residence.
In addition, Tom Berninger’s Mistaken for Strangers was named Best Documentary by a jury comprising British film-makers Iain Forsythe and Jane Pollard, director Emad Burnat, documentary film-maker Tristan Anderson and BBC Storyville’s Shanida Scotland.
The inaugural Accession Award, championing the art of cinematography, was judged by Barry Ackroyd and awarded to Jonathan Fairburn’s [link...
- 6/26/2014
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
It’s something of a cliché to say, “you really don’t need to be a fan of the music to appreciate this film” – but it’s true. As Mistaken for Strangers, a documentary which follows the renowned indie band The National as they embark on a world tour, is far more concerned with the director Tom Berninger’s brotherly relationship with the band’s lead singer, Matt, in a somewhat similar vein to popular music doc Dig!
Tom Berninger is not quite so successful at his older brother. While Matt is out, gallivanting around the world, performing his songs in front of adoring fans all the way to Barack Obama himself, the former remains mostly at home – with his mum – making low-budget horror movies in his bedroom. However when asked to go on tour with The National and help out as a member of the crew, he decides to...
Tom Berninger is not quite so successful at his older brother. While Matt is out, gallivanting around the world, performing his songs in front of adoring fans all the way to Barack Obama himself, the former remains mostly at home – with his mum – making low-budget horror movies in his bedroom. However when asked to go on tour with The National and help out as a member of the crew, he decides to...
- 6/25/2014
- by Stefan Pape
- HeyUGuys.co.uk
It is that time again as 2014 is already half over. Wow, time flies when you are watching movies. The year being half over brings my annual, “Top 10 Movies of the Year…So Far” list, and without question this is my strongest list by a long shot. One big reason is the increase of great titles that have been released On Demand. Half of my list in fact is made up of films I saw On Demand. Now I am all for supporting your local Art House Theater as much as possible, but certain films don’t make it outside of La and New York so On Demand is a great tool to experience some great Independent movies. I feel like geek culture is far too obsessed with franchises that stick to the same format over and over again. I enjoy franchise movies as well, as you will see on this list,...
- 6/22/2014
- by Dan Clark
- Nerdly
He Ain’t Heavy, He’s My Brother
After years of toiling away beneath the shaky lighting rigs of empty beer-soaked bars, peddling his musical wares alongside his melodic band of brothers, The National, Matt Berninger’s sucker-punch lyricism would propel the Ohio native from the rag-tag romanticism of New York City’s inconsequential avenues to the upper echelons of indie-rock immortality. A notable omission upon this journey, which has included sell-out world tours, widespread critical acclaim, and joining President Obama on the campaign trail, would be Matt’s younger biological brother Tom. Still living at home in Cincinnati with his and Matt’s parents, the younger Berninger would watch his sibling sweet-talk his way into the hearts and record-collections of America while he was fixing a drink in the basement of their childhood home.
After an impromptu invite landed the self-appointed L’enfant terrible a spot as a roadie...
After years of toiling away beneath the shaky lighting rigs of empty beer-soaked bars, peddling his musical wares alongside his melodic band of brothers, The National, Matt Berninger’s sucker-punch lyricism would propel the Ohio native from the rag-tag romanticism of New York City’s inconsequential avenues to the upper echelons of indie-rock immortality. A notable omission upon this journey, which has included sell-out world tours, widespread critical acclaim, and joining President Obama on the campaign trail, would be Matt’s younger biological brother Tom. Still living at home in Cincinnati with his and Matt’s parents, the younger Berninger would watch his sibling sweet-talk his way into the hearts and record-collections of America while he was fixing a drink in the basement of their childhood home.
After an impromptu invite landed the self-appointed L’enfant terrible a spot as a roadie...
- 6/11/2014
- by Brody Rossiter
- HeyUGuys.co.uk
Director: Tom Berninger; Starring: Tom Berninger, Matt Berninger, Aaron Dessner, Bryce Dessner, Bryan Devendorf, Scott Devendorf; Running time: 75 mins; Certificate: 15
The National, if you're not already aware, are a commercially and critically successful indie rock band with Grammy nominations, headline arena tours and a President Obama endorsement to show for it. But according to Tom Berninger, the metalhead loafer younger brother of lead singer Matt, they're just not his thing - they don't party, they don't do drugs and their "pleasant" music is a little too Starbucks for Cbgb.
That Tom is behind a movie about the band instead of say, Arcade Fire's hangabout Spike Jonze or any other big-time Hollywood director, can't help but sound strange. But Mistaken for Strangers is something else. What starts as a small rock doc of The National inadvertently turns into an incredibly funny, sad, weird story about the Berninger brothers' sort-of-estranged relationship...
The National, if you're not already aware, are a commercially and critically successful indie rock band with Grammy nominations, headline arena tours and a President Obama endorsement to show for it. But according to Tom Berninger, the metalhead loafer younger brother of lead singer Matt, they're just not his thing - they don't party, they don't do drugs and their "pleasant" music is a little too Starbucks for Cbgb.
That Tom is behind a movie about the band instead of say, Arcade Fire's hangabout Spike Jonze or any other big-time Hollywood director, can't help but sound strange. But Mistaken for Strangers is something else. What starts as a small rock doc of The National inadvertently turns into an incredibly funny, sad, weird story about the Berninger brothers' sort-of-estranged relationship...
- 6/6/2014
- Digital Spy
The National will release a "huge bonus version" of their upcoming documentary Mistaken for Strangers.
The band's frontman Matt Berninger and his brother Tom, who shot the film, told Digital Spy that an extended version will come bundled with the movie's DVD.
The National: Matt, Tom Berninger on their rock doc Mistaken for Strangers
"There is some extra footage out there. Some of it's so bad, though!" Tom said, to which Matt joked: "That's what's good about it."
Tom continued: "Hopefully [it'll be on the DVD]. Hopefully we can get it all in one place eventually."
Matt added: "There's gonna be a huge bonus version of it. The plan is well under way and Tom is working on it right now. There's no hope - it's definitely happening."
Of the funny scene where The National's drummer Bryan Devendorf is filmed naked in the shower, Tom joked: "I have the rest of the guys in their...
The band's frontman Matt Berninger and his brother Tom, who shot the film, told Digital Spy that an extended version will come bundled with the movie's DVD.
The National: Matt, Tom Berninger on their rock doc Mistaken for Strangers
"There is some extra footage out there. Some of it's so bad, though!" Tom said, to which Matt joked: "That's what's good about it."
Tom continued: "Hopefully [it'll be on the DVD]. Hopefully we can get it all in one place eventually."
Matt added: "There's gonna be a huge bonus version of it. The plan is well under way and Tom is working on it right now. There's no hope - it's definitely happening."
Of the funny scene where The National's drummer Bryan Devendorf is filmed naked in the shower, Tom joked: "I have the rest of the guys in their...
- 6/5/2014
- Digital Spy
There comes a time in every band's life when the music video merely isn't enough of an art form. Some put out live DVDs; some concert films; some even musicals. The National - Brooklyn's indie darlings who seem to get bigger and better with every album - didn't get to decide.
See, Tom Berninger is the 34-year-old younger brother of lead singer Matt. Tom is a loveable slacker who still lives with their parents in Cincinnati. Matt, possibly feeling a little sorry for Tom, invited him on tour with the band to work as a roadie. What Matt didn't realise, however, was that Tom was taking his camera along for the ride.
But what started as a rock doc of The National accidentally turned into Mistaken for Strangers - a brilliantly funny, sad, weird film about two brothers who've been given conflicting lemons in life and the literal tears and tantrums that come with.
See, Tom Berninger is the 34-year-old younger brother of lead singer Matt. Tom is a loveable slacker who still lives with their parents in Cincinnati. Matt, possibly feeling a little sorry for Tom, invited him on tour with the band to work as a roadie. What Matt didn't realise, however, was that Tom was taking his camera along for the ride.
But what started as a rock doc of The National accidentally turned into Mistaken for Strangers - a brilliantly funny, sad, weird film about two brothers who've been given conflicting lemons in life and the literal tears and tantrums that come with.
- 6/5/2014
- Digital Spy
This month's new movie releases include undercover cops, an ill-advised character study and a tragic teenage romance. Not only that, we also have on offer some swinging '60s musical numbers and a surprising indie rock doc.
Digital Spy rounds up the five must-see movies for June below...
22 Jump Street
Release date: June 6
Why you should see it: Jonah Hill and Channing Tatum head to college to reunite as unlikely police partners in the hotly anticipated sequel to 21 Jump Street. A classic tale of drug busting and friendship, the journey of Officers Schmidt and Jenko gives rise to Hill and Tatum's genuine chemistry. A must-see, even if only for the scene of Jonah Hill wrestling an octopus.
Grace of Monaco
Release date: June 6
Why you should see it: Universally panned, Olivier Dahan's biopic of Grace Kelly is bound to be an unforgettable cinematic experience... probably for all the wrong reasons.
Digital Spy rounds up the five must-see movies for June below...
22 Jump Street
Release date: June 6
Why you should see it: Jonah Hill and Channing Tatum head to college to reunite as unlikely police partners in the hotly anticipated sequel to 21 Jump Street. A classic tale of drug busting and friendship, the journey of Officers Schmidt and Jenko gives rise to Hill and Tatum's genuine chemistry. A must-see, even if only for the scene of Jonah Hill wrestling an octopus.
Grace of Monaco
Release date: June 6
Why you should see it: Universally panned, Olivier Dahan's biopic of Grace Kelly is bound to be an unforgettable cinematic experience... probably for all the wrong reasons.
- 6/1/2014
- Digital Spy
June 6, 2014
22 Jump Street
Director: Phil Lord, Christopher Miller
Starring: Channing Tatum, Jonah Hill
Running time: 112 mins
Certificate: 15
Fruitvale Station
Director: Ryan Coogler
Starring: Michael B. Jordan, Melonie Diaz, Octavia Spencer
Running time: 85 mins
Certificate: 15
Grace of Monaco
Director: Olivier Dahan
Starring: Nicole Kidman, Tim Roth
Running time: 103 mins
Certificate: PG
Pulp: A Film About Life, Death & Supermarkets
Director: Florian Habicht
Starring: Jarvis Cocker, Nick Banks
Running time: 90 mins
Certificate: Tbc
June 13
Belle
Director: Amma Asante
Starring: Gugu Mbatha-Raw, Matthew Goode, Emily Watson
Running time: 104 mins
Certificate: 12A
Devil's Knot
Director: Atom Egoyan
Starring: Reese Witherspoon, Colin Firth
Running time: 114 mins
Certificate: 15
Oculus
Director: Mike Flanagan
Starring: Karen Gillan, Brenton Thwaites, Katee Sackhoff
Running time: 104 mins
Certificate: 15
Young and Prodigious Ts Spivet
Director: Jean-Pierre Jeunet
Starring: Helena Bonham Carter, Robert Maillet
Running time: 105 mins
Certificate: Tbc
The Wizard of Oz - IMAX
Director: Victor Fleming, George Cukor
Starring: Judy Garland,...
22 Jump Street
Director: Phil Lord, Christopher Miller
Starring: Channing Tatum, Jonah Hill
Running time: 112 mins
Certificate: 15
Fruitvale Station
Director: Ryan Coogler
Starring: Michael B. Jordan, Melonie Diaz, Octavia Spencer
Running time: 85 mins
Certificate: 15
Grace of Monaco
Director: Olivier Dahan
Starring: Nicole Kidman, Tim Roth
Running time: 103 mins
Certificate: PG
Pulp: A Film About Life, Death & Supermarkets
Director: Florian Habicht
Starring: Jarvis Cocker, Nick Banks
Running time: 90 mins
Certificate: Tbc
June 13
Belle
Director: Amma Asante
Starring: Gugu Mbatha-Raw, Matthew Goode, Emily Watson
Running time: 104 mins
Certificate: 12A
Devil's Knot
Director: Atom Egoyan
Starring: Reese Witherspoon, Colin Firth
Running time: 114 mins
Certificate: 15
Oculus
Director: Mike Flanagan
Starring: Karen Gillan, Brenton Thwaites, Katee Sackhoff
Running time: 104 mins
Certificate: 15
Young and Prodigious Ts Spivet
Director: Jean-Pierre Jeunet
Starring: Helena Bonham Carter, Robert Maillet
Running time: 105 mins
Certificate: Tbc
The Wizard of Oz - IMAX
Director: Victor Fleming, George Cukor
Starring: Judy Garland,...
- 5/29/2014
- Digital Spy
Editor's Note: This post is presented in partnership with Time Warner Cable Movies On Demand in support of May's Indie Film Month. "Mistaken for Strangers" is currently available to view On Demand. While Tom Berninger's "Mistaken For Strangers" is technically rooted in the travels of successful indie rock band The National, it would be inaccurate to characterize it as a rock documentary. Berninger, brother of The National frontman Matt, hardly emphasizes the history of the band's rise or its creative process. Instead, he focuses on himself—and the tensions he has shared with his sibling, nine years his senior, since childhood. The younger Berninger, a bearded, portly joker, seemingly can't get enough of his own pathetic state. The result is a witty, meandering story about a witty, meandering black sheep that never reaches beyond the average aspirations of its goofball star. Berninger wastes no time mocking his deadbeat lifestyle,...
- 5/18/2014
- by Eric Kohn
- Indiewire
The East End Film Festival returns to the city of London this summer celebrating its thirteenth year, and running in the height of the World Cup, Director Alison Poltock says she’s determined to make it the festival’s best year ever.
Opening on Friday, 13th June, the festival will run in East London for thirteen days, playing host to over 100 feature narrative and documentary films, and close to 100 shorts, the majority of which will be either World, UK, or London premieres.
Ross Clarke’s sophomore feature, Dermaphormia, will kick events off as the Opening Night Gala selection. Clarke has lined up an impressive cast for his first narrative film, following his award-winning documentary Skid Row, led by Joseph Morgan (The Vampire Diaries), Nicole Badaan, Walton Goggins (Django Unchained), Lucius Falick, Ron Perlman (Hellboy), Anwan Glover (The Wire), and Kate Walsh (Grey’s Anatomy). The crime-thriller centres on an experimental...
Opening on Friday, 13th June, the festival will run in East London for thirteen days, playing host to over 100 feature narrative and documentary films, and close to 100 shorts, the majority of which will be either World, UK, or London premieres.
Ross Clarke’s sophomore feature, Dermaphormia, will kick events off as the Opening Night Gala selection. Clarke has lined up an impressive cast for his first narrative film, following his award-winning documentary Skid Row, led by Joseph Morgan (The Vampire Diaries), Nicole Badaan, Walton Goggins (Django Unchained), Lucius Falick, Ron Perlman (Hellboy), Anwan Glover (The Wire), and Kate Walsh (Grey’s Anatomy). The crime-thriller centres on an experimental...
- 5/7/2014
- by Kenji Lloyd
- HeyUGuys.co.uk
Now in its 7th edition, Krakow's prominent Off Plus Camera is a film festival devoted solely to world independent cinema. Though relatively young, Off Plus Camera has already been host to some of the most exciting and influential indie filmmakers of the last few years. Amongst Polish cinephiles it's often cited as a perfect and absolutely vital opener of the festival season, and one of the very few events that still keep the true spirit of independent film alive.The remarkable line-up includes more than 100 films, among which are such beloved or critically acclaimed international features as: Ain't Them Bodies Saints, Bastards, Fruitvale Station, Gloria, Grand Piano, Mistaken for Strangers, Museum Hours, The Babadook, Tom at the Farm. Additionally, for Polish cinema aficionados there is...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 5/1/2014
- Screen Anarchy
Last year the Tribeca Film Festival opened with Mistaken For Strangers, a sideways documentary view of The National followed by a performance from the band. Attendees moved from screening venue to a separate show space, but this year both opening night parts were combined at Madison Square Garden’s Beacon Theater. First came One9′s Time Is Illmatic, a history of Nas’ seminal 1994 album, then the 20th anniversary performance. You can go here to read Brandon Harris’ take on the movie (which plays once more on Friday). Ten years in the making, One9′s debut documentary tracks the making of the instant […]...
- 4/21/2014
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
Last year the Tribeca Film Festival opened with Mistaken For Strangers, a sideways documentary view of The National followed by a performance from the band. Attendees moved from screening venue to a separate show space, but this year both opening night parts were combined at Madison Square Garden’s Beacon Theater. First came One9′s Time Is Illmatic, a history of Nas’ seminal 1994 album, then the 20th anniversary performance. You can go here to read Brandon Harris’ take on the movie (which plays once more on Friday). Ten years in the making, One9′s debut documentary tracks the making of the instant […]...
- 4/21/2014
- by Vadim Rizov
- Filmmaker Magazine - Blog
If you’re a working musician who has residential roots to New York City and you happen to have some sort of fraught relationship with your family, the Tribeca Film Festival has a spot for you: Opening Night. Last year, the festival opened with the debut of Mistaken For Strangers, a documentary about the band The National, with a tight focus on the band’s lead singer and his doofus brother as they attempt to coexist on tour together. This year, the festival bowed with the premiere of Time Is Illmatic, another documentary centered on a working musician (in this case, rapper Nas) who has residential roots to the city (he grew up in Queens’ Queensbridge Houses) who happens to have some sort of fraught relationship with his family (though nothing quite so tense as the relationship at the center of last year’s premiere). Time Is Illmatic is pegged to the twenty-year anniversary of Nas’ debut...
- 4/17/2014
- by Kate Erbland
- FilmSchoolRejects.com
New York (AP) — The raw New York lyricism of Nas kicked off the 13th annual Tribeca Film Festival with an exuberant hip-hop beat. Tribeca opened Wednesday night with the premiere of "Time Is Illmatic," a documentary about the creation of Nas' landmark 1994 debut album, "Illmatic." The Queens native Nas followed the screening at Manhattan's Beacon Theatre with a performance of the nine-track album, widely considered a rap classic for its angry but earnest street poetry. Tribeca co-founder Robert De Niro introduced the film as not just about the making of an album, but "about the making of an artist here in our hometown." Whereas many films about an album have stuck largely to the song-writing process and track recording, "Time Is Illmatic," directed by the filmmaker One9, summons the Queensbridge housing projects upbringing of Nas and the forces — his parents, 1980s Queens, early hip-hop — that shaped his music. The...
- 4/17/2014
- by Jake Coyle, AP
- Hitfix
The Tribeca Film Festival began as a way for New York to rebuild culturally after the World Trade Center attacks in 2001. For the first time since then, the area around Ground Zero is dominated by a sparkly, newly finished Freedom Tower, which represents so much more than the city’s resilience and recovery. The Tribeca festival played a small, but not insignificant, role in that recovery, inviting artists and film lovers to the city and reassuring New Yorkers that life can be beautiful even in the darkest of days.
After more than a decade of growth, Tribeca is also entering...
After more than a decade of growth, Tribeca is also entering...
- 4/16/2014
- by Jeff Labrecque
- EW - Inside Movies
Title: Mistaken For Strangers Director: Tom Berninger There may not be a better film this year about adult sibling jostling, rivalry and affection than Tom Berninger’s extraordinary “Mistaken For Strangers.” The fact that it’s also a meta-documentary about life on the road with the ascendant indie rock group The National, whose lead singer Matt Berninger is Tom’s older brother, is completely incidental. This is an engaging work of many colors, at once funny and heart-piercing, that taps into the rich and often conflicting veins of feeling that only loved ones can elicit. The younger Berninger is a Cincinnati roustabout — a sensitive, wayward creative soul and aspiring indie horror director who comes off a bit like [ Read More ]
The post Mistaken For Strangers Movie Review appeared first on Shockya.com.
The post Mistaken For Strangers Movie Review appeared first on Shockya.com.
- 4/10/2014
- by bsimon
- ShockYa
The top stories of the week from Toh!Box Office:Arthouse Audit: "Cesar Chavez," "The Raid 2," "Finding Vivian Maier" & "Mistaken for Strangers" Find Initial Success"Frozen" and "Lego Movie" Pass Box Office MilestonesFeatures:Career Watch: Will "Noah" Prove a Blessing for Russell Crowe?Toh! Picks Robert Altman's Top 15 FilmsWhy Ten Years Later, Jonathan Glazer's "Birth" Is Still a MasterpieceFestivals:Seven Films to See at the San Francisco International Film Fest; Noah Cowan Hosts First Sfiff Press ConferenceInterviews:Cinematographer Manuel Claro Talks the Bearable Lightness of "Nymphomaniac"Composer Mica Levi on Why Going "Under the Skin" Was "Really Mental"How Does Hans Zimmer Do It? Hack or Genius? "I am still an architect"Jonathan Glazer Explains Why "Under the Skin" Took a Decade to Make: "I'm stubborn"The Russo Brothers Talk "The Winter Soldier" as Conspiracy ThrillerNews:What Are Grace Kelly's Best Films? We Give the Top Three to HitchcockReviews:As "Nymphomaniac"...
- 4/4/2014
- by TOH!
- Thompson on Hollywood
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.