After the 800th time it was revealed that Katrina lied to her husband via omission last week, can Ichabod still trust his wife? Have all the her secrets even been revealed? Smart money is on no. But while Crane deals with his marriage crisis, there are other threads unraveling in “And the Abyss Gazes Back.” ******* Ichabod Crane has withstood numerous tortures, but yoga is where he draws the line. Inversions might help Abbie clear her mind and work her buns — a word that is somehow offensive to Crane — but her attempts to teach inner peace to her partner fail miserably. On the plus side, Crane looks good in a modern shirt and with his hair down. But how can Ichabod concentrate on relaxation with Katrina on his mind? Abbie manages to coax a few truths from him: Crane is peeved and hurt by his wife’s actions and would much rather get drunk and forget.
- 10/28/2014
- by Donna Dickens
- Hitfix
On the heels of the 39th edition of the Toronto Int. Film Festival (Sept 4-14), Ifp’s Independent Film Week is where a plethora of fiction, non-fiction and new this year, web-based series from the likes of Desiree Akhavan and Calvin Reeder find future coin. Sectioned off as projects at the very beginning of financing to those that are nearing completion, there happens to be tons of Sundance alumni in the names below. Among those that caught our attention we have Medicine for Melancholy‘s Barry Jenkins’ sophomore feature, produced by Bad Milo!‘s Adele Romanski, Moonlight is about “two Miami boys navigate the temptations of the drug trade and their burgeoning sexuality in this triptych drama about black queer youth”. Concussion‘s Stacie Passon digs into the thriller genre with Strange Things Started Happening. Produced by vet Mary Jane Skalski (Mysterious Skin), this is about “a woman who has...
- 7/24/2014
- by Eric Lavallee
- IONCINEMA.com
Not all docu films that make the cut into the Sundance Institute’s Documentary Edit and Story Labs are fortunate enough to then land a coveted spot at the festival (recent examples include Roger Ross Williams’ God Loves Uganda and Tracy Draz Tragos and Andrew Droz Palermo’s Rich Hill) but some fresh air and supportive pounding from the Institute’s Advisors surely contributes to the realization of passion projects that are buckets filled in blood, sweat and tears. Among the press release mentions below, we’ll surely be discussing them in Park City setting in a January to too far off from now. Here are the selection of 20 Fellows representing eight documentary film projects to participate in the 2014 Documentary Edit and Story Labs, June 20-28 and July 4-12 at Sundance Resort in Sundance, Utah.
Artists and projects selected for the June 20-28 Documentary Edit and Story Lab:
A Flickering...
Artists and projects selected for the June 20-28 Documentary Edit and Story Lab:
A Flickering...
- 6/19/2014
- by Eric Lavallee
- IONCINEMA.com
Sundance Institute has unveiled the 20 fellows, and their eight documentary film projects, who will participate in this Summer's 2014 Documentary Edit and Story Labs. The labs run June 20-28, and July 4-12, at Sundance Resort in Utah. Based on Sundance's immersive Lab model launched by Robert Redford in 1981, each session of Documentary Edit and Story unites directors and editors with world-class doc filmmakers. Creative advisors in June include editors Jonathan Oppenheim ("The Oath") and Mary Lampson ("Harlan County USA"), and directors Jesse Moss (this year's breakout "The Overnighters") and Jon Else ("Sing Faster!"). In July, editors Kate Amen ("The Case Against 8") and Joe Bini ("We Need to Talk About Kevin"), and directors Ross McElwee ("Photographic Memory") and Rob Epstein ("Howl") are among those onboard as creative advisors. Artists and projects selected for the June 20-28 Documentary Edit and Story Lab: "A Flickering Truth" Director: Pietra Brettkelly Editor: Jacob...
- 6/19/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Every month, the online movie streaming service SundanceNow features a program of documentaries curated by Thom Powers (doc programmer for Tiff and other film fests). Typically the program is based around a theme (i.e. food docs, art docs, docs with nudity, etc.), but throughout August this “Doc Club” is spotlighting filmmaker Ross McElwee, a pioneer of first-person nonfiction cinema best known for the classic Sherman’s March. That film is among the selections, along with five other features, including his latest, Photographic Memory, and two shorter early works. It’s a perfect introduction to one of my favorite filmmakers, and it’s also a special treat for those who are already McElwee fans as some of these docs haven’t been too easily seen. And both the subscription and single month deals are pretty great. McElwee is the main character of most his own films, which take viewers through autobiographical tales involving romance, death...
- 8/2/2013
- by Christopher Campbell
- FilmSchoolRejects.com
Sundance Selects’ digital label has agreed terms with First Run Features to bring select titles from the latter’s documentary library to SundanceNOW’s subscription VoD service Doc Club.
SundanceNOW has licensed 39 documentaries for the Doc Club programme curated by documentary programmer Thom Powers around monthly themes.
The collaboration kicks off in July with Culinary Cinema including A Table In Heaven, A Matter Of Taste and Kings Of Pastry.
August brings a Ross McElwee retrospective including Charleen, Bright Leaves and Photographic Memory.
“First Run Features has been our highly esteemed colleague in distribution for many years, and we are thrilled to bring their films to our ever-growing online community of documentary and independent film aficionados,” said Sundance Selects president Jonathan Sehring [pictured].
SundanceNOW has licensed 39 documentaries for the Doc Club programme curated by documentary programmer Thom Powers around monthly themes.
The collaboration kicks off in July with Culinary Cinema including A Table In Heaven, A Matter Of Taste and Kings Of Pastry.
August brings a Ross McElwee retrospective including Charleen, Bright Leaves and Photographic Memory.
“First Run Features has been our highly esteemed colleague in distribution for many years, and we are thrilled to bring their films to our ever-growing online community of documentary and independent film aficionados,” said Sundance Selects president Jonathan Sehring [pictured].
- 6/12/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Title: Photographic Memory Director: Ross McElwee In David Lynch’s trippy, 1997 neo-noir psychological thriller “Lost Highway,” Bill Pullman’s Fred Madison explains his aversion to video cameras thusly: “I like to remember things my own way.” When pressed for a further explanation, he offers, ”How I remembered them — not necessarily the way they happened.” For documentary director Ross McElwee – whose films have almost always been reflexively autobiographical, delving into his familial relationships and ancestral connections — it’s almost the opposite. His memories have, for years, been filtered through first his photographs and writings, and then his ever-present camera lens, to the point that he begins to question how real, or accurate, some of [ Read More ]
The post Photographic Memory Movie Review appeared first on Shockya.com.
The post Photographic Memory Movie Review appeared first on Shockya.com.
- 10/19/2012
- by bsimon
- ShockYa
Ross McElwee made his reputation with a highly original film called Sherman’s March and has continued to draw on his family history in such low-key, first-person features as Bright Leaves. His latest effort, Photographic Memory, is another cinematic diary which follows two separate but related streams. McElwee has photographed his son Adrian in home movies since he was a boy, but lately they don’t seem to be on the same wavelength. Now grown up, Adrian is a somewhat aimless young man, and an enigma to his father. This gets McElwee to thinking about what he was like when he was 20-something, so he decides to return to the small French village where he spent some time during...
[[ This is a content summary only. Visit my website for full links, other content, and more! ]]...
[[ This is a content summary only. Visit my website for full links, other content, and more! ]]...
- 10/12/2012
- by Leonard Maltin
- Leonard Maltin's Movie Crazy
When Ross McElwee heeded the call to become a filmmaker in the mid 1970s, he enrolled in M.I.T.’s film program and studied with pioneering cinéma vérité documentarians Richard Leacock and Ed Pincus. Lighter, smaller cameras and advancements in sync-sound made it possible for one man to do what a film crew did not too many years before. McElwee would synthesize the lessons learned and use the new technology to create a distinctive kind of cinema.
McElwee’s films are often filed in the “personal documentary” category. Like many labels, personal documentary seems inadequate, if not downright misleading. Yes, his family, friends, and ex-lovers appear in his films. He frequently visits places in his past, and yes, he narrates and shows up in his films, but it is always to a larger purpose–nuclear proliferation in Sherman’s March, violence and media in Six O’Clock News, the tobacco industry in Bright Leaves.
McElwee’s films are often filed in the “personal documentary” category. Like many labels, personal documentary seems inadequate, if not downright misleading. Yes, his family, friends, and ex-lovers appear in his films. He frequently visits places in his past, and yes, he narrates and shows up in his films, but it is always to a larger purpose–nuclear proliferation in Sherman’s March, violence and media in Six O’Clock News, the tobacco industry in Bright Leaves.
- 10/10/2012
- by David Licata
- Filmmaker Magazine - Blog
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.