In the article series Sound and Vision we take a look at music videos from notable directors. This week we take a look at several music videos directed by Jem Cohen. Jem Cohen's style solidified almost from the get go. His hazy and haptic imagery, with a lot of textural grain lends a dreamlike quality to what otherwise is an observing documentary style. In his films there is some leeway to that style, easily flipping between fact and fiction, diary footage and essayist observations. Films like the masterpiece that is Museum Hours mix the three -documentary, fiction and essay film- into a hybrid blend. His films land upon certain truths, often by chance, sometimes by using earlier shot footage and recontextualizing them into a fictional...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 4/29/2024
- Screen Anarchy
In A Little Love Package, Vienna’s institutions, people, buildings, and overlapping epochs make for a stiff drink: a bright, effervescent, lightly intoxicating film easily downed in one. The director is Gastón Solnicki, a nicely ruminative Buenos Aires filmmaker whose make-it-up-as-you-go approach allows his films to meander. Solnicki’s work has a playful spirit: it’s episodic both in form and content, though never amorphous; and he moves between narrative, documentary, still imagery, and immersive sound with seamless élan. Forged in lockdown, Love Package is a breezy collage of meteorites and cigarettes; cheese and boiled eggs, and how best to make them. But at heart it’s about how eras end, what they leave behind, and how new ones begin.
Solnicki’s previous film, Introduction to the Dark, was his first based in Vienna; it opened with images of the Prater amusement park, where Harry Lime once tallied the merits of Switzerland.
Solnicki’s previous film, Introduction to the Dark, was his first based in Vienna; it opened with images of the Prater amusement park, where Harry Lime once tallied the merits of Switzerland.
- 8/19/2022
- by Rory O'Connor
- The Film Stage
The Film Society of Lincoln Center has today announced the fourth edition of Art of the Real, their essential showcase for boundary-pushing nonfiction film, scheduled to take place April 20 – May 2. Billed as “a survey of the most vital and innovative voices in nonfiction and hybrid filmmaking,” this year’s showcase features an eclectic, globe-spanning host of discoveries, including seven North American premieres and eight U.S. premieres.
“In our fourth year we’ve put an emphasis on placing works by first-time and emerging filmmakers alongside established names, with the aim to highlight the experimentation happening across generations, and to trace a new trajectory of documentary art that points to its promising future,” said Film Society of Lincoln Center Programmer at Large Rachael Rakes, who organized the festival with Director of Programming Dennis Lim.
The Opening Night selection is the New York premiere of Theo Anthony’s “Rat Film,” which has...
“In our fourth year we’ve put an emphasis on placing works by first-time and emerging filmmakers alongside established names, with the aim to highlight the experimentation happening across generations, and to trace a new trajectory of documentary art that points to its promising future,” said Film Society of Lincoln Center Programmer at Large Rachael Rakes, who organized the festival with Director of Programming Dennis Lim.
The Opening Night selection is the New York premiere of Theo Anthony’s “Rat Film,” which has...
- 3/20/2017
- by Kate Erbland
- Indiewire
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.
– Bleecker Street has announced it has acquired U.S. and select territory rights to “The Man Who Invented Christmas,” to be directed by Bharat Nalluri. The film will start shooting next month and is targeting a holiday 2017 release date.
The cast includes Dan Stevens as Charles Dickens, Christopher Plummer as Scrooge and Jonathan Pryce as Dickens’ father. The Solution is handling rights for the rest of the world. The script is written by Susan Coyne and is based on the book “The Man Who Invented Christmas” by Les Standiford, published by Crown. The film recounts how Charles Dickens created the classic holiday fable, “A Christmas Carol.”
– Exclusive: Gravitas Ventures has announced it has acquired exclusive distribution rights...
– Bleecker Street has announced it has acquired U.S. and select territory rights to “The Man Who Invented Christmas,” to be directed by Bharat Nalluri. The film will start shooting next month and is targeting a holiday 2017 release date.
The cast includes Dan Stevens as Charles Dickens, Christopher Plummer as Scrooge and Jonathan Pryce as Dickens’ father. The Solution is handling rights for the rest of the world. The script is written by Susan Coyne and is based on the book “The Man Who Invented Christmas” by Les Standiford, published by Crown. The film recounts how Charles Dickens created the classic holiday fable, “A Christmas Carol.”
– Exclusive: Gravitas Ventures has announced it has acquired exclusive distribution rights...
- 11/11/2016
- by Kate Erbland
- Indiewire
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
Jem Cohen‘s (Museum Hours, Counting) new documentary, World Without End (No Reported Incidents), will be released in the U.S. by Grasshopper Film early next year. From the press release:
Quite close to London, but for many, a million miles away, Southend-on-Sea is a town along the Thames estuary. Jem Cohen’s new documentary, World Without End (No Reported Incidents), is a portrait of this place – everyday streets, everyday birds, unflagging tides, mud, and sky. But it is also about humanity and history, about prize-winning Indian curries, an encyclopedic universe of hats, and a nearly lost world of proto-punk music.
William Friedkin recently shadowed an Italian exorcist,...
Jem Cohen‘s (Museum Hours, Counting) new documentary, World Without End (No Reported Incidents), will be released in the U.S. by Grasshopper Film early next year. From the press release:
Quite close to London, but for many, a million miles away, Southend-on-Sea is a town along the Thames estuary. Jem Cohen’s new documentary, World Without End (No Reported Incidents), is a portrait of this place – everyday streets, everyday birds, unflagging tides, mud, and sky. But it is also about humanity and history, about prize-winning Indian curries, an encyclopedic universe of hats, and a nearly lost world of proto-punk music.
William Friedkin recently shadowed an Italian exorcist,...
- 11/4/2016
- by Nick Newman
- The Film Stage
Following in the vein of last year’s excellent Ballet 422, First Monday In May offers another process-heavy view into the preparation of a prestigious event. This time, it’s the 2015 Met Ball and exhibition, China: Through the Looking Glass. But while Andrew Rossi’s documentary offers a sizable window into the production period by curator Andrew Bolton and his army of helpers, and equally surprising access into fashion icon Anna Wintour’s inner sanctum, First Monday In May is disappointingly shallow despite rich subject matter.
Fawning above all else, the Tribeca 2016 opener is handsomely crafted, but there’s a total lack of focus, let alone a visual identity. And it’s certainly not for lack of material. A gorgeous short film could have been made through a gliding tour of the finished exhibition, but as a full feature, Rossi never punctures the surface, leaving a sour taste of self-importance.
Fawning above all else, the Tribeca 2016 opener is handsomely crafted, but there’s a total lack of focus, let alone a visual identity. And it’s certainly not for lack of material. A gorgeous short film could have been made through a gliding tour of the finished exhibition, but as a full feature, Rossi never punctures the surface, leaving a sour taste of self-importance.
- 4/15/2016
- by Michael Snydel
- The Film Stage
In 2012, Jem Cohen's feature film Museum Hours received critical acclaim, and earned Cohen a wider audience, partly for having ventured into narrative storytelling—while still upholding the same principles of his past work. His latest film, Counting, is partly a return to the mode he has long been recognized for. Divided into fofteem distinct, poetically intermeshing chapters, it is an essayistic travelogue in the spirit of the late Chris Marker (who receives an explicit dedication).>> - Adam Cook...
- 8/10/2015
- Fandor: Keyframe
In 2012, Jem Cohen's feature film Museum Hours received critical acclaim, and earned Cohen a wider audience, partly for having ventured into narrative storytelling—while still upholding the same principles of his past work. His latest film, Counting, is partly a return to the mode he has long been recognized for. Divided into fofteem distinct, poetically intermeshing chapters, it is an essayistic travelogue in the spirit of the late Chris Marker (who receives an explicit dedication).>> - Adam Cook...
- 8/10/2015
- Keyframe
Interview has posted its 1972 conversation with Warren Beatty, who, at the time, was working on George McGovern's presidential campaign. More interviews: David Simon on The Wire, Treme and his forthcoming series, Show Me a Hero; William Friedkin on the 70s; Pedro Costa discusses Horse Money and the late Gil-Scott Heron; Jem Cohen explains why his new film, Counting, isn't all that different from Museum Hours; Rick Alverson on testing audience's patience with The Comedy and Entertainment; James Ponsoldt defends The End of the Tour; Greta Gerwig on Frances Ha and Mistress America; and The Believer's interview with Amber Tamblyn. » - David Hudson...
- 8/7/2015
- Fandor: Keyframe
Interview has posted its 1972 conversation with Warren Beatty, who, at the time, was working on George McGovern's presidential campaign. More interviews: David Simon on The Wire, Treme and his forthcoming series, Show Me a Hero; William Friedkin on the 70s; Pedro Costa discusses Horse Money and the late Gil-Scott Heron; Jem Cohen explains why his new film, Counting, isn't all that different from Museum Hours; Rick Alverson on testing audience's patience with The Comedy and Entertainment; James Ponsoldt defends The End of the Tour; Greta Gerwig on Frances Ha and Mistress America; and The Believer's interview with Amber Tamblyn. » - David Hudson...
- 8/7/2015
- Keyframe
Hewing closely to the tradition of documentary as diaristic essay, Jem Cohen’s Counting moves from New York to Sharjah as the cinema eye ruminates on street life, destruction, displacement and disparate urban portraiture. Divided into 15 chapters, Counting seldom forces any conclusions, drawing on the viewers’ emotional responses to its alternately lyrical structure and literal depictions — the removal of Brooklyn’s iconic Kentile Floors sign among them. Filmmaker spoke to Cohen about where Counting falls in the documentary tradition, and how his approach was not all that different from his most recent “narrative,” Museum Hours. Counting is now in theaters from Cinema Guild. Filmmaker: What is your process on an essayistic […]...
- 8/5/2015
- by Sarah Salovaara
- Filmmaker Magazine - Blog
Hewing closely to the tradition of documentary as diaristic essay, Jem Cohen’s Counting moves from New York to Sharjah as the cinema eye ruminates on street life, destruction, displacement and disparate urban portraiture. Divided into 15 chapters, Counting seldom forces any conclusions, drawing on the viewers’ emotional responses to its alternately lyrical structure and literal depictions — the removal of Brooklyn’s iconic Kentile Floors sign among them. Filmmaker spoke to Cohen about where Counting falls in the documentary tradition, and how his approach was not all that different from his most recent “narrative,” Museum Hours. Counting is now in theaters from Cinema Guild. Filmmaker: What is your...
- 8/5/2015
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
Overheard Yet Alive: Cohen Continues Poetic Pursuit of Travel
Jem Cohen invites us once again on a lackadaisical travelogue through cityscapes and unkempt streets, through museums and graveyards the world over. Rather than settling into a single city and involving us with charactorial allure as he did to striking effect in 2012’s Museum Hours, with Counting, the New York City-based filmmaker is content to document his travels over the course of the last few years from his home base to the Moscow, London, Istanbul and beyond, taking stock of the world’s increasing technological homogenization. Noting the quirky singularities of each of his chosen locales, cataloging each with episodic numerical reference points like a deck of cards shuffled together with the grace of a studied magician, casually precise, this is worth the full coach fare.
Unlike the late Chris Marker (whom the last chapters of the film are dedicated...
Jem Cohen invites us once again on a lackadaisical travelogue through cityscapes and unkempt streets, through museums and graveyards the world over. Rather than settling into a single city and involving us with charactorial allure as he did to striking effect in 2012’s Museum Hours, with Counting, the New York City-based filmmaker is content to document his travels over the course of the last few years from his home base to the Moscow, London, Istanbul and beyond, taking stock of the world’s increasing technological homogenization. Noting the quirky singularities of each of his chosen locales, cataloging each with episodic numerical reference points like a deck of cards shuffled together with the grace of a studied magician, casually precise, this is worth the full coach fare.
Unlike the late Chris Marker (whom the last chapters of the film are dedicated...
- 7/30/2015
- by Jordan M. Smith
- IONCINEMA.com
Read More: Cinema Guild Acquires Jem Cohen's New Documentary 'Counting' Cinema Guild has released the trailer and official poster for Jem Cohen's "Counting." The acclaimed director may have given a traditional narrative structure a try in "Museum Hours," but he returns to his typical experimental form of distant observation in the upcoming lyrical documentary. The film's official synopsis reads: "In fifteen linked chapters shot in locations ranging from Moscow to New York, "Counting" merges the city symphony, the diary film and the personal/political essay to create a vivid portrait of contemporary life. Perhaps the most personal of Cohen's films, the documentary measures street life, light and time, noting not only surveillance and overdevelopment but resistance and its phantoms as manifested in music, animals and everyday magic." Set in the winter, the juxtaposition of ghostly yet poetic images of urban wastelands...
- 7/14/2015
- by Conor Soules
- Indiewire
Mainstream cinema culture is reluctant to reconcile the digital video versus film stock debate. As with any story of king and pretender to the throne, it is too easy to dichotomise and thus deny the possibility of a fruitful dialogue between past and future. When contrasts are characterised as oppositions, the space in between gets totally lost. Yes, film’s incumbency is on the wane and digital cinema’s ubiquity has arrived, but the instant that a paradigm shifts is hard to recognize and impossible to isolate. More likely, it is the very idea of competing film and digital aesthetics that will, in the future, be pointed to as the characteristic sentiment of the vague time during which the old film technologies were put away for good. But for now, we have purists on both sides advocating the essentialness and relevance of their chosen media, more or less to the exclusion of its alternative.
- 6/2/2015
- by Tom Stevenson
- MUBI
Tonight in London, the Barbican presents We Have an Anchor, Jem Cohen's "cinematic love letter to Nova Scotia's Cape Breton. Multiple layered film projections are interspersed with texts ranging from poems to local folklore, and buoyed by [an] alternately ethereal and epic original score written and performed by members of Godspeed You! Black Emperor, Fugazi, Dirty Three and more." A Jem Cohen Film Season begins at Whitechapel Gallery on April 9 with a screening of Museum Hours and runs through May 28's presentation of Chain. And the Hackney Picturehouse will present Benjamin Smoke on May 17 and Instrument on May 18. All this occasions Sukhdev Sandhu's excellent profile for the Guardian. » - David Hudson...
- 3/31/2015
- Fandor: Keyframe
Tonight in London, the Barbican presents We Have an Anchor, Jem Cohen's "cinematic love letter to Nova Scotia's Cape Breton. Multiple layered film projections are interspersed with texts ranging from poems to local folklore, and buoyed by [an] alternately ethereal and epic original score written and performed by members of Godspeed You! Black Emperor, Fugazi, Dirty Three and more." A Jem Cohen Film Season begins at Whitechapel Gallery on April 9 with a screening of Museum Hours and runs through May 28's presentation of Chain. And the Hackney Picturehouse will present Benjamin Smoke on May 17 and Instrument on May 18. All this occasions Sukhdev Sandhu's excellent profile for the Guardian. » - David Hudson...
- 3/31/2015
- Keyframe
★★★★☆ Jem Cohen is perhaps best-known to UK audiences for his tenderly observant drama Museum Hours (2012). A comparable romantic outlook on the world and similarly intimate themes of urban identity are intermingled with much larger social concerns in his latest film essay, Counting (2015). A free-wheeling travelogue told across fifteen chapters, Cohen's latest is a composite of ideas forged through hypnotic visuals that leads the viewer on a mesmerising expedition through the city streets of such sprawling metropolises as New York, Moscow and Istanbul. The visual language employed within each chapter is as varied as the locations, yet travel is perhaps one of Counting's more noticeable reoccurring motifs.
- 2/11/2015
- by CineVue UK
- CineVue
In celebration of its world premiere today at the Berlin International Film Festival, Indiewire is excited to share the exclusive debut poster for Jem Cohen's documentary, "Counting." Cohen, who last directed 2013's award-winning hit "Museum Hours," shot his latest in locations ranging from Russia to New York City, and many believe the project to be his most personal documentary work yet. "Counting" is an ambitious non-fiction feature composed of 15 distinct but interconnected chapters that explore light, time and life on the streets, noting not only overdevelopment but resistance as manifested in music, animals and everyday magic. The complex structure of the film is foreshadowed in the striking poster's split imagery. Cinema Guild acquired distribution rights to the documentary last week. "Counting" will open in theaters later this year. Check out the exclusive poster below: Read More: Cinema Guild Acquires Jem Cohen's New...
- 2/9/2015
- by Zack Sharf
- Indiewire
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
Museum Hours: Wiseman’s Tour through London’s Famed Museum
If you’ve never been to The National Gallery in London, England, one of the most preeminent museums in the world, then Frederick Wiseman’s latest documentary, the simply named National Gallery, will appear to be something of a soothing, handsomely photographed introduction. Like a phantom floating through crowds and into behind-the-scenes operations, there’s even a bit of priceless perspective to be had on a tour, here presented as the learning experience many take for granted when they’re strewn haphazardly through the landscape of privileged youths. As solemn and well-thought as this documentary usually is, at a running time of three hours and without much more of a thrust than an all-encompassing experience of the renowned establishment, attentions spans may teeter in and out of sharply honed focused as our consciousness’ are restlessly pulled into the works on display themselves,...
If you’ve never been to The National Gallery in London, England, one of the most preeminent museums in the world, then Frederick Wiseman’s latest documentary, the simply named National Gallery, will appear to be something of a soothing, handsomely photographed introduction. Like a phantom floating through crowds and into behind-the-scenes operations, there’s even a bit of priceless perspective to be had on a tour, here presented as the learning experience many take for granted when they’re strewn haphazardly through the landscape of privileged youths. As solemn and well-thought as this documentary usually is, at a running time of three hours and without much more of a thrust than an all-encompassing experience of the renowned establishment, attentions spans may teeter in and out of sharply honed focused as our consciousness’ are restlessly pulled into the works on display themselves,...
- 11/19/2014
- by Nicholas Bell
- IONCINEMA.com
Frederick Wiseman could be called a lot of things, but amongst those would surely be the word legend. With his latest feature, National Gallery, the chronicler of institutions has again applied his observational style this time to take in the sights and sounds that fill the halls of the National Gallery in London. As usual, he witnesses the politics that go on behind the scenes, but he also observes something much more surprising in the connections yielded between the art world and the whole of human history. While restorations of canonical paintings take place in some quiet nook of the massive safehold, aural tours and participatory workshops are seen challenging visitors to establish historical context in relation to the works on display.
Though the film found its premiere as one of only a handful of documentaries in the lineup at Cannes earlier this year, I caught National Gallery while playing...
Though the film found its premiere as one of only a handful of documentaries in the lineup at Cannes earlier this year, I caught National Gallery while playing...
- 11/7/2014
- by Jordan M. Smith
- IONCINEMA.com
Museum Hours: Wiseman’s Three-Hour Documentary Is a Riveting Essay About Narrative Construction
The latest entry in Frederick Wiseman’s tireless career project, which attempts to capture and reveal the systems and procedures within a vast variety of cultural and state institutions, is his most purely compelling and subtly provocative film in years. Focusing on the ins, outs, and in-betweens of the National Gallery in London, this is largely comprised of footage of museum visitors looking and listening, and tour guides talking and instructing; meanwhile, behind the gallery walls, a bureaucratic network of administrators, curators, and executives debate topics ranging from advertising and marketing strategies to crippling budget cuts. From every angle, stories ares being told, and histories being enforced. As always, Wiseman observes rather than imposing upon the goings-on, and he shapes his material in such a way that we can make our own judgments about what we...
The latest entry in Frederick Wiseman’s tireless career project, which attempts to capture and reveal the systems and procedures within a vast variety of cultural and state institutions, is his most purely compelling and subtly provocative film in years. Focusing on the ins, outs, and in-betweens of the National Gallery in London, this is largely comprised of footage of museum visitors looking and listening, and tour guides talking and instructing; meanwhile, behind the gallery walls, a bureaucratic network of administrators, curators, and executives debate topics ranging from advertising and marketing strategies to crippling budget cuts. From every angle, stories ares being told, and histories being enforced. As always, Wiseman observes rather than imposing upon the goings-on, and he shapes his material in such a way that we can make our own judgments about what we...
- 9/3/2014
- by Blake Williams
- IONCINEMA.com
Wiseman’s At Berkeley was a favorite of mine last year, and I’m just as eager for his follow-up, a three hour rumination on London’s National Gallery. Here’s our first look at the documentary, en route to Tiff and likely Nyff after its Cannes premiere, which covers the visiting public, the curators, the staff and, of course, the art, with Wiseman’s characteristic brand of watchful analysis. It’s all faintly reminiscent of the Bruegel room conversation in Museum Hours, in the best possible way. Watch above.
- 8/8/2014
- by Sarah Salovaara
- Filmmaker Magazine - Blog
Wiseman’s At Berkeley was a favorite of mine last year, and I’m just as eager for his follow-up, a three hour rumination on London’s National Gallery. Here’s our first look at the documentary, en route to Tiff and likely Nyff after its Cannes premiere, which covers the visiting public, the curators, the staff and, of course, the art, with Wiseman’s characteristic brand of watchful analysis. It’s all faintly reminiscent of the Bruegel room conversation in Museum Hours, in the best possible way. Watch above.
- 8/8/2014
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
As a woman/feminist, I put little stock in the Bechdel Test. Yes, it’s a quick means of exposing the macho-centric ways of Hollywood, but the picture grows hazier in independent and experimental film. Kevin B. Lee addressed this in a recent video essay, where he makes the case that Jem Cohen’s Museum Hours contains a richly drawn female character, despite the fact she confides in a gay man and not another woman. In a follow-up of sorts, Lee considers sexploitation films in the context of the Bechdel Test, noting that questionable motives can nonetheless earn a passing grade. While Doris Wishman’s bold melange of genres frequently downplays […]...
- 8/1/2014
- by Sarah Salovaara
- Filmmaker Magazine - Blog
As a woman/feminist, I put little stock in the Bechdel Test. Yes, it’s a quick means of exposing the macho-centric ways of Hollywood, but the picture grows hazier in independent and experimental film. Kevin B. Lee addressed this in a recent video essay, where he makes the case that Jem Cohen’s Museum Hours contains a richly drawn female character, despite the fact she confides in a gay man and not another woman. In a follow-up of sorts, Lee considers sexploitation films in the context of the Bechdel Test, noting that questionable motives can nonetheless earn a passing grade. While Doris Wishman’s bold melange of genres frequently downplays […]...
- 8/1/2014
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
What’s new, what’s hot, and what you may have missed, now available to stream.
streaming now, before it’s on dvd
The Lego Movie: you’ve seen this all before — it’s Toy Story meets The Matrix — just not done in Legos [my review] [at iTunes UK] The Lunchbox: a charming, bittersweet, utterly chaste love affair forged over food and cemented by kindred spirits [my review] [at iTunes UK] 112 Weddings: startling and welcome breath of reality for an institution overladen by fantasy in our culture: happily ever after is hard! [my review] [at iTunes UK] Visitors: a weirdly beautiful film, eerie in its complicated simplicity, and open to seven billion interpretations, all of them valid [my review] [at iTunes UK] The Zero Theorem: Terry Gilliam’s latest is chock full of glorious Gillam style and a fun performance from Christoph Waltz, but little else [at iTunes UK]
streaming now, before it’s on dvd
The Lego Movie: you’ve seen this all before — it’s Toy Story meets...
streaming now, before it’s on dvd
The Lego Movie: you’ve seen this all before — it’s Toy Story meets The Matrix — just not done in Legos [my review] [at iTunes UK] The Lunchbox: a charming, bittersweet, utterly chaste love affair forged over food and cemented by kindred spirits [my review] [at iTunes UK] 112 Weddings: startling and welcome breath of reality for an institution overladen by fantasy in our culture: happily ever after is hard! [my review] [at iTunes UK] Visitors: a weirdly beautiful film, eerie in its complicated simplicity, and open to seven billion interpretations, all of them valid [my review] [at iTunes UK] The Zero Theorem: Terry Gilliam’s latest is chock full of glorious Gillam style and a fun performance from Christoph Waltz, but little else [at iTunes UK]
streaming now, before it’s on dvd
The Lego Movie: you’ve seen this all before — it’s Toy Story meets...
- 7/7/2014
- by MaryAnn Johanson
- www.flickfilosopher.com
What’s new, what’s hot, and what you may have missed, now available to stream.
streaming now, before it’s on dvd
The Grand Budapest Hotel: the most Wes Anderson-y film ever, a delightful concoction that’s like a pop-up storybook for grownups; Ralph Fiennes is a sublime comic marvel [at Amazon Instant Video] 300: Rise of an Empire: Eva Green stalks this movie with pride and honor, and is almost the only thing worth watching amidst frenetic CGI cartoon battle action and endless ancient carnage [my review] [at Amazon Instant Video]
new to stream
The Pretty One: far too blithe and cheery, yet nowhere near madcap and comic enough, for its potentially powerful switched-twins conceit [my review] [at Amazon Instant Video]
new to Prime
Stories We Tell: totally gripping, very personal documentary from filmmaker Sarah Polley about how various members of her family react to the revelation of a secret [at Amazon Instant Video] The X-Files: the alien-hunting adventures of FBI agents Mulder and Scully...
streaming now, before it’s on dvd
The Grand Budapest Hotel: the most Wes Anderson-y film ever, a delightful concoction that’s like a pop-up storybook for grownups; Ralph Fiennes is a sublime comic marvel [at Amazon Instant Video] 300: Rise of an Empire: Eva Green stalks this movie with pride and honor, and is almost the only thing worth watching amidst frenetic CGI cartoon battle action and endless ancient carnage [my review] [at Amazon Instant Video]
new to stream
The Pretty One: far too blithe and cheery, yet nowhere near madcap and comic enough, for its potentially powerful switched-twins conceit [my review] [at Amazon Instant Video]
new to Prime
Stories We Tell: totally gripping, very personal documentary from filmmaker Sarah Polley about how various members of her family react to the revelation of a secret [at Amazon Instant Video] The X-Files: the alien-hunting adventures of FBI agents Mulder and Scully...
- 6/3/2014
- by MaryAnn Johanson
- www.flickfilosopher.com
Then are still ten days left in May, which means there are still ten days left in the SundanceNOW Doc Club retrospective of the films of Chris Marker. And in celebration, they've put together a great new video essay that shines a light on the famously elusive director, who was fascinated by memory, existence, cinema -- and cats. Watch below. Handpicked by renowned Tiff documentary programmer Thom Powers, here's the streaming lineup for May's "Chris Marker and His Legacy" series, which includes several enticing online debuts:"Sixth Side of the Pentagon" (1967)"Chris Marker’s Bestiary" (1994) -- Online Debut"One Day in the Life of Andrei Arsenevich" (1999) -- Online Debut"Remembrance of Things to Come" (2001)"The Case of the Grinning Cat" (2004) SundanceNOW will also stream a selection of films inspired by Marker's work: "To Chris Marker, An Unsent Letter" (2013) by director Emiko Omori, Jem Cohen's wonderful "Museum Hours" (2012) and "Description of.
- 5/20/2014
- by Ryan Lattanzio
- Thompson on Hollywood
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
Day Two of Ebertfest began early (9 am), with a discussion panel titled “Challenging Stigma Through The Arts”, which focused on Short Term 12 and its depiction of struggling teens. The panelists, a combination of artists, critics, and social work professionals, explored the connection between trauma, expression, and the arts, as well as the progression of the kind of institutions and professionals featured in the film from the ‘80s to now. Brie Larson, the lead of Short Term 12, was particularly eloquent in speaking about her character, her preparation for the film, and the importance of embracing one’s darkness to find strength within perceived weakness. Much of the panel wound up centering on the experiences of the youth outreach professionals and ways of communicating with and helping integrate these young adults into the community. That left half of the panelists out of most of the discussion, which was unfortunate, but...
- 4/25/2014
- by Kate Kulzick
- SoundOnSight
For those of you missing out on late film critic Roger Ebert's namesake Illinois film festival this year, worry not, because Ebertfest is streaming panels and Q&As on YouTube. Videos include a conversation with Brie Larson and Keith Stanfield on "Short Term 12," writer/director Jem Cohen's introduction and post-screening Q&A for his brilliant film "Museum Hours" and an interview with Patton Oswalt on "Young Adult." Ebert's wife Chaz also offers a few impassioned words about the passing of her husband. Meanwhile, director Steve James talks about his own Ebert doc, "Life Itself." Ebertfest continues near Chicago through April 27. Select videos below. Watch the rest via the fest's YouTube channel here.
- 4/25/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Attention cinephiles: SundanceNOW Doc Club has a juicy slate of streaming titles coming up. This May, the online VOD service will present a fantastic array of films from experimental director Chris Marker. Then in June, SundanceNOW will also host the exclusive Us premiere of French auteur Agnes Varda's TV miniseries "Agnes Varda From Here to There." Handpicked by renowned Tiff documentary programmer Thom Powers, here's the streaming lineup for May's "Chris Marker and His Legacy" series, which includes several enticing online debuts:"Sixth Side of the Pentagon" (1967)"Chris Marker’s Bestiary" (1994) -- Online Debut"One Day in the Life of Andrei Arsenevich" (1999) -- Online Debut"Remembrance of Things to Come" (2001)"The Case of the Grinning Cat" (2004) SundanceNOW will also stream a selection of films inspired by Marker's work: "To Chris Marker, An Unsent Letter" (2013) by director Emiko Omori, Jem Cohen's wonderful "Museum Hours" (2012)...
- 4/18/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Steve McQueen's "12 Years a Slave" was the big winner at the 2014 Independent Spirit Awards taking home 5 trophies including Best Picture, Director, Supporting Female for Lupita N'Yongo, Screenplay for John Ridley, and Cinematography for Sean Bobbitt.
The pair of Matthew McConaughey and Jared Leto of "Dallas Buyers Club" continued to top their respective categories of Best Actor and Supporting Actor.
Cate Blanchett took home the Best Actress trophy for Woody Allen's "Blue Jasmine."
Here's the complete list of winners of the 2014 Independent Spirit Awards:
Best Feature:
Winner: "12 Years A Slave"
"All Is Lost"
"Frances Ha"
"Inside Llewyn Davis"
"Nebraska"
Best Lead Female:
Winner: Cate Blanchett - "Blue Jasmine"
Julie Delpy - "Before Midnight"
Gaby Hoffman - "Crystal Fairy"
Brie Larson - "Short Term 12"
Shailene Woodley - "The Spectacular Now"
Best Lead Male:
Bruce Dern - "Nebraska"
Chiwetel Ejiofor - "12 Years A Slave"
Oscar Isaac - "Inside Llewyn Davis"
Michael B.
The pair of Matthew McConaughey and Jared Leto of "Dallas Buyers Club" continued to top their respective categories of Best Actor and Supporting Actor.
Cate Blanchett took home the Best Actress trophy for Woody Allen's "Blue Jasmine."
Here's the complete list of winners of the 2014 Independent Spirit Awards:
Best Feature:
Winner: "12 Years A Slave"
"All Is Lost"
"Frances Ha"
"Inside Llewyn Davis"
"Nebraska"
Best Lead Female:
Winner: Cate Blanchett - "Blue Jasmine"
Julie Delpy - "Before Midnight"
Gaby Hoffman - "Crystal Fairy"
Brie Larson - "Short Term 12"
Shailene Woodley - "The Spectacular Now"
Best Lead Male:
Bruce Dern - "Nebraska"
Chiwetel Ejiofor - "12 Years A Slave"
Oscar Isaac - "Inside Llewyn Davis"
Michael B.
- 3/2/2014
- by Manny
- Manny the Movie Guy
The night before the 2014 Oscars was a big one for 12 Years a Slave as it took home five wins at the 2014 Independent Spirit Awards including Best Picture, Director (Steve McQueen), Supporting Actress (Lupita Nyong'o), Screenplay (John Ridley) and Cinematography (Sean Bobbitt). However, don't take this to mean 12 Years is a lock at the Oscars as its strongest competition in categories such as Picture and Director, those being Gravity and American Hustle, weren't among the "independent" nominees. Some likely Oscar winners were among the list of winners as Dallas Buyers Club co-stars Matthew McConaughey and Jared Leto took home Best Actor and Supporting Actor respectively. Cate Blanchett took home yet another Best Actress prize for her work in Blue Jasmine and 20 Feet from Stardom won Best Documentary, proving even the Spirit Awards weren't going for The Act of Killing, though that doesn't diminish the impact of Joshua Oppenheimer's film. Some...
- 3/2/2014
- by Brad Brevet
- Rope of Silicon
Steve McQueen’s 12 Years A Slave pulled a five finger discount at the 2014 Indie Spirit Awards grabbing hardware in the Best Feature, Best Director, Best Screenplay, Best Supporting Actress and Best Cinematography categories. Apart from the larceny in the Best Doc category, the winners in the above mention category (excluding Bobbitt’s work) and the double win pairing of Leto and McConaughey along with Cate Blanchett’s perf win in Blue Jasmine will likely repeat itself less than 24 hours later at tomorrow’s Academy Awards celebrations obviously begging many to ponder the following: who needs the 86th Academy Awards when we have the Indie Spirit Awards? While today’s most pleasurable wins come from the truly indie kudos for Best First Feature (Ryan Coogler for Frutivale Station) the John Cassavetes award for Chad Hartigan’s This is Martin Bonner, and the Piaget Producers Award to Ain’t Them Bodies Saints...
- 3/2/2014
- by Eric Lavallee
- IONCINEMA.com
12 Years a Slave and Dallas Buyers Club were among the major winners at the Independent Spirit Awards.
Steve McQueen took the Best Director Award for his slavery-themed movie, and also earned the coveted Best Feature prize.
The night also saw 12 Years a Slave's Lupita Nyong'o collect Best Supporting Female, as well as John Ridley winning for his screenplay.
Dallas Buyers Club's Matthew McConaughey received the Best Male Lead prize, while his co-star Jared Leto was named Best Supporting Male.
Cate Blanchett was honoured as Best Female Lead for her performance as a manic housewife in director Woody Allen's Blue Jasmine.
Other major developments included director Ryan Coogler winning Best First Feature for Fruitvale Station, and the music-themed film 20 Feet from Stardom taking Best Documentary.
The 29th Independent Spirit Awards were hosted by comic Patton Oswalt on the Santa Monica beach in California.
Digital Spy presents a full list...
Steve McQueen took the Best Director Award for his slavery-themed movie, and also earned the coveted Best Feature prize.
The night also saw 12 Years a Slave's Lupita Nyong'o collect Best Supporting Female, as well as John Ridley winning for his screenplay.
Dallas Buyers Club's Matthew McConaughey received the Best Male Lead prize, while his co-star Jared Leto was named Best Supporting Male.
Cate Blanchett was honoured as Best Female Lead for her performance as a manic housewife in director Woody Allen's Blue Jasmine.
Other major developments included director Ryan Coogler winning Best First Feature for Fruitvale Station, and the music-themed film 20 Feet from Stardom taking Best Documentary.
The 29th Independent Spirit Awards were hosted by comic Patton Oswalt on the Santa Monica beach in California.
Digital Spy presents a full list...
- 3/2/2014
- Digital Spy
The Independent Spirit Awards were handed out on the beach in Santa Monica, California, on Saturday, and 12 Years a Slave emerged the big winner, taking home five awards, including the top prize of Best Feature.
Dallas Buyers Club dominated the acting categories, with Matthew McConaughey and Jared Leto both winning, while Cate Blanchett continued her apparent path to the Best Actress Oscar, collecting yet another prize for Blue Jasmine.
Read below for all the winners, and watch the show at 10 p.m Et on IFC:
Best Feature
Winner: 12 Years a Slave
All Is Lost
Frances Ha
Inside Llewyn Davis
Nebraska
Best Director
Upstream Color,...
Dallas Buyers Club dominated the acting categories, with Matthew McConaughey and Jared Leto both winning, while Cate Blanchett continued her apparent path to the Best Actress Oscar, collecting yet another prize for Blue Jasmine.
Read below for all the winners, and watch the show at 10 p.m Et on IFC:
Best Feature
Winner: 12 Years a Slave
All Is Lost
Frances Ha
Inside Llewyn Davis
Nebraska
Best Director
Upstream Color,...
- 3/1/2014
- by Katie Atkinson
- EW - Inside Movies
The 29th annual Film Independent Spirit Awards in Santa Monica, Calif. are underway with host Patton Oswalt, and we're updating the winners list as the names are announced. Early winners include Jared Leto, for his supporting turn in "Dallas Buyers Club," "Fruitvale Station" for best first feature, and "Nebraska" writer Bob Nelson, who picked up a trophy for best first screenplay. So far, "12 Years a Slave" has picked up four awards, namely supporting actress for Lupita Nyong'o, best director, best screenplay and best cinematography. Here's the list of nominees: Best Feature "All is Lost" "Frances Ha" "Inside Llewyn Davis" "Nebraska" "12 Years a Slave" Best Director J.C. Chandor, "All is Lost" Jeff Nichols, "Mud" Alexander Payne, "Nebraska" Winner: Steve McQueen, "12 Years a Slave" Shane Carruth, "Upstream Color" Best First Feature "Blue Caprice" "Concussion" Winner: "Fruitvale Station" "Una Noche" "Wadjda" Best Screenplay "Before Midnight" "Blue Jasmine" "Enough Said" "The Spectacular Now" Winner:...
- 3/1/2014
- by Dave Lewis
- Hitfix
It may be raining. It may be chilly. One thing is for sure, the drinks will be flowing and the giant tent that is the annual home for the Independent Spirit Awards will be buzzing. This year's show will be hosted by comedian and actor Patton Oswalt. The star of "Big Fan" and "Young Adult" is no stranger to entertaining massive and difficult audiences. Oswalt ruled Comic-Con's Hall H a few years ago when he had the tough task of making Disney's slate at the time more exciting than it actually was. He's also following a fantastic hosting performance by Andy Samberg last year. Here's hoping the Spirits can actually deliver two great shows in a row (it tends to lean toward a good show every other year). Like the Golden Globes, and the SAG Awards to an extent, the Spirits mostly focus on the awards presentations. Over the past...
- 3/1/2014
- by Gregory Ellwood
- Hitfix
One of the most highly rated arthouse releases of last year - though unfortunately overlooked during its theatrical run - director Jem Cohen presents Museum Hours, an unapologetically high-minded yet deeply humanist exploration of our relationship with art - and vice versa. To celebrate the DVD release of Cohen's celebrated Museum Hours this coming Monday (13 January), we've kindly been provided with Three DVD copies of the indie offering to give away to our readers, courtesy of the Soda Pictures team. 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.
- 1/16/2014
- by CineVue UK
- CineVue
★★★★☆ A beautifully observant, heartwarming and compassionate film, Jem Cohen's Museum Hours (2012) was one of last year's quiet revelations. After a youth spent travelling with rock bands across Europe, Johann (played by the reserved yet soothingly charismatic Bobby Sommer) has now decided to have his own share of 'quiet time', working as a guard at the Kunsthistorisches Museum in Vienna. The museum's Bruegel room is his favourite, where he always finds something new and fascinating in Bruegel's earthy, unsentimental but vivid depictions of the rituals of rural folk culture in the 16th century.
- 1/14/2014
- by CineVue UK
- CineVue
Ridley Scott's 1977 debut, The Duellists, proves a welcome addition to Netflix in a difficult week for the company
Ah, January: the month that sparkles with revived possibility and unspoiled options. Unless, of course, you're a Netflix subscriber. Groggy revellers browsing the streaming service in search of hangover entertainment from New Year's Day onward will have found the selection somewhat smaller: owing to licensing expirations and financial constraints, nearly 500 titles, ranging from Alfred Hitchcock's The 39 Steps to Darren Aronofsky's Requiem for a Dream, had vanished from the virtual shelves by 5 January.
The addition of 80-odd new titles, many of them disposable, doesn't exactly cushion the blow. Still, there are some welcome new arrivals, among them Andrea Arnold's stunning formalist revision of Wuthering Heights, Lee Daniels's lovably lurid potboiler The Paperboy and this week's clear streaming highlight: Ridley Scott's The Duellists. An inspired, literate Joseph Conrad adaptation,...
Ah, January: the month that sparkles with revived possibility and unspoiled options. Unless, of course, you're a Netflix subscriber. Groggy revellers browsing the streaming service in search of hangover entertainment from New Year's Day onward will have found the selection somewhat smaller: owing to licensing expirations and financial constraints, nearly 500 titles, ranging from Alfred Hitchcock's The 39 Steps to Darren Aronofsky's Requiem for a Dream, had vanished from the virtual shelves by 5 January.
The addition of 80-odd new titles, many of them disposable, doesn't exactly cushion the blow. Still, there are some welcome new arrivals, among them Andrea Arnold's stunning formalist revision of Wuthering Heights, Lee Daniels's lovably lurid potboiler The Paperboy and this week's clear streaming highlight: Ridley Scott's The Duellists. An inspired, literate Joseph Conrad adaptation,...
- 1/12/2014
- by Guy Lodge
- The Guardian - Film News
Continued from picks 10 to 6….
10. Blood Brother – Steve Hoover
9. Stories We Tell – Sarah Polley
8. Museum Hours – Jem Cohen
7. Her – Spike Jonze
6. Short Term 12 – Destin Cretton
5. The Act of Killing – Joshua Oppenheimer
I don’t know how Oppenheimer managed to find and befriend Anwar Congo and his merry band of genocidal murders, but his mind melting expose of Indonesia’s not-so-distant history of government backed mass murder is as outlandish as the giant fish shaped restaurant that graces the film’s poster. Asking death squad leaders to reenact their self-esteemed atrocities in the style of their favorite American movies seems at first highly inappropriate and possibly dangerous, yet they take up the challenge with glee. In doing, the buried remnants of an empathic human heart begin to surface in the faces of an old man, now a grandfather, whose calloused shell of empty headed pride has finally broken in a profound,...
10. Blood Brother – Steve Hoover
9. Stories We Tell – Sarah Polley
8. Museum Hours – Jem Cohen
7. Her – Spike Jonze
6. Short Term 12 – Destin Cretton
5. The Act of Killing – Joshua Oppenheimer
I don’t know how Oppenheimer managed to find and befriend Anwar Congo and his merry band of genocidal murders, but his mind melting expose of Indonesia’s not-so-distant history of government backed mass murder is as outlandish as the giant fish shaped restaurant that graces the film’s poster. Asking death squad leaders to reenact their self-esteemed atrocities in the style of their favorite American movies seems at first highly inappropriate and possibly dangerous, yet they take up the challenge with glee. In doing, the buried remnants of an empathic human heart begin to surface in the faces of an old man, now a grandfather, whose calloused shell of empty headed pride has finally broken in a profound,...
- 1/9/2014
- by Jordan M. Smith
- IONCINEMA.com
Continued from picks 15 to 11…. 15. American Hustle – David O. Russell 14. The Wolf of Wall Street – Martin Scorsese
13. Blue Is the Warmest Color – Abdellatif Kechiche
12. Gravity – Alfonso Cuarón 11. Spring Breakers – Harmony Korine
10. Blood Brother – Steve Hoover
I must admit that I was never completely won over by Steve Hoover’s music video work, but that was more the fault of his chosen musical collaborators than his keen eye for the alive and his feeling for rhythmically propulsive pacing. With his debut feature doc he expands on these talents, crafting a bracingly vivacious work of soul searching and self sacrifice that sees the American dream traded by his best friend Rocky Braat for the cyclic misery of caring for Indian women and children doomed to die at the cruel hands of HIV/AIDS. Despite their destiny, the children are given love and hope, and in return, Braat and Hoover find within themselves a...
13. Blue Is the Warmest Color – Abdellatif Kechiche
12. Gravity – Alfonso Cuarón 11. Spring Breakers – Harmony Korine
10. Blood Brother – Steve Hoover
I must admit that I was never completely won over by Steve Hoover’s music video work, but that was more the fault of his chosen musical collaborators than his keen eye for the alive and his feeling for rhythmically propulsive pacing. With his debut feature doc he expands on these talents, crafting a bracingly vivacious work of soul searching and self sacrifice that sees the American dream traded by his best friend Rocky Braat for the cyclic misery of caring for Indian women and children doomed to die at the cruel hands of HIV/AIDS. Despite their destiny, the children are given love and hope, and in return, Braat and Hoover find within themselves a...
- 1/8/2014
- by Jordan M. Smith
- IONCINEMA.com
Amir here, taking a break from the relentless torrent of lists, think pieces and twitter catfights about everything 2013 to look ahead at the new year.
Making a list of the year’s most anticipated films is always a risky task and there’s little payoff in raising one’s expectations of any film. Predictably so, there isn’t always overlap between what we anticipate and what we actually like when the final product materializes on the screen, but that’s the beauty of the whole thing. There will undoubtedly be disappointments, but in their stead, there will also be pleasant surprises. Of the films that shaped my lineup last year, only three ended up among my top 25 films of the year, but at this moment a year ago, I hadn’t even heard of something like Museum Hours or The Broken Circle Breakdown.
10 Noah (Darren Aronofsky)
Because: the director. The director,...
Making a list of the year’s most anticipated films is always a risky task and there’s little payoff in raising one’s expectations of any film. Predictably so, there isn’t always overlap between what we anticipate and what we actually like when the final product materializes on the screen, but that’s the beauty of the whole thing. There will undoubtedly be disappointments, but in their stead, there will also be pleasant surprises. Of the films that shaped my lineup last year, only three ended up among my top 25 films of the year, but at this moment a year ago, I hadn’t even heard of something like Museum Hours or The Broken Circle Breakdown.
10 Noah (Darren Aronofsky)
Because: the director. The director,...
- 1/4/2014
- by Amir S.
- FilmExperience
Museums are odd places. People gawk, taking in the history and culture on offer, ruminating in silence. People talk, or, more often than not, they are talked at by guides or recorded audio stand-ins who give background to the pieces on display. Young people dragged along unwilling automatically become bored, unappreciative of the opportunity they’ve been afforded, while others soak in the space like a sponge, experiencing the catharsis of cultural and emotional profundity that can be provoked by a truly great work of art. Within Museum Hours, writer and director Jem Cohen manages to perfectly encapsulate both the marvels and oddities inherent in the museum going experience by framing a loose narrative of life and loss around the reminiscence of an aging gallery guard in and around the Kunsthistorisches Art Museum in Vienna and the visitations of a middle aged woman from Montreal whose Austrian émigré cousin has sadly fallen into a coma.
- 12/31/2013
- by Jordan M. Smith
- IONCINEMA.com
Independent film journal Reverse Shot named their ten best films of 2013 Monday morning via Twitter. Typical of these smart writers from all corners of the film critic universe, the list is a brainy mix of arthouse festival films for niche audiences as well as indies such "Inside Llewyn Davis" and "Before Midnight" that broke out in 2013. ("To the Wonder" made some of Toh's ten worst lists.) 1. To The Wonder, "Terrence Malick's gorgeous American reverie."2. Before Midnight, "How did a little American romance from 1995 launch one of the richest experiments in mainstream cinema?" 3. Inside Llewyn Davis, "suspended between who he is and what he might be, between what he’s done and what's been done to him."4. Museum Hours, "a quiet adventure film...about discovering a new place hidden within a familiar one..."5. Like Someone In Love. "Kiarostami prioritizes suggestion and ambiguity, inviting us to engage with and complete the work.
- 12/30/2013
- by Ryan Lattanzio
- Thompson on Hollywood
As with any year, some people have begun arguing that 2013 was a bad year for film, because of the expected glut of effects-heavy blockbusters that litter the multiplexes each summer, or because there was a lack of auteur-driven storytelling for the majority of the year. Though it is indeed frustrating that studios hold their more prestigious films until the last month or two of this or any year, 2013 was an excellent year for film. You shouldn’t have to look first to Sound on Sight’s list of the 30 best films of 2013 for proof, but you should add it to the pile, no doubt. We asked our film writers to provide their personal lists of the 15 best films of the year; everyone’s number-one pick got 15 points allocated, everyone’s number-two pick got 14 points, and so on. (As you’ll see, the point values for each of the 30 films is included here.
- 12/28/2013
- by Josh Spiegel
- SoundOnSight
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