Faces of Death follows a pathologist trying to understand what happens when we die, subjecting himself and the viewer to a series of 'snuff' films depicting violent deaths.
Ira Sachs, who emerged from the New Queer Cinema movement of the '90s, has become one of the most accomplished & revered directors of his generation, crafting achingly intimate stories about love, friendship, and desire.
Sackheim's dramatically cinematic effects of deep shadows and crisp highlights suggest a kind of timelessness. Even the daytime shots feel eerily as if they could be shot during a full moon or amid uncanny artificial light.
Under her leadership, Jackson said, 'The most important thing is to make sure that Film Forum continues its mission.' This reflects her commitment to the organization and its role in independent cinema.
Drivers were delivering packages in deadly heat with no air conditioning; part-time employees, the majority of UPS' workforce, have been unable to receive benefits. Wages aren't rising at the same rate as the cost of living.
Drawing inspiration from Jen Beagin's novel 'Big Swiss,' the song encapsulates the humour, transgressions, and blurred boundaries that emerge when desire takes the reins. The sleepless nights of infatuation sharpen our perceptions of the mundane and often reveal more about ourselves than about the object of our fixation.
When I was about 13 or 14, I knew I was a poet. And then, of course, I knew I had to make films. Although I had hardly ever seen any films. The very first time I had noticed that there was such a thing like movies was when I was 11.
The invention of the Cinématographe was ready right away. The process of the invention was longer, and there were a lot of inventors before Lumière.
Louisiana has a really great infrastructure for film, with really talented filmmakers. That's where I started my career, so I've done many films there. I came up in New Orleans in the...
You can be alone, with a camera in your hand, and you can walk. In that moment, the medium sheds the expectations attached to narrative production. You don't need to have something specific in your mind. You don't need to have in mind that you have to do something with it at some point. This is freedom.
Louisiana has a really great infrastructure for film, with really talented filmmakers. That's where I started my career, so I've done many films there. I came up in New Orleans in the art department, right before Katrina in 2004.
Set mainly in rural Burkina Faso, the director's homeland, the movie was made in the amateur format of 16-mm film, with a low budget, a small crew, and a largely nonprofessional cast, including several of the filmmaker's family members, as befits its family-centered drama: a young woman named Bintou and a young man named Issa want to marry, but another man, Tiga, aggressively pursues Bintou and threatens Issa's life.
But rather than walk away from his creative calling, Driven said he pivoted - teaching himself videography and landing his first paid job through a Craigslist post filming Caribbean DJ, and DJ Mad Out. "That opportunity introduced him to New York's Caribbean music scene, where he went on to work with artists such as Shaggy, Ding Dong and Kranium," she said. "Those early experiences sharpened Hillmedo's eye for authenticity, capturing Caribbean culture not as spectacle, but as lived reality," she added.
What begins as a fairy-tale romance set in the beautiful Mediterranean town of Agde gets more complicated when Stann's family ties prove more durable, and dangerous, than he expects. Stann, the hub of a sprawling, criminally inclined clan, finds himself torn between Gloria, a vibrant Black American woman who offers him a glimpse at a life beyond the one he knows, and his inescapable family obligations.
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
It's been 40 years since Richard Linklater founded the Austin Film Society, beginning his crusade to make scrappy, personal, romantic and boisterous cinema. It's fitting for a director who first broke out in the 1990s "Indiewood" boom that his latest film, Nouvelle Vague, is an origin story of cinema's enfant terrible par excellence, Jean-Luc Godard, mounting his iconic debut film Breathless. As Linklater's first non-English film, Nouvelle Vague feels like a film fanatic has staged and animated decades' worth of behind-the-scenes anecdotes - genuine and apocryphal alike - to show a turning point for cinema as the Texan director imagines it: lively and collaborative, tetchy and confounding, an amusing slew of rules broken and manifesto points declared.
Films seen long ago but unavailable for rewatching often loom large, like myths shadowed by fear: Will a second viewing confirm or dispel the initial impression? I first saw "Caught in the Acts" ("Délits flagrants"), a documentary by the French director Raymond Depardon, in Paris, a few months after it opened there, in 1994, and it struck me as one of the greatest documentaries I'd ever seen.
With considerable chutzpah and elan, and in her capacity as producer and UNHCR Goodwill ambassador, Cate Blanchett has achieved a geopolitical film-making coup. In concert with festival authorities in Rotterdam, she has secured cash and commissioned short films on the subject of displacement from five directors including Mohammad Rasoulof, now in exile from his native Iran due to his pro-democracy activism, in effect making his first public statement since the recent massacres and apparently expressing his fears that he may never go home again.
