#mark-duplass

#mark-duplass

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.

When I read the scripts, I was really blown away by them. I am a fan of Taylor, and I think his writing is fantastic. To me, this just had a certain poetry to it. It was creating imagery of this place in my mind before I had even seen where it would take place. It was beautiful and lyrical.

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

Giambrone describes the initial pitch as akin to Superbad, but quickly realized the film had a much stranger engine under the hood, blending buddy comedy with altered reality.

Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget, showcasing the potential of indie filmmaking in animation.

Soderbergh has become such a prolific, tirelessly resourceful, and altogether uncategorizable filmmaker that you have to wonder why the mechanics of the break-in still inspire him.

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.

Jordan Lage is an award-winning actor, writer, director and founding member of the Atlantic Theater Company, which celebrates its 41st anniversary this year. He studied acting at New York University under the tutelage of playwright David Mamet and actor William H. Macy and then taught acting and playwriting at the Atlantic Theater Acting School for nearly 30 years. Best known for his work performing the plays of David Mamet's, he

George Lucas should have died. It was 1962; the 17-year-old had just crashed his yellow Autobianchi convertible into a walnut tree, in Modesto, California. The car rolled, bounced and came to rest - it was "beyond mangled, flipped upside down and twisted like a crushed Coke can against the tree". When the teenager woke in hospital two weeks later, his heart having nearly stopped, he had a new philosophy: "Maybe there's a reason I survived this accident that nobody should have survived."

I love this movie. I love these people. I love the man who made this movie. I love everyone who I haven't met and is. And I love Tom Lizard. - Piper Curda, voice of Mabel, expressing her enthusiasm for the film and its cast and crew at the world premiere.

I was a struggling filmmaker. I was trying to find myself and it wasn't happening. I was ready to give up on filmmaking as I was about to turn 30. I didn't feel like I could do this to myself, my family and friends any longer. I was living in South Austin making the minimum amount of money, eating peanut butter and jelly sandwiches, and making bad art. But then Sundance gave me my career with this $3 short film that we submitted to the festival on a lark.

As Aaron Whistler, a comedy writer who had an extremely close, almost conspiratorial bond with his sister Leah (Kaitlyn Dever), Cooper Raiff gives basically the same performance he always gives, delivering his lines in affectless bursts. Perhaps the idea here is to depict Aaron's inability to work through his pain, but that requires a kind of charisma Raiff might not have - he doesn't really convey much of an inner life.

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.

I was so disgusted. Like, no, you can't have a murder in this sea of people already dying - that's not right, not fair. We can't let this go.

Director Adam Meeks came across a rare piece of good news in the hellscape that is the opioid epidemic: the Ohio drug courts that help to rehabilitate addicts through a system of non-judgmental support and a strict, yet not unforgiving, schedule. His feature debut Union County an extension of a 2020 short shows the positive outcome of treating addiction as a problem to be solved, rather than a lifestyle choice to be demonised.

In a big studio-backed awards season, it's rare to see much overlap between the Film Independent Spirit Awards and the Oscars. A west coast cousin of sorts to the Gotham Awards, the Indie Spirits often celebrate the movies that the Academy skipped over with its nominations. The ceremony itself is also more fun (there's some day-drinking involved) than the more staid guild awards that dot the homestretch ahead of the similarly serious Academy Awards.

After somewhat of a dry spell, Gus Van Sant comes out swinging with one of his most consistently entertaining features in decades, a rousing truth-based crime dramedy that relates the relatively simple tale of a twitchy, outraged Indianapolis man taking a banker hostage. Everything about it works, in particular Bill Skarsgard's fastball performance as Tony Kiritsis, a guy fed up with the bank's hard line (read: greedy) approach to his late mortgage payments that he claims were due to a botched investment by the bank.