Film Independent, the nonprofit arts organization dedicated to fostering independence and inclusivity in visual storytelling, announced the return of the Film Independent’s Directors Close-Up (DCU) series, which began on January 17 and concludes with three live events at the Directors Guild of America in Los Angeles on February 12, February 21 and March 1. The signature program,
Tim Robinson, the comedian behind sketch series I Think You Should Leave, is starring in Friendship, along with Paul Rudd and Kate Mara. The indie comedy is marking the feature directorial debut of Andrew DeYoung, the helmer known for his work on such series as Our Flag Means Death and PEN15.
J.D. Lifshitz and Raphael Margules, the producing duo behind horror hit Barbarian, are producing the
LAS VEGAS , NV, USA, February 2, 2024 /EINPresswire.com/ — The Indie Vegas Film Festival is excited to announce that submissions are now open for its debut, beginning on Wednesday, April 24 and running through Monday, April 29th at the Cinemark Century Orleans 18 and XD located in the Orleans Hotel and Casino. Filmmakers and screenwriters are invited to submit their work through Film Freeway
“Suddenly” director Thomas Bidegain is clarifying his viral statements about his scrapped film set to star Jake Gyllenhaal and Vanessa Kirby.
In a report published by France’s Technikart magazine (as translated by Film Stories UK and blog World of Reel), Bidegain claimed Gyllenhaal exhibited erratic behavior during pre-production on the survival film. Bidegain was slated to direct from a script he cowrote with Valentine Monteil, as adapted from
How can the filmmakers of low-budget independent films formulate sales and distribution strategies at a global level when they don’t have the same resources wielded by the larger production companies? As part of this week’s IFFR Pro Days, the industry program at the International Film Festival Rotterdam, experts gave their opinions.
Kyle Greenberg, head of marketing and distribution at U.S. company Utopia, said that filmmakers, especially ones helming independent and guerrilla productions, should be “the biggest
A city is welcoming back film screenings after its only cinema collapsed into administration.
The Empire Cinemas complex in Sunniside, Sunderland, permanently closed in July, last year after opening in 2004.
Cinematographer Tony Scott thought it was a “big miss”, so decided to set up a replacement inside community music venue Pop Recs, on High Street West.
He said tickets would be affordable and it
Defiance befits Tong, a youthful 44 but a veteran of the filmmaker’s interminable struggle for financing.
Briefly ejected from family life as a teenager who clashed with his father over long
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Programmed by A. E. Hunt
A bombastic explosion of form offers new ways of seeing Philippine myths, pasts, presents, and futures. Without leaving their history behind, the young Filipino filmmakers highlighted in this series abandon the methods of their classically trained or genre-ingrained progenitors. Many of these stories imagine absurd, alienating worlds and lonely characters who long for something outside the limits of the frame. With a form that is heavily motivated by visual effects, unlikely aspect ratios, and a concerted focus on post-production, their body of work—ranging from funny to strange, sexy to unsettling—looks and moves in a way that
Parker Posey is celebrated for her dynamic roles in independent films and mainstream cinema. She has achieved a net worth of $12 million by 2024, a figure reported by Eric Singer. Her journey in the entertainment industry is a unique blend of critical acclaim and commercial success, marked by her exceptional acting skills and distinctive presence. Posey’s career spans over several decades, showcasing her versatility as an actress and her unwavering commitment to her craft.
Posey’s rise to fame began with her standout performances in a series of independent films in the 1990s. This further
Although total UK-Ireland box office revenue increased by 4% in 2023 compared to 2022, revenue for UK-qualifying independent films fell by 49% in the same period, according to statistics from the British Film Institute (BFI) released today (February 1).
The total box office revenue for UK qualifying independent films in 2023 was £37.8m, down from the £74.7m total revenue in 2022. The box office market share of UK-qualifying independent films was 3.8%. This is less than half of the share
Horror has always been the most disrespected of movie genres. On one hand, it has the most potential to explore disturbing notions about human nature; on the other, it’s a great big sandbox in which envelope-shredding exploitation filmmakers get to make a hideous mess. This means talented and/or shameless directors are often forced to cobble together financing to put their blood-curdling nightmares before cameras. With that in mind, here are the twenty-five scrappiest/nastiest/scariest indie horror films ever made.
Those looking to catch a movie Saturday at AMC Broadway 4 won’t be joining The Plastics of “Mean Girls,” and they won’t be finding out who the “real” agent Argylle is. Instead, they’ll be part of a longstanding local tradition honoring the best in quality independent filmmaking.
The Broadway theater on the Third Street Promenade plays host to the 18th annual Santa Monica International Film Festival, offering a full day of films that explore a myriad of themes. Starting at 11 a.m., five feature-length pieces and 13 short flicks will be screened, followed by question and answer sessions
PORTSMOUTH — The Music Hall and Tina Sawtelle, its executive director, are taking over leadership of the New Hampshire Film Festival in 2024.
Nicole Gregg, the festival’s founding director, announced she is stepping down, though she will continue as an adviser. She stated in a press release the transition for the 22nd annual event to be held Oct. 17-20 has been seamless.
“NHFF joins an institution with resources including a full-time staff, professional leadership and New Hampshire’s most stunning performance venues,” Gregg said in a prepared statement. “NHFF is better positioned for long-term success gaining instant experience and credibility.
About an hour into the brief and dazzling Bushman, the central character announces, “I need a hamburger,” and then the screen goes black for a few seconds. When the movie resumes, it’s no longer a drama enlivened by a streetwise documentary sensibility, but a work of straight-up nonfiction. Relying on stills in this last stretch but maintaining the visual fluency of the preceding story, the final 10 minutes recount why director David Schickele stopped filming for a year: He was working instead on securing a
