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6 articles


Desert Hearts, Wild Bill, Pretty Little Liars and More: Jim Hemphill’s Year-End Home Video Recommendations

8 hours ago

For my final home video column of the year, I’d like to round up the most interesting and enjoyable Blu-ray and DVD titles I’ve encountered in recent months — not necessarily a “ten best” list, but a compendium of highly recommended releases that rank among 2017’s home viewing highlights (and that make great gifts for cinephiles as the holiday shopping season approaches). Here goes: Desert Hearts. Director Donna Deitch embarked on her narrative feature debut with a simple goal — to tell a love story between two women that didn’t end with either of them dying or in a bisexual […] »

- Jim Hemphill

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Neon Images and Dopamine-Devouring Aliens: Restoring Slava Tsukerman’s Cult Classic, Liquid Sky

8 hours ago

For the past three decades, midnight movie staple Liquid Sky could only be seen during infrequent 35mm screenings and on out-of-print VHS and DVD editions. If a film fan actually saw Slava Tsukerman’s science fiction spectacle about downtown New York City residents coming into conflict with dopamine-devouring aliens, their experience of the film — known for its striking neon images and “electronic circus” soundtrack — was marred by aging film stock or subpar transfer. Enjoying the classic at the full audio-visual potency of its 1982 release was impossible with the options available. “Liquid Sky was kind of in the same […] »

- Jon Hogan

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“I Don’t Think Movies are Old-Fashioned”: James N. Kienitz Wilkins on His Ridm Retrospective (and Making Art in the Internet Age)

22 November 2017 10:57 AM, PST

For this year’s 20th anniversary of Ridm, the Montreal International Documentary Film Festival teamed up with Visions, the city’s experimental documentary film series, for a truly cutting edge retrospective titled “James N. Kienitz Wilkins: Vessels/Containers.” Wilkins, a 25 New Face” of 2016, was honored with four programs containing seven of his works, created from 2012 through 2017. This includes 2012’s nearly two hour Public Hearing, a 16mm, B&W-filmed performance of the transcript from a town hall debate about replacing a Walmart with a Super Walmart, all the way to 2017’s 38-minute Mediums, a medium-length movie made up entirely of medium […] »

- Lauren Wissot

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Spotlight on UXdoc at The 20th Ridm (Montreal International Documentary Film Festival)

22 November 2017 10:24 AM, PST

Running November 9th-19th, this year’s 20th edition of Ridm (or the Montreal International Documentary Film Festival for us non-Québécois) once again proved that big things come in small(ish) packages. Though not nearly as big as that other international doc fest directly on its heels, Ridm’s charm lies precisely in the fact that it’s both wide-ranging and easily navigable. In other words, a docuphile can relax and focus on the inspiring work in front of their eyes at any given moment instead of lamenting over the dozen other screenings, panels and events they’re inevitably missing. Which is not to say there […] »

- Lauren Wissot

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Making Vr that Matters: Johns Hopkins’ New Immersive Storytelling and Emerging Technologies Program

22 November 2017 9:55 AM, PST

In last summer’s print issue of Filmmaker I wrote about the ways that university film and computer science departments are adapting to teach virtual and augmented reality in their classrooms. In schools all over the world, students are finding ways to use Vr and Ar to create narrative films, documentaries, animation and games as aids in therapy, medicine, architecture and innumerable other fields. Now the newest school to launch a program is Johns Hopkins University in Baltimore, where a graduate level Immersive Storytelling and Emerging Technologies Program is beginning in January. Headed by filmmaker Gabo Arora under the direction of Roberto Busó-García, the Director […] »

- Randy Astle

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Escape into America: The Eastern Oregon and Indie Memphis Film Festivals

21 November 2017 2:45 PM, PST

Keeping on top of the media conversation in 2017 has begun to feel more like an exercise in self-harm than consumption. The dirty laundry is exhaustive and exhausting; we are quick to expose and defile, but quicker to move onto the next victimizer, leaving little lasting resolution in the wake of the penultimate upheaval. At the movies, we look for meaning where we can get it. Plots are politicized to the point where the once ghettoized “issue film” is mutating into standard grade. Even if the latest Thor joint is raking it in at the box office, cotton candy escapism […] »

- Sarah Salovaara

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