2 items from 2016
Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand.
Gillian Armstrong is nearly as prolific as a documentarian as she is a dramatic filmmaker. While the likes of her “Seven Years On” series (an Australian 7 Up), her Bob Dylan concert doc Hard to Handle, or the true crime murder mystery of an interior design queen in Unfolding Florence aren’t as well-known as her collaborations with Judy Davis, Cate Blanchett, Mel Gibson, and Winona Ryder, they are eclectic and passionate works nonetheless. As she said in her interview with Jose last year at Toronto, “there’s a different art to making documentaries” and unlike many other directors who split their time between mediums, her documentaries do feel distinctly unique from her other work and yet equally essential.
Her latest non-fiction work is Women He’s Undressed, a peek behind the velvet curtain at Orry-Kelly, »
- Glenn Dunks
German films look set to make muscular showing at this year’s Cannes Film Market, with local sales companies offering the gamut from family dramas, cop movies and World War II thrillers to sci-fi and folklore.
Meanwhile, Maren Ade’s competition title “Toni Erdmann,” about a father trying to reconnect with his daughter, marks the first German title to vie for the Palme d’Or in eight years and the first film from a female German director to screen in competition at Cannes. The Match Factory is handling world sales for Komplizen Film and Coop 99 Film’s German-Austrian co-production.
Global Screen has boarded post-war thriller “The Face” from Leipzig-based Departures Film and Berlin’s Films in Motion (Fim); Swiss helmer Markus Imboden (“The Foster Boy”) is set to direct from a script by U.S. scribe J. Frank James. Imboden is also attached to Fim’s “Life Through a Dead Man’s Eyes, »
- Ed Meza
2 items from 2016
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