6 items from 2017
For those who believe that death represents a journey from one plane of existence to another, it will seem apropos that the final feature directed by the late and legendary documentary filmmaker Albert Maysles, made when he was nearly 90 years old, takes place entirely on a cross-country train. In Transit, on which Maysles collaborated with four other directors, can’t compare to the pioneering Direct Cinema docs he made with his brother, David (who died in 1987)—such classics as Salesman (1969), Gimme Shelter (1970), and Grey Gardens (1975). But it’s very much of a piece with Maysles’ lifelong commitment to capturing reality on the fly, offering a vivid cross-section of regular folks who all happen to be aboard the Empire Builder, an Amtrak train that makes a three-day journey between Chicago and the Pacific Northwest. The film’s ideal audience is people who, riding public transportation, would »
- Mike D'Angelo
With the death of Anita Pallenberg , the world lost an icon of the Swinging Sixties. The Italian-German model became a fashion It Girl of the age and her friendship with Andy Warhol integrated her into the cutting edge art world. She appeared in cult movie classics including Candy (featuring Ringo Starr) and Jane Fonda’s Barbarella, but her most famous role is undoubtedly that of muse for the Rolling Stones. Her high-profile relationships with two of the band’s guitarists, Brian Jones and Keith Richards, made her an enduring part of the Stones’ mythology. It became one of rock ‘n »
- Jordan Runtagh
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This April will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Monday, April 3 The Chaos of Cool: A Tribute to Seijun Suzuki
In February, cinema lost an icon of excess, Seijun Suzuki, the Japanese master who took the art of the B movie to sublime new heights with his deliriously inventive approach to narrative and visual style. This series showcases seven of the New Wave renegade’s works from his career breakthrough in the sixties: Take Aim at the Police Van (1960), an off-kilter whodunit; Youth of the Beast (1963), an explosive yakuza thriller; Gate of Flesh (1964), a pulpy social critique; Story of a Prostitute (1965), a tragic romance; Tokyo Drifter »
- Ryan Gallagher
The cast of “Guardians Of The Galaxy Vol. 2” graces the latest cover of Empire Magazine, ahead of the film’s May 5 release. Taking either their favorite song or a tune they would have liked to be included in the Marvel superhero film, Chris Pratt (Star-Lord), Zoe Saldana (Gamora), Kurt Russell (Ego), Elizabeth Debicki (Ayesha), Pom Klementieff (Mantis), Michael Rooker (Yondu), Dave Bautista (Drax), Sean Gunn (Rocket/Kraglin), Karen Gillan (Nebula) and director James Gunn curated a mixtape for the magazine, which can be found on Spotify. Listen to each song chosen by the cast and the director below.
“Whiskey And You,” by Chris Stapleton – chosen by Pratt
“When I’m on the road, I tend to listen to songs that allow me to bask fully in my loneliness. When I want to dive headfirst into sorrow, »
- Yoselin Acevedo
David’s Quick Take for the tl;dr Media Consumer:
Just as the Monterey International Pop Music Festival marked a pivotal and definitive turning point (in this case, upward) in the cultural ferment of the 1960s, so too the film document of that event, D.A. Pennebaker’s Monterey Pop, initiated a new way of capturing music and its performance for posterity. The weekend-long Festival, featuring mostly West Coast hippie rock and folk combos, with a few international surprises tossed into the mix, was like a meteor that streaked across the sky of an emerging new civilization, illuminating the landscape, brightening the eyes of its witnesses, summoning a potent mix of emotions: joy, euphoria, ecstasy, bewilderment, even dread. The cinematic document, a short film clocking in at just under 80 minutes, that confirmed all those conflicting, incredulous impressions is like the meteorite that survived its hard descent into the atmosphere – potently powerful »
- David Blakeslee
“Rancher, Farmer, Fisherman”
Susan Froemke is a four-time Emmy winner and non-fiction filmmaker with over thirty films to her credit, including Academy Award-nominated HBO documentary film “Lalee’s Kin,” “Grey Gardens,” and “Wagner’s Dream,” which had a U.S. theatrical run before airing on PBS. Froemke recently co-directed “Escape Fire: The Fight To Rescue American Healthcare.” She was formerly principal filmmaker at legendary Maysles Films more than two decades.
W&H: Describe the film for us in your own words.
Sf: This documentary tells the story of four men who become unlikely conservationists when they see the natural resources that have sustained their families for five generations become threatened and depleted.
Filmed on the majestic Rocky Mountain Front, the vast Great Plains of Kansas, and in the shining Gulf of Mexico waters, these men, who work the iconic landscapes, formed alliances with friend and foe to save their homeland. It’s a film that captures the enduring frontier spirit of America. It’s a film of hope.
W&H: What drew you to this story?
Sf: I read a draft of Miriam Horn’s book, “Rancher, Farmer, Fisherman” and fell in love with her characters. These families, who are descendants of homesteaders, frontiersmen, and fishermen, have fascinating stories that told a history of the United States that I found intriguing.
What I love about making documentaries is that you get invited into people’s lives that are completely different from yours and I thought that by filming these people on these extraordinary landscapes, I might be able to reconnect with some of the great American values.
I wanted to ranch, farm, and fish. I also care deeply about conserving land. These men and their colleagues show how it’s possible for humans and nature to co-exist in beneficial ways. This inspired me and I wanted to bring that inspiration to a wider audience.
W&H: What do you want people to think about when they are leaving the theater?
Sf: I’m hoping that people will have their faith renewed in the democratic process that built this nation. To see that change is possible, but it only comes when people come together and work for change.
The film shows men with true grit who found consensus within their communities to affect change but it took time — 30 years in some cases — and not giving up is the key.
W&H: What was the biggest challenge in making the film?
Sf: Documentary filming on the Gulf of Mexico and on the Rocky Mountain Front was a challenge. These are unforgiving locations. In the Gulf, I shot with Thorsten Thielow who convinced me to let him bring the Movi, which would keep the water’s horizon level so the footage would be smooth and beautiful.
We filmed in a rough sea on a fishing trip — luckily no one got seasick — but it was hard to even keep standing at times. Despite this challenge, the footage looked terrific.
Beth Aala, our co-director, shot with Thielow with the Movi for the packing trip in Montana. They could only bring a very limited amount of gear on mules, as there were no vehicles allowed. It’s the very reason why that area is so stunning — time really stood still on those trails, looking exactly the same for generations.
It was a little bit of choreography to maneuver between the animals on a very narrow trail, alongside those steep canyons. Thielow had to ride backwards on horseback part of the way to get some of the shots you see in the film, which gave the Crary family a big laugh.
W&H: How did you get your film funded? Share some insights into how you got the film made.
Sf: This is a film that we were developing together at The Public Good Projects, a non-profit focused on using media to enlighten audiences about some of our nation’s most complex problems, which John Hoffman was running before he came to Discovery.
We had commenced shooting in all three locations and had put together a sizzle reel. When John started speaking with Rich Ross about joining his team at Discovery, the fact that we had this film in early production was part of those conversations.
When Rich saw the sizzle, he decided that it was a perfect opportunity for Discovery to demonstrate its commitment to telling solution-oriented environmental stories.
W&H: What does it mean for you to have your film play at Sundance?
Sf: For a documentary, I think having your film premiere at Sundance changes everything in the life of the film. The important national press is in attendance, programmers for the other film festivals see it with an enthusiastic audience, and most wonderfully, many of your documentary peers get a chance to screen it and spread the good word!
There is no way to underestimate the reach Sundance provides for a film. It’s the best birth a documentary can have.
W&H: What’s the best and worst advice you’ve received?
Sf: The best advice I received when I was just starting out in film was to learn to edit first. If I could learn documentary editing, I’d also be learning how to direct because I would know what I needed to bring back into the edit room. I followed that advice and it’s been invaluable.
I feel lucky that I’ve never received any bad advice.
W&H: What advice do you have for other female directors?
Sf: First, you need total support while filming so only work with crew members that show respect and are willing to collaborate equally.
Second, follow your intuition. Never doubt it!
W&H: Name your favorite woman-directed film and why.
Sf: Some of my favorite women-directed films are
Lina Wertmüller’s “Swept Away,” Sofia Coppola’s “Lost in Translation,” and Kathryn Bigelow’s “The Hurt Locker,” because they are beautifully crafted works of art. But I’m going to write about “Gimme Shelter” and Charlotte Zwerin, who directed the film with David and Albert Maysles.
Zwerin’s name is almost never included when “Gimme Shelter” is written about, but she created the brilliant structure for the film and is responsible for the doc’s “film within the film” concept that’s realized by filming the Rolling Stones in the editing room long after the Altamont concert.
The Maysles Brothers always credited Zwerin as a director, but in the early 70's, it was never honored by the industry. So I want to give a shot out to one of the earliest documentary female directors and honor her work.
W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?
Sf: We are fortunate in the documentary world: Women have always been at the forefront of nonfiction film making. It is a wonderful community and continues to thrive through changes in technology and societal issues.
Sundance 2017 Women Directors: Meet Susan Froemke— “Rancher, Farmer, Fisherman” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Joseph Allen
6 items from 2017
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