8 items from 2016
“The tale of The Grateful Dead is inspiring, complicated. and downright messy,” the festival said. “A tribe of contrarians, they made art out of open-ended chaos and inadvertently achieved success on their own terms. Never-before-seen footage and interviews offer this unprecedented and unvarnished look at the life of the Dead.”
Sundance Film Festival Unveils 2017 Premieres, Midnight, Spotlight Sections
The band first performed as The Warlocks on May 5, 1965, at Magoo’s Pizza in Menlo Park, Calif. The Grateful Dead disbanded in »
- Dave McNary
The 2017 Sundance Film Festival may already have announced their premieres, Spotlights, Competition and Next lineup, among other films and installations, but there’s four more features joining the festival.
Sundance Institute has added two Documentary Premieres and two archive From The Film Collection movies to next year’s lineup. The two documentaries are “Bending the Arc” and “Long Strange Trip,” with the archive films being “Desert Hearts” and “Reservoir Dogs,” which premiered at Sundance in 1986 and 1992, respectively. The 25th anniversary screening of Quentin Tarantino’s classic will be followed by an extended Q&A with Tarantino and producer Lawrence Bender.
Read More: Sundance 2017: The Lineup So Far
The archive films are selections from the the Sundance Institute Collection at UCLA, a joint venture between UCLA Film & Television Archive and Sundance Institute, established in 1997. With these additions, the festival will present 118 feature-length films, which represent 32 countries and 37 first-time filmmakers. For »
- Liz Calvario
Documentary Premieres are Haitian activism story Bending The Arc from Kief Davidson and Pedro Kos, and Long Strange Trip, about The Grateful Dead, from Happy Valley and The Tillman Story director Amir Bar-Lev.
The archive films are selections from the Sundance Institute Collection at UCLA, a joint venture between UCLA Film & Television Archive and Sundance Institute established in 1997 that has grown to more than 4,000 holdings representing close to 2,300 titles.
The four additions boost the 2017 roster to 118 feature films representing 32 countries and 37 first-time filmmakers, including 20 in competition.
Entries were selected from 13,782 submissions including 4,068 features and 8,985 shorts. Of the feature submissions, 2,005 were from the Us and 2,063 were international. One hundred »
- email@example.com (Jeremy Kay)
“Desert Hearts” is returning to the big screen for its 30th anniversary.
Continue reading on Women and Hollywood »
- Laura Berger
Lgbt festival also sees industry and filmmaker delegate numbers double.
BFI Flare: London Lgbt Film Festival (March 16-27) has reported a 9% audience boost for its 30th anniversary edition, which closed on Sunday with a gala screening of Catherine Corsini’s French lesbian drama Summertime.
Audiences at all events and screenings over the 11-day festival totalled 25,623 – up on the 23,500 recorded in 2015.
This year’s festival also saw a boost in industry numbers with 168 visiting filmmakers and more than 300 press and industry delegates – up on the 120 filmmakers and 200+ industry that attended last year.
This was due to an expanded industry offering that included daily press screenings, alongside talks with an Lgbt focus on development, production and distribution with speakers including Desiree Akhavan (Appropriate Behavior) and new series The Makers, with key international filmmakers Silas Howard (Transparent), Fenton Bailey (Mapplethorpe: Look At The Pictures), and Donna Deitch (Desert Hearts).
Clare Stewart, head of festivals »
- firstname.lastname@example.org (Michael Rosser)
Lgbt festival will feature more than 50 features in its 30th anniversary year; Catherine Corsini’s Summertime [pictured] revealed as closing night film.
BFI Flare: London Lgbt Film Festival (March 16-27) has revealed the line-up for its 30th anniversary edition.
The festival will feature more than 50 features and 100 shorts this year, as well as a series of events and an expanded industry programme.
The film programme will be split into three programmes - Hearts, Bodies and Minds - which will highlight three distinct themes: Lgbt content in British film and new British talent, transgender representation, and Queer Science and new technology.
The first of those, Lgbt content in British film and new British talent, will feature titles including Tomer and Barak Heymann’s documentary Who’s Gonna Love Me Now?, Andrew Stegall’s Departure, and Fenton Bailey and Randy Barbato’s Mapplethorpe: Look At The Pictures.
The second strand, Transgender representation on screen, will feature »
Since we're not in Sundance this year, a look back at Sundance classics. Here's David on Poison...
Glenn kicked off our Sundance retrospective with a look at Desert Hearts, a film with more than a passing resemblance to Todd Haynes' Carol; a few years down the line, and we come to Haynes’ own appearance in the Utah festival, with his feature debut Poison. Winner of the 1991 festival’s Grand Jury Prize - Dramatic, Poison is considered a vital film in the ‘New Queer Cinema’ movement of the early 1990s, as coined by B. Ruby Rich the following year. Rich’s theory involved not just the presence of Lgbt characters and themes, but the queering of filmmaking form itself. Haynes had already demonstrated his inventive, radical eye in the controversial short film Superstar: The Karen Carpenter Story, and Poison, with its triptych of homonymic narratives, consolidated the director’s manipulation »
Team Film Experience isn't at Sundance this year, so instead we're going back through the years to discover and revisit some Sundance classics. Here is Glenn with the 1986 winner of the Special Jury Prize, Donna Deitch's Desert Hearts.
It was a happy accident that on a whim I picked the 1985 drama Desert Hearts to write about today given we’re still very much wrapped up in the warm bosom of Carol. I had not seen Donna Deitch’s film before and had no idea prior to sitting down to watch it that it shared so much in common with Carol, 30 years its senior. I was aware of course that it was a lesbian romance, and I was also aware that the film is (famously) regarded as the first film to allow a lesbian romance to end without tragedy. Still, there were moments where beat-for-beat the films are almost identical. »
- Glenn Dunks
8 items from 2016
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