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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010

18 items from 2016


Kelly Reichardt’s Certain Women Leads Eric Lavallee’s 2016 Sundance Film Fest Top Ten

3 February 2016 9:10 AM, PST | ioncinema | See recent ioncinema news »

With a decent sized sampling of thirty-one features and several four star quality shorts viewed, my assessment of the ’16 edition is as follows: the Premieres category delivered in terms of A quality offerings, the U.S Dramatic Comp had far more “misses” than “hits”, and there is plenty to be excited about from the micro indie auteurs found from the bountiful Next section. To further recognize this section’s importance and cred, I’d definitely create a jury award to go alongside the Audience award — perhaps the composition of that jury could follow the free-thinking artist matching they promote for their Sundance Next Fest. And speaking of the jury folk — I’m a little dismayed that a conventional film such as The Birth of a Nation took precedence over a technically sound, risk-taker film such as Christine. Change appears to be in the air, with Robert Redford contemplating the future »

- Eric Lavallee

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[Sundance Review] The Eyes of My Mother

1 February 2016 12:32 PM, PST | The Film Stage | See recent The Film Stage news »

Here is where I go off-book for my final Sundance review. The film is Nicolas Pesce‘s frightening The Eyes of My Mother, and I am not its target audience. This was not a pleasant experience for me. In fact, it took a lot to stay in the theater for the full 77-minute running time.

The plot concerns young Francisca (Olivia Bond), who watches her mother murdered at the hands of a psychopath and then becomes complicit with her father (Paul Nazak) in enacting a painful, tortuous amount of vengeance on the man responsible. Francisca, years later (Kika Magalhaes), has lost her father but still has the man, chained in the barn, and literally eating from the palm of her hand. Solitude serves as the fuel for Francisca’s own fractured psychosis, the film revealing itself to be an extended nightmare filmed in beautiful, disconcerting black-and-white by Zach Kuperstein. Magalhaes »

- Dan Mecca

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Rebecca Hall and Michael C. Hall on Their Sundance Suicide Movie Christine

29 January 2016 1:36 PM, PST | Vulture | See recent Vulture news »

Christine Chubbuck, the Sarasota, Florida, newscaster who, as my colleague Abe Riesman detailed, achieved a cultish fame for shooting herself on-air in 1974, has, by strange coincidence, become the subject of a pair of Sundance movies this year. The first, Kate Plays Christine, is a documentary exploration of voyeurism and obsession, following actress Kate Lyn Sheil's deep dive into playing an unknowable character. The second is a narrative take from the always-controversial director Antonio Campos (Afterschool, Simon Killer), with the often-underused Rebecca Hall capturing Chubbuck's painful social awkwardness and descent into madness. It's a performance that ought to earn her an Independent Spirit nomination, at the least. The movie opens with Hall as Chubbuck lobbing hard questions about Watergate to Richard Nixon — before the camera pulls back to reveal she's talking to a chair. It's a telling reveal of her ambition. She wants to be doing "important" (read: dry) pieces »

- Jada Yuan

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Sundance: Rebecca Hall Astonishes in the Otherwise Cold 'Christine' (Review Roundup)

27 January 2016 11:58 AM, PST | Thompson on Hollywood | See recent Thompson on Hollywood news »

Rebecca Hall stars as an ambitious TV reporter in 1970s Sarasota in "Christine," written by Craig Shilowich and directed by Antonio Campos ("Simon Killer," "Afterschool"). The film, which debuted in the the U.S. Dramatic Competition at Sundance to cautiously positive reviews, follows Christine through the final months of her life, as social isolation and professional frustration (including her station's shift toward sensationalism) precede her shocking demise. Though it boasts an impressive supporting cast, including Michael C. Hall ("Dexter") as Christine's co-anchor, Maria Dizzia ("Orange is the New Black") as a camerawoman, and J. Smith-Cameron ("Rectify") as her mother, "Christine" may be most notable as a chance for Hall — so terrific in "Vicky Christina Barcelona," among other projects — to sink her teeth into a juicy lead role, and it's she who's won critics' »

- Matt Brennan

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Daily | Sundance 2016 | Antonio Campos’s Christine

26 January 2016 12:00 PM, PST | Keyframe | See recent Keyframe news »

There are two films at Sundance this year that take on the story of Christine Chubbuck, the Florida news reporter who committed suicide on live television in 1974, Robert Greene's Kate Plays Christine and Antonio Campos's Christine. "Only relative to the brilliant but blood-freezing formalism of Simon Killer and Afterschool can a film as nervy and needling as Christine be described as a step into the mainstream," writes Variety's Guy Lodge." And Filmmaker's Vadim Rizov declares: "Rebecca Hall’s performance is astonishing." We're gathering more reviews. » - David Hudson »

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Christine | 2016 Sundance Film Festival Review

25 January 2016 11:15 PM, PST | ioncinema | See recent ioncinema news »

Mad as Hell: Campos Paints a Moving, Psychological Portrait of Sensational Subject

For his third and most psychologically complex feature to date, Antonio Campos presents a series of instances leading up to the tragic death of news journalist Christine Chubbuck, a Floridian woman who infamously committed suicide on live television in 1974. The incident was partially the inspiration for the classic 1976 film Network, but the Chubbuck tragedy eventually became a journalistic case study, eventually a footnote in the passing decades, eclipsed by more sensational, more horrific examples of the increasingly lurid direction of news media. Instead of capitalizing on Chubbuck’s inevitable demise, Campos and screenwriter Craig Shilowich (the producer making his screenwriting debut), craft an expertly moderated character study for Christine, studiously and painstakingly portrayed by Rebecca Hall in what surely stands as her most accomplished screen performance to date.

In 1974 Sarasota, Florida, 29-year-old news reporter Christine Chubbuck (Hall »

- Nicholas Bell

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[Sundance Review] Christine

25 January 2016 7:10 AM, PST | The Film Stage | See recent The Film Stage news »

After the formally rigorous character studies of Afterschool and Simon Killer, director Antonio Campos seems like the ideal fit for the unsettling drama of Christine. His first feature based on a true story, it follows the final weeks of the life of Christine Chubbuck (Rebecca Hall), a Florida-based news reporter who committed suicide live on air in the summer of 1974. Plagued by depression and fed up with the shifting exploitative nature of broadcast news, Craig Shilowich‘s script — the first time Campos hasn’t written his own — is a two-hander that digs into mental illness as well as the push for this brand of attention-grabbing stories, but both sides never fully gel.

“If it bleeds, it leads,” Wzrb station boss Michael (Tracy Letts) tells his team, which anchor George Peter Ryan (Michael C. Hall) and the rest of the group seem to have no problem with — except for Christine. A socially awkward, »

- Jordan Raup

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Sundance Film Review: ‘Christine’

24 January 2016 2:53 AM, PST | Variety - Film News | See recent Variety - Film News news »

Everyone knows how Christine Chubbuck’s story ends; why it ended that way is another question altogether, and one even a film as astute and exquisitely considered as Antonio Campos’ “Christine” can’t hope to answer in full. Instead, it’s a real-life drama of jangling variables and charged blank spaces, teasing out the tangled personal yearnings and failings that somehow led a smart, attractive, 29-year-old news reporter to blow her brains out on live television in 1974. Far from the austere death march it might threaten to be on paper, this is a thrumming, heartsore, sometimes viciously funny character study, sensitive both to the singularities of Chubbuck’s psychological collapse and the indignities weathered by any woman in a 1970s newsroom. Invigorated by a top-drawer ensemble, with Rebecca Hall discomfitingly electric in the best role she’s yet been offered, this should easily become Campos’ most widely distributed work to date. »

- Guy Lodge

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2016 Sundance Trading Card Series: #10. Melody C. Roscher (Christine)

23 January 2016 9:00 AM, PST | ioncinema | See recent ioncinema news »

Eric Lavallee: Name me three of your favorite “2015 discoveries”.

Melody C. Roscher: (1) The 2009 album “Zebra” by Karl Blau. (2) Tybee Island, Georgia. (3) “Pastoralia” by George Saunders.

Lavallee: As co-producer on Simon Killer, you’ve been part of the Borderline Films fabric for some time now. How would you describe Antonio Campos as a filmmaker and artist in terms of his interests, obsessions and/or curiosity?

Roscher: Antonio is endlessly interested, endlessly obsessed and authentically curious. He is a humanist. He’s driven to understand why people do what they do, be it either something beneficial or something very confusing or harmful. Mostly he has a huge heart and love for the people around him. He pours that love into the craft of his work.

Lavallee: What kind of legal concerns/issues were there in dealing with real life subjects. Did you need/or seek out approval or any special permissions? »

- Eric Lavallee

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Sundance: Borderline Films Expands With New Label, Sets First Title ‘The Eyes Of My Mother’

21 January 2016 10:05 AM, PST | Deadline | See recent Deadline news »

Update with more producer info: Borderline Films, the collective from founders Josh Mond, Sean Durkin and Antonio Campos that has spawned the pics Martha Marcy May Marlene, Afterschool, Simon Killer and James White, is launching a new label. Borderline Presents, will which serve as executive producer to help promote new filmmakers, already has a first pic in the hopper: the Sundance Film Festival Next title The Eyes Of My Mother from Nicolas Pesce. The stylized… »

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2016 Sundance Film Festival: Eric Lavallee’s Top 5 Most Anticipated Films

21 January 2016 9:30 AM, PST | ioncinema | See recent ioncinema news »

Unlike some other media outlets who are blasphemously drawing up “most anticipated” Sundance lists that come across as a simple rehash of the entire feature film line-up, over here, Nicholas Bell and I pare down this shared enthusiasm in what are individual must see top five lists. The catch: select five films from five sections. In the decade I’ve been coming down here, the U.S Dramatic Comp section was the sure-fire bet for treasures, the Premieres section offered heavyweights and misfires while you had to look elsewhere for the gems. Last year’s Next was where all the riches were at. James White, Entertainment, Tangerine , Nasty Baby, and the upcoming Take Me to the River reminded me why the Next section has become a robust category in itself but surprisingly it might be the Premieres program (half a dozen offerings I could easily see in Cannes) is poised to get the major attention. »

- Eric Lavallee

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2016 Sundance Film Festival: Nicholas Bell’s Top 5 Most Anticipated Films

21 January 2016 9:00 AM, PST | ioncinema | See recent ioncinema news »

Despite the initial anticipation or dismay for every annual major film festival line-up, Sundance remains an inherent conjurer of new breakout talent. Though we prefer the more daring, provocative features which tend to filter through the increasingly visible Next section (last year items like James White, Tangerine, and Nasty Baby premiered there first), Sundance returns with a surprising auteur heavy Premieres section (usually the fest’s weakest line-up), featuring names like Kelly Reichardt, Whit Stillman, Anne Fontaine, Ira Sachs, and Kenneth Lonergan, among others. And that’s just the most superficial layer of what promises to be a notable year. Here are five of my most anticipated items this year, each from a different program. [Follow Nicholas Bell during Sundance on twitter/instagram]

5. The Greasy Strangler – Dir. Jim Hosking

Midnight Program

Even though this year’s Midnight section features new offerings from Kevin Smith and Rob Zombie, a definite standout is the directorial debut by Jim Hosking. Described »

- Nicholas Bell

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10 Hot Titles From the Sundance Film Festival

19 January 2016 4:54 PM, PST | Variety - Film News | See recent Variety - Film News news »

On paper,  nearly every film scheduled to screen at this year’s Sundance Film Festival looks like a breakout. That’s why predicting the titles that will draw the most interest from studios and score the biggest deals is nearly impossible. You don’t know which films will deliver on the hype and which will wither under the spotlight as much of Hollywood descends on Park City hoping to find the next “Little Miss Sunshine” or “Brooklyn.”

That said, here are 10 films that are certain to draw interest from bidders by virtue of their casts, their concepts, or the director calling the shots.

Christine

Director: Antonio Campos

Stars: Rebecca Hall, Tracy Letts, Michael C. Hall

Sales: UTA, Wme/Great Point Media

Why Buyers Are Circling: The story of an ambitious journalist struggling to make a name for herself in the 1970s world of TV news showcases a tour de force performance from Hall. »

- Brent Lang

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Borderline Presents launches for Sundance

19 January 2016 11:02 AM, PST | ScreenDaily | See recent ScreenDaily news »

Borderline Films co-founders Josh Mond, Sean Durkin and Antonio Campos have unveiled a label to board projects as executive producers starting with Park City selection The Eyes Of My Mother.

The black-and-white drama explores the dark obsessions of a lonely young woman in the wake of a tragedy in the countryside and premieres in Next on Friday.

Nicolas Pesce presented the concept for his directorial debut to Mond while working on the latter’s Sundance 2015 Next Audience Award winner James White.

Borderline oversaw the process from development through post-production. Jacob Wasserman, Schulyer Weiss and Max Born are the producers.

“We started Borderline Films so that we had each other’s support and felt safe making the films we wanted to make,” said Mond on behalf of the group.

“We’ve been fortunate enough to have all made our first feature and want to use our experience to provide that same kind of support to help other like-minded »

- jeremykay67@gmail.com (Jeremy Kay)

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Indie Collective Borderline Films Launching New Executive Production Label

19 January 2016 11:00 AM, PST | Indiewire | See recent Indiewire news »

Read More: Haunting First Look at 'The Eyes of My Mother' Makes This Sundance Premiere a Must-See Filmmaking collective Boderline Films has become one of the biggest mainstays at major indie festivals over the past couple of years thanks to acclaimed titles like "Simon Killer," "Martha Marcy May Marlene" and "James White," and now they are expanding into the executive production field by officially announcing the founding of Borderline Presents. The new label will see founding members Josh Mond, Sean Durkin and Antonio Campos executive producing select projects to help up-and-coming filmmakers realize their visions. "We started Borderline Films so that we had each other's support and felt safe making the films we wanted to make," said Josh Mond on behalf of the group. "We've been fortunate enough to have all made our first feature and want to use our experience to provide that same kind of support to help other like-minded. »

- Zack Sharf

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Buyers eye Sundance discoveries; 34 titles to watch

17 January 2016 10:48 PM, PST | ScreenDaily | See recent ScreenDaily news »

As Sundance and Slamdance prepare to kick off this week some insiders have predicted there could be a surge of activity from digital platforms besides Netflix and Amazon Studios.

The latter two are expected to be active – and indeed have already taken a few Park City titles off the table – yet there is talk of other well-capitalised companies mulling over a splashy entry into the acquisitions arena.

The Sundance Film Festival runs from January 21-31.

Nimble digital platforms challenge traditional buyers

Faced with sharp digital rivals unencumbered by the need to spend on costly P&A and plugged into transactional data that enables them to target audiences with forensic precision, theatrical buyers will need to be on their toes.

The distribution landscape is crowded and unforgiving, yet creative marketing campaigns can pave the way to success.

Among others, A24 did it with Ex Machina and Fox Searchlight reaped rewards with its 2015 Sundance pick-up Brooklyn, earning Oscar nods »

- jeremykay67@gmail.com (Jeremy Kay)

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Buyers eye Park City discoveries

17 January 2016 10:48 PM, PST | ScreenDaily | See recent ScreenDaily news »

As Sundance and Slamdance prepare to kick off this week some insiders have predicted there could be a surge of activity from digital platforms besides Netflix and Amazon Studios.

The latter two are expected to be active – and indeed have already taken a few Park City titles off the table – yet there is talk of other well-capitalised companies mulling over a splashy entry into the acquisitions arena. The Sundance Film Festival runs from January 21-31.

Nimble digital platforms challenge traditional buyers

Faced with sharp digital rivals unencumbered by the need to spend on costly P&A and plugged into transactional data that enables them to target audiences with forensic precision, theatrical buyers will need to be on their toes.

The distribution landscape is crowded and unforgiving, yet creative marketing campaigns can pave the way to success.

Among others, A24 did it with Ex Machina and Fox Searchlight reaped rewards with its 2015 Sundance pick-up Brooklyn, earning Oscar nods »

- jeremykay67@gmail.com (Jeremy Kay)

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Most Anticipated of Sundance 2016

14 January 2016 3:35 PM, PST | SoundOnSight | See recent SoundOnSight news »

In about a week I’ll be back in Utah once again to cover the Sundance Film Festival for my 2nd year. Last year I got to see many dope films at the festival, including ones that would go on to remain among my favorites of the year like Slow West, Me and Earl and the Dying Girl, The Diary of a Teenage Girl and Cop Car. So maybe it’s greedy to expect to see more dope films, but I expect to see more dope films this year. Here are a few that have me the most giddy.

Green Room

Directed by Jeremy Saulnier

Section: Spotlight

I cannot put into words how excited I am to see Green Room. Jeremy Saulnier’s Blue Ruin was my favorite film of 2014. Watching that film, I felt like I was watching the birth of a great American filmmaker. His followup finds a »

- Dylan Griffin

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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010

18 items from 2016


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