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2016 | 2015 | 2014 | 2013 | 2012

1-20 of 57 items from 2016   « Prev | Next »

The 30 Most Beloved Micro-Budget Movies Since 1990: ‘Reservoir Dogs,’ ‘A Separation’ and ‘It Follows’ Make the Cut

22 September 2016 2:01 PM, PDT | Indiewire | See recent Indiewire news »

The folks at Obscure Movie Stats are at it once more, using data from Taste to compile a list of the 30 best micro-budget movies. By “best” they mean “highest-rated on Taste,” and by “micro-budget” they mean “produced for $3 million or less since 1990” — roughly the time when, thanks in part to Sundance, the independent film movement began taking on its current form.

Quentin Tarantino’s “Reservoir Dogs” takes the top spot, the only American movie to crack the top 10 — Europe in general and England in particular are especially well represented here. Full list below.

Read More: The 30 Most Polarizing Movies Since 2000: ‘Under the Skin,’ ‘Only God Forgives’ and More

Reservoir Dogs” “The Lives of Others” “This Is England” “The Raid” “Amores Perros” “Lock, Stock and Two Smoking Barrels” “A Separation” “The Secret in Their Eyes” “Four Lions” “Son of Saul” “Primer” “Brick” “The Celebration” “It Follows” “Once” “Run Lola Run »

- Michael Nordine

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Film Review: Hunt for the Wilderpeople

14 September 2016 4:47 AM, PDT | CineVue | See recent CineVue news »

★★★☆☆ 'Magestical' isn't necessarily a real word but it perfectly sums up Kiwi director Taika Waititi's Hunt for the Wilderpeople. Invented by Sam Neill's gruff, illiterate grouch of an old codger, Hector, to describe a breathtaking mountaintop vista above New Zealand's wilderness, in the company of hip-hop loving, fast-talking and lovable troublemaker Ricky Baker (Julian Dennison, who is a revelation), one can't argue against it. With something for the big kid in all of us, Hunt for the Wilderpeople pours a dose of the mystery and wonderment of Beasts of the Southern Wild, the sense of loss and troubled childhoods of Son of Rambow and the reckless, carefree abandonment of outlaws on the run in Thelma & Louise.


- CineVue

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Viola Davis Takes Lead In ‘The Personal History Of Rachel Dupree’ – Toronto

8 September 2016 6:00 AM, PDT | Deadline | See recent Deadline news »

Exclusive: Viola Davis was already set to produce period drama The Personal History Of Rachel Dupree, and has now been confirmed to star in the pic. Also attached are House Of Cards Emmy nominee Mahershala Ali and Beasts Of The Southern Wild Oscar nominee Quvenzhané Wallis. Claire McCarthy wrote the screenplay and will direct what’s billed as a unique take on the pursuit of the American Dream. Oscar nominee and Emmy winner Davis originally optioned the rights to Ann… »

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Kudos for Amy Adams, Ethan Hawke and Oliver Stone

7 September 2016 10:22 AM, PDT | | See recent news »

The Independent Filmmaker Project (Ifp), the nation’s premier member organization of independent storytellers, announced today that Ethan Hawke and Amy Adams will be presented with Actor and Actress Tributes, and Oliver Stone will receive the Director Tribute at the 2016 Ifp Gotham Independent Film Awards set for Monday, November 28th at Cipriani Wall Street in New York City. Signaling the official kick-off for the film awards season, the Gotham Awards is one of the leading honors for independent film and provides critical early recognition to worthy independent films and their writers, directors, producers, and actors. Recent winners include Spotlight (2015), The Look of Silence (2015); Birdman, Boyhood, and Citizenfour(2014); Inside Llewyn Davis and The Act of Killing (2013); Beasts of the Southern Wild, Moonrise Kingdom, and How to Survive a Plague (2012); and Beginners, The Tree of Life,and Better This World (2011), all of which went on to numerous awards and Oscar® nominations. Anchoring the evening? »


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Will Barry Jenkins’ ‘Moonlight’ Be Another Awards Season Long Game for A24?

4 September 2016 2:17 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Telluride, Colo. — It was a unique sight. Following a screening of “Moonlight,” as director Barry Jenkins and the cast of his new film exited the Galaxy Theater here Saturday afternoon, the festival-goers who had just seen it and had hopped back in line for the next one burst into applause.

It was love for the movie, naturally, which Variety critic Peter Debruge called a “socially conscious work of art as essential as it is insightful.” But it was also the warm embrace of one of the town’s own: Jenkins has history here, helping Telluride put together its shorts program every year and serving as master of ceremonies in a few of the venues as well.

His homecoming gift to the festival delivers, a sophomore feature made with such assured grace that the hype of theater director Peter Sellars’ over-the-top intro endorsement couldn’t derail it.

In the wake of another #OscarsSoWhite controversy, »

- Kristopher Tapley

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Telluride: 'Moonlight' Shines in the Rockies (Analysis)

3 September 2016 11:41 PM, PDT | The Hollywood Reporter | See recent The Hollywood Reporter news »

Every year since 2009, when the Academy ended its cap of five nominees in the best picture category, at least one little indie has managed to blow away enough people to snag a slot — Precious, Winter's Bone, Beasts of the Southern Wild, Her, Whiplash and, most recently, Room. There is a distinct possibility that Moonlight, which had its first-anywhere screening at Telluride on Friday night and then screened again here on Saturday, soon will join that list. Indeed, the low-budget indie drama, which some have called "the black Brokeback Mountain" (but which reminds me much more of

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- Scott Feinberg

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Telluride Film Review: ‘Moonlight’

2 September 2016 9:15 PM, PDT | Variety - Film News | See recent Variety - Film News news »

What does it mean to be Black in America today? That question, too big for any one film to answer, serves as the driving inquiry in Barry Jenkins’ “Moonlight,” a beautifully intimate character study that argues in no uncertain terms that the African-American identity is far too complex to be reduced to the flimsy stereotypes so often presented on-screen.

“Black” isn’t just a race, community, or color, but one of three names by which a sexually conflicted young South Florida man allows himself to be called in a film that’s ultimately about taking control of one’s own identity. That’s exactly what Jenkins himself is doing by delivering a film so firmly committed to capturing the black experience, resulting in a socially conscious work of art as essential as it is insightful. A natural extension of his garrulous San Francisco-set debut, “Medicine for Melancholy,” the director’s beautifully nuanced, »

- Peter Debruge

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‘Pinocchio’s Candy Lust’ Takes a Fresh, Dreamlike Approach to the Classic Story

30 August 2016 10:11 AM, PDT | Indiewire | See recent Indiewire news »

Here’s your daily dose of an indie film, web series, TV pilot, what-have-you in progress — at the end of the week, you’ll have the chance to vote for your favorite.

In the meantime: Is this a project you’d want to see? Tell us in the comments.

Pinocchio’s Candy Lust

Logline: A 20-minute short about a female carpenter named Gepetto’s self-transformation into a reckless artist (Pinocchio) and her shifting relationship to the world of men. “Pinocchio’s Candy Lust” is a treatise on gender in relation to artistic identity.

Elevator Pitch:

Raising questions about multiple selves and the commodification of “artist” and “woman,” Gepetto, a disgruntled female carpenter, is confronted with the choice between acting responsibly and hating her life or (re)producing herself as Pinocchio. Carving a paintbrush and painting her body with woodgrain she undergoes a transformation so wild she destroys her whole village. »

- Steve Greene

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Why did the ‘Nightmare Before Christmas’ visionary leave the ‘Kubo’ animation studio?

25 August 2016 6:00 PM, PDT | Hitfix | See recent Hitfix news »

Kubo and the Two Strings hit theaters this past weekend to ecstatic praise from critics and audiences alike, giving the many artists in Kubo’s closing credits cause to celebrate. But there is one notable filmmaker whom close watchers of the animation world will notice is not in those closing credits: Henry Selick. The celebrated animation director (known for The Nightmare Before Christmas and James and the Giant Peach) helmed Coraline, the first feature from Kubo stop-motion studio Laika. That film put the unique company on the map. After Coraline’s success, Selick was expected to work on more Laika films, but he departed the Oregon-based studio about half a year after the movie’s release. According to a 2009 Variety report, the filmmaker moved on after his contract expired, as no new project emerged at Laika. A rep for Selick confirmed this account to HitFix. (Now the days of Laika »

- Emily Rome

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Ifp Film Week Announces 120 Feature Project Selection

27 July 2016 10:00 AM, PDT | Indiewire | See recent Indiewire news »

The Independent Filmmaker Project (Ifp) has announced the entirety of its 2016 Film Week lineup. 120 feature-length works will join the 45 previously announced titles for a total of 165 projects on display. Both documentary and narrative features from over 25 countries will take part in the International Co-Production Market — the Ifp Project Forum. Film Week offers a unique opportunity for filmmakers to connect with resources at every stage of production to fulfill their creative vision.

“We’re excited by this year’s slate and look forward to the reaction from the industry,” said Ifp Executive Director Joana Vicente. “After helping to foster many young talents who went on to become indie powerhouses, we’re eager to see what is in store for this new ‘class,’ especially one that is comprised of such a diverse and exciting group of filmmakers.”

Read More: Attention, Filmmakers: 10 Reasons You Should Apply to the Ifp Filmmaker Lab

This year, »

- Sarah Colvin

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Extended Comic-Con Clip For Trolls Targets Your Happy Place

21 July 2016 1:52 PM, PDT | We Got This Covered | See recent We Got This Covered news »

DreamWorks’ furry critters run rampant – and belt out a song or two – in today’s all-new clip for Trolls, the upcoming animation directed by the studio’s Shrek dream team, Mike Mitchell, Walt Dohrn and Gina Shay.

Hailing from San Diego Comic-Con, the extended snippet sheds light on Anna Kendrick and Justin Timberlake’s pint-sized protagonists, as they squabble under a blanket of stars. Timberlake, who appears to be playing the grouchier Troll of the two, struggles to get some shut-eye, prompting Kendrick’s enthused critter to offer a delicate over of Simon and Garfunkel’s “Sound of Silence.”

They’ll be joined for the movie by Christopher Mintz-Plasse, Russell Brand, Zooey Deschanel, Jeffrey Tambor, Christine Baranski, James Corden, Kunal Nayyar, Ron Funches, Icona Pop, Beasts of the Southern Wild breakout Quvenzhané Wallis, with John Cleese and Gwen Stefani. And…exhale.

Come November 4, Trolls will test its might against notable »

- Michael Briers

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Sundance Institute Announces Participants & Projects For Weeklong Creative Film Producing Initiative

18 July 2016 12:13 PM, PDT | Indiewire | See recent Indiewire news »

Today, the Sundance Institute announces the participants for its weeklong Creative Film Producing Initiative at the Sundance Resort in Utah. This includes 11 feature film and documentary projects for the Creative Producing Labs, and more than 50 industry leaders for the Creative Producing Summit. The Institute’s Creative Producing Initiative encompasses a year-round series of Labs and Fellowships, nurturing the next generation of independent producers so that they can help sustain and support the vibrancy of independent film.

Read More: Sundance Institute Announces Projects For Its 2016 Screenwriters Lab, Doc Edit and Story Labs & Theatre-Makers Residency

The Feature Film Creative Producing Lab takes place from August 1st through 5th. It identifies emerging producers and, under the guidance of Creative Advisors, allows them to develop their creative instincts and evolve their skills at all stages of the project. Lab Fellows continue on through the Creative Producing Summit and receive ongoing yearlong mentorship, granting, and »

- Vikram Murthi

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Why Daniel Radcliffe Deserves an Oscar For ‘Swiss Army Man’

1 July 2016 5:17 AM, PDT | Indiewire | See recent Indiewire news »

At 26, Daniel Radcliffe has fans to last him a lifetime, but now is the time to recognize him as one of the great actors working today. Chosen from droves of adorable English schoolchildren, Radcliffe was plucked from obscurity to play “The Boy Who Lives” in a fleet of “Harry Potter” blockbusters. Shouldering the weight of global fame and intense fandom, he made the treacherous crossing from child star to respected thespian by challenging himself with naked and vulnerable Broadway turn in “Equus,” a dark comedy TV series “The Young Doctor’s Notebook,” and the role of a young Allen Ginsburg in the biopic “Kill Your Darlings.” In comedies  “Trainwreck” and “Victor Frankenstein” as well as the horrific “The Woman in Black” and “Horns,” we’ve witnessed Radcliffe’s emergence as a dynamic and daring young actor who is bankable if not a guaranteed marquee draw.

With his latest, “Swiss Army Man, »

- Kristy Puchko

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Parker to get Sundance Vanguard award

28 June 2016 11:33 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Nate Parker, director of The Birth of a Nation, will get this year’s Sundance Institute award, which brings a cash prize and industry mentorship.

Sundance Institute is giving its Vanguard Award to filmmaker and actor Nate Parker (pictured), whose directorial debut The Birth of a Nation won the Audience Award and Grand Jury Prize at this year’s Sundance Film Festival.

The award will be presented at Institute’s Night Before Next benefit in Los Angeles on August 11.

The Vanguard Award includes a cash grant and mentorship from industry professionals and Institute staff. Previous recipients include Benh Zeitlin (Beasts of the Southern Wild), Ryan Coogler (Fruitvale Station), Damien Chazelle (Whiplash) and Marielle Heller (The Diary of a Teenage Girl).

The Birth of a Nation, which was supported by the Sundance Institute Feature Film Program from development to post-production, opens in Us cinemas on October 7.

Sundance Institute executive director Keri Putnam said: “Night Before Next will bring »

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A Striking Feature Debut on Courage & Resilience, ‘Beasts of the Southern Wild’ Was Released Today in Film History

27 June 2016 8:57 AM, PDT | ShadowAndAct | See recent ShadowAndAct news »

On this day in film history, June 27, 2012, “Beasts of the Southern Wild” was released in USA theaters with much fanfare, following a buzzy Sundance Film Festival world premiere where the film picked up both the Grand Jury Prize… Continue Reading → »

- Tambay Obenson

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Oscar Race at the 2016 Halfway Mark: Diversity and Confusion

24 June 2016 11:03 AM, PDT | Variety - Film News | See recent Variety - Film News news »

As 2016 hits the halfway point, the Oscar race is even fuzzier than usual. Two things are clear: The studios are back-loading their awards hopefuls yet again, with launches at fall festivals and/or the fourth quarter; and there are more diverse films in the mix, with at least 16 potential biggies from filmmakers who are women, Asians, Latino-Hispanics, black and seniors (i.e., over 65).

In the past few years, “The Grand Budapest Hotel,” “Boyhood” and “Mad Max: Fury Road” had been widely screened and started industry buzz by late June. This year, there is a lot of industry enthusiasm for a few January-to-June titles such as “Zootopia,” “The Jungle Book” and “The Witch.” But best-pic contenders? Not so sure.

The festivals so far have offered possibilities like “Manchester by the Sea” and “Loving.” And some pundits anointed “The Birth of a Nation” as the Oscar front-runner last January (a mixed blessing for Fox Searchlight, »

- Tim Gray

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As Stacey Snider Ascends at Fox, Hollywood Is in Turnaround

17 June 2016 9:44 AM, PDT | Indiewire | See recent Indiewire news »

At the 2014 New York Film Festival premiere of “Gone Girl,” Twentieth Century Fox Film Chairman and CEO Jim Gianopulos seemed visibly relieved to have Stacey Snider finally join the studio, after months of speculation that this capable executive would join him from DreamWorks. Now, almost two years later —and after a 25-year career at Fox —the studio has confirmed that Gianopulos’ contract will not be renewed after it expires on June 30, 2017, when he will graduate “upstairs” into an executive role at parent company 21st Century Fox.

This follows a transition for Snider that has not been smooth. While the veteran exec has the right mix of skills to run a studio (and did so at Universal with Ron Meyer), knows how to manage a team of executives, and how to develop, produce, and release movies that are smart and four-quadrant friendly, entering the Fox landscape proved to be a challenge. »

- Anne Thompson

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As Stacey Snider Ascends at Fox, Hollywood Is in Turnaround

17 June 2016 9:44 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

At the 2014 New York Film Festival premiere of “Gone Girl,” Twentieth Century Fox Film Chairman and CEO Jim Gianopulos seemed visibly relieved to have Stacey Snider finally join the studio, after months of speculation that this capable executive would join him from DreamWorks. Now, almost two years later —and after a 25-year career at Fox —the studio has confirmed that Gianopulos’ contract will not be renewed after it expires on June 30, 2017, when he will graduate “upstairs” into an executive role at parent company 21st Century Fox.

This follows a transition for Snider that has not been smooth. While the veteran exec has the right mix of skills to run a studio (and did so at Universal with Ron Meyer), knows how to manage a team of executives, and how to develop, produce, and release movies that are smart and four-quadrant friendly, entering the Fox landscape proved to be a challenge. »

- Anne Thompson

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John Singleton Sounds Off On the ‘Dismal’ State of Contemporary Black Cinema

13 June 2016 11:31 AM, PDT | Indiewire | See recent Indiewire news »

The Academy of Motion Picture Arts and Sciences hosted a 25th anniversary screening of John Singleton’s “Boyz N the Hood” at the Sva Theatre in New York City last Sunday as part of their “Spotlight on Screenwriting” series. This followed an event in Los Angeles the Academy hosted for the film on Friday.

After the screening, Oscar-nominated writer and director Singleton sat down with acclaimed author Walter Mosley to discuss what “Boyz” means 25 years later, including how it launched its career, how time has shifted its cultural weight and, for Singleton, how film increasingly struggles to mean anything culturally. Read five highlights from the talk below:

Read More: John Singleton Channels August Wilson – Pens Op-ed On White Directors Helming Black Films

Singleton uses two words to describe the current state of black cinema: “Dismal” and “abysmal.” 

At the discussion, Singleton repeatedly discussed his interest in films specific to culture and afro-centric experiences. Yet he lamented that films like that are not being made by other minority directors, especially in the studio system.

“It doesn’t matter how many hits and how much money the movies are making,” said Singleton. “They don’t have any cultural consciousness to them now. They have smatterings and little bits here and there, but it’s abysmal. It’s not like every movie has to make a statement at all. Movies don’t have to preach, they’re entertainment first.”

“But in terms of cultural weight – if we have cultural weight, it will be entertaining. And that’s what I feel I try to go for. I just try to rep hard for Spike [Lee], when he was starting he was trying to get people to say ‘hey listen, we can have our own idiom in film. We can have a black film aesthetic. We can have a thing that’s unique.’ When I do whatever I’m trying to do, I’m still trying to rep that,” he said.

This lack of personal voices in film is a result of a studio culture that he doesn’t think would support “Boyz N the Hood” today. 

Mosley and Singleton broke down how unlike government-sanctioned international cinema that “gives artists free reign to have dissenting views,” said Singleton, cultural specificity is lost in commerce-driven american cinema.

“There are so many stories that have yet to be chronicled about what really went on in Los Angeles in the early 80s,” said Singleton. “Yet our film culture is all based on commerce. You have a paucity of personal voices in film. Yes, you have a lot of independent films that are getting made, but even so they’re not what they were. You don’t have as many anachronistic true voices that are different from the norm. You have that at a lower level where people are making films on their iPhones now, doing new stuff.”

“There used to be a time where you had a support of these acrostic voices. These films that were really specific…you don’t have that with the studios right now,” Singleton added. “That’s why American cinema is really suffering right now. It’s sort of like the small movies are the farm stuff for the big films. If George Lucas didn’t make ‘American Graffiti,’ he wouldn’t have ‘Star Wars.’ And ‘American Graffiti’ is specific to a sort of time and place that was changing and evolving. You could never make those films now. You could never make ‘Boyz N the Hood’ now.”

Morris believed in spite of media attention from Black Lives Matter, the push for awareness of minority voices will not translate directly to more prominence for black artists.

“In truth, Black Lives Matter says we’re paying attention to everything because if our lives don’t matter then your lives don’t matter,” said Morris. “And they’ve done a lot of work and they are doing a lot of work. But I think it’s a long journey from that to those 25, 35, 135 million dollar movies.”

Boyz N the Hood” came from a young USC grad making an identity as “a black filmmaker repping Los Angeles.”

Singleton describes his first feature as a bridge between what he saw and grew up with in Los Angeles and his study of Italian neorealism (films like “The Bicycle Thieves” and “Open City”).  Yet there was one figure in Singleton’s life who started the whole quest.

“I look at it as a time capsule of what I was thinking and feeling at the time,” said Singleton. “I was 20 years old and I went and saw ‘Do the Right Thing,” which came out in the summer of 1989. Spike [Lee] has always been my cinematic big brother. Before I went to school and he visited La he pushed other people out of the way to shake my hand. I told him I was going to USC Film School and for him to watch out for me. So I went to school for four years rapping black cinema. I was one of the only black filmmakers and students in a predominantly white film culture. It was a continued marginalization – the attitude was there was only one Spike Lee. I was like, ‘I’m not the next Spike Lee, I’m the next John Singleton.’”

The need to create “Boyz” was driven by Singleton’s desire to write a film about what he knew: to go back to his family and figure out this story.

“I was at USC, which was still adjunct to the neighborhood I was growing up in,” said Singleton. “And I wouldn’t say I was having Ptsd because I was still in the environment, but I was having dreams like that. Having dreams about the stuff I’d seen in my childhood and teenage years. But I’m on an island – if you step off the campus, you’re in the mix. This is the 80s still. The script for ‘Boyz’ came out of that.”

Read More: The 10 Best Oscar-Nominated Directors

There are promising movies to Singleton that are immersed in a time and place. A favorite of his? “Beasts of the Southern Wild.” 

Singleton and Mosley lavished praise on Benh Zeitlin’s 2012 film, which Mosley helped foster when Zeitlin brought the script to Sundance Labs in 2008.

“Beautiful, beautiful film,” said Singleton. “Benh [Zeitlin] did a great job on that. There a scene where she goes over on that ferry and goes to that place, and it’s a questionable place…you don’t know if she’s seeing her mother or a vision of her mother, and the woman fries that alligator tail. And she’s telling this quasi-sexual story. But that never could’ve been done if the filmmakers didn’t live down there. And he’s not black, but he’s a brother, you know? If you see that movie, he takes you somewhere special and different, and he does it in an interesting, lyrical kind of way.”

The two took inspiration from how Zeitlin and his crew went spent several months in Louisiana taking in the culture of a world that would become The Bathtub. “They lived with the film,” said Mosley. Singleton thought other filmmakers should take note.

“I’m interested in doing a quasi-sort of thing with Chinese kids. I’m not Chinese. But I’m going to immerse myself in what these kids are going for,” said Singleton. “There’s not enough of that. And you can be from a certain culture and not know anything about where you’re from, too. That’s why a lot of black filmmakers are making marginal films right now. Because they’re not really astute at what the weight is that came before them. If you’re making gumbo, and the base is bad, it’s not going to taste good.”

Singleton wants his work to serve as a “conduit” for the voiceless. 

Director of eight films and three TV shows since “Boyz,” Singleton has kept himself busy in the past 25 years. Yet the work that interests him to this date remains small, personal, ostracized stories.

“I always wanted to be the kind of storyteller that was still accessible to folks,” said Singleton. “I’m doing Snowfall [the upcoming series for FX], I have another show called Rebel which just got announced… I’m interested in continuing the foundation that was set with ‘Boyz.’ Near my office there’s a park I go to, and I see people who just got released, people who are schizophrenic, people who are living from halfway house to halfway house. When you’re in and around folks, you get stories.”

“Everyone has stories to tell, but not everyone has a way to tell it. Not everyone can sit down and write it, damn near make a movie about it. But what I feel is that I’m a conduit for those folks,” he said. “And I’m not so visible that I’m not accessible. I’m not on TV all the time, I’m not doing the celebrity thing. I’d like to think I work like Ernest Hemingway. He would travel to different places, and he would write about his experiences. I love listening and talking to folks, and that’s how I get the rhythm and cadence of language.”

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Related stories2017 Oscar Predictions: Best Picture2017 Oscar Predictions: Best Director2017 Oscar Predictions: Best Actor »

- Russell Goldman

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Posterized: Movies About Young Black Girls

3 June 2016 1:30 PM, PDT | FilmExperience | See recent FilmExperience news »

Not every movie has a white straight male protagonist. It just seems like that since that's Hollywood's default and also the preferred proxy of most (white straight male) auteurs.

But the times are finally a-changing. This weekend features the platform release of a mesmerizing new indie called The Fits -- please see it as soon as it opens near you. I was so proud to push for honoring it on my jury at the Nashville Film Festival. Fresh perspectives on the screen can be so exhilarating. That's especially true when the execution is this confident. Remember the debut director's name, Anna Rose Holmer, since we're hoping for more great movies to come.

In the meantime, let's take a trip back through other features with young black girls as the lead character. I haven't seen the first or the last movie on this list of nine below but the rest all »


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