Cutie and the Boxer (2013) - News Poster


Sundance 2018 Jury Includes Jada Pinkett Smith, RuPaul Charles, and Co-Stars from ‘The Shape of Water’

Sundance 2018 Jury Includes Jada Pinkett Smith, RuPaul Charles, and Co-Stars from ‘The Shape of Water’
A cartoonist, a Scottish alt-rocker, a trio of Oscar winners, and the world’s most famous drag queen are among the two-dozen jurors headed to the Sundance Film Festival later this week. The chosen cinephiles will comprise seven juries and award 28 prizes to their favorite entries. Actor Jason Mantzoukas — already scheduled to be in Park City with his comedy, “The Long Dumb Road” — will host the award ceremony on Saturday, January 27, the penultimate day of the festival. Last year’s winners included “Icarus,” “Ingrid Goes West,” and “I Don’t Feel At Home in this World Anymore.”

Find out more about the 2018 jury members below, thanks to Sundance.

Read More:Sundance 2018 Competition Lineup Boasts New Films from Paul Dano, Reed Morano, Idris Elba, Ethan Hawke, and More

U.S. Documentary Jury (Barbara Chai, Simon Chinn, Chaz Ebert, Ezra Edelman, and Matt Holzman)

Barbara Chai is head of arts and culture coverage at Dow Jones Media Group,
See full article at Indiewire »

Ronald Reagan Prepares for Thanksgiving in Exclusive Clip from ‘The Reagan Show’

Since the advent of television, a president’s charisma has been a deciding factor in an election and few had more of this quality than Ronald Reagan. Thanks to his early days as an announcer then as a Hollywood actor, he was well-equipped to appeal to the public and a new documentary, The Reagan Show, uses archival footage to showcase his performance as a president.

Directed by Pacho Velez (co-helmer of the brilliant Manakamana) and Sierra Pettengill (producer of Cutie and the Boxer), we’re pleased debut an exclusive clip from the film, which premiered at Tribeca Film Festival earlier this year and will arrive in theaters this Friday. In the preview, we find the president dealing with a turkey (almost) on the loose, as well as commenting on the difficulty of being the leader of the free world vs. an actor.

Check out our exclusive clip below, along with the trailer,
See full article at The Film Stage »

Emmy in Reach for Docs That Ran in the Oscar Race

Emmy in Reach for Docs That Ran in the Oscar Race
Thanks to such deep-pocketed streamers as Netflix, Amazon and now Hulu, the campaign to win an Oscar for documentary has evolved into a pricey, cutthroat endeavor. But the fight for a little gold man doesn’t end after the Academy Awards — it starts right back up again for the Primetime Emmy race.

While an Oscar and Emmy recognize excellence in film and television, respectively, docs are in a unique position. They can be eligible for both awards because without funding from small-screen distributors such as HBO, Netflix and PBS, the majority of docs in the Oscar race would never exist.

Mounting an Emmy campaign after an Oscar nomination or even win hasn’t always been the standard. Oscar winners including “Born Into Brothels” (2005) and “Taxi to the Dark Side” (2008) were submitted for and won the lower-profile, non-televised News & Documentary Emmy award. But in recent years, Academy Award-winning films including “Citizenfour
See full article at Variety - Film News »

Emmy in Reach for Docs That Ran in the Oscar Race

Emmy in Reach for Docs That Ran in the Oscar Race
Thanks to such deep-pocketed streamers as Netflix, Amazon and now Hulu, the campaign to win an Oscar for documentary has evolved into a pricey, cutthroat endeavor. But the fight for a little gold man doesn’t end after the Academy Awards — it starts right back up again for the Primetime Emmy race.

While an Oscar and Emmy recognize excellence in film and television, respectively, docs are in a unique position. They can be eligible for both awards because without funding from small-screen distributors such as HBO, Netflix and PBS, the majority of docs in the Oscar race would never exist.

Mounting an Emmy campaign after an Oscar nomination or even win hasn’t always been the standard. Oscar winners including “Born Into Brothels” (2005) and “Taxi to the Dark Side” (2008) were submitted for and won the lower-profile, non-televised News & Documentary Emmy award. But in recent years, Academy Award-winning films including “Citizenfour” and this year’s Oscar winner, “O.J.: Made in America
See full article at Variety - TV News »

Tribeca 2017 Women Directors: Meet Sierra Pettengill — “The Reagan Show”

The Reagan Show”: Ronald Reagan Presidential Library

Sierra Pettengill is a Brooklyn-based filmmaker. “Town Hall,” her directorial debut (co-directed by Jamila Wignot), broadcast nationally on PBS in 2014. She produced the Academy Award-nominated documentary “Cutie and the Boxer.” Pettengill was also the archivist on numerous films, including “Kate Plays Christine” and “20th Century Women.”

The Reagan Show” will premiere at the 2017 Tribeca Film Festival on April 22. The film is co-directed by Pacho Velez.

W&H: Describe the film for us in your own words.

Sp: “The Reagan Show” is an all-archival documentary that presents the pageantry, absurdity, and charisma of a prolific actor’s defining role: Leader of the Free World. Told solely through 1980s network news and videotapes created by the Reagan administration itself, the film explores Reagan’s made-for-tv approach to politics as he faced down the United States’ greatest rival. Lots of analog video and prescient political drama.

W&H: What drew you to this story?

Sp: I am really fascinated by the stories that America tells itself about who it is and the ways that those stories are propagated, reinforced, and repeated. With this film, it was pretty thrilling to go back several decades to a decisive historical moment where you can really see some of the roots of the present day starting to take hold.

As an archival researcher and archival producer, I work a lot with archival footage, and I always want to consider historical materials within the context under which they were produced. That was really exciting prospect for me here; rather than applying the tapes to a pre-determined story or cherry-picking it for illustrative purposes, we sat in both the network news and the Reagan-authored Whtv tapes, and reckoned with it as a body of footage that was shot for specific purposes and told from very specific perspectives.

W&H: What do you want people to think about when they are leaving the theater?

Sp: Looking at Reagan through the prism of performance feels like the best way to understand both the person and the policies he pursued, as well as the role of “narrative” itself.

We want this self-reflective approach to invite viewers to look closely at — and question — the tools employed in politics and the ways that we, as the citizen-audience, receive information.

W&H: What was the biggest challenge in making the film?

Sp: Grappling with the breadth and quantity of footage — which clocked in at around 1,000 hours — and the near-limitless permutations allowed for within the shaping of the edit.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Sp: The film was funded through a mix of grants, a pre-sale to CNN Documentary Films, and investment from Impact Partners.

W&H: What does it mean for you to have your film play at Tribeca?

Sp: It’s always really special to show your film in your hometown! There were so many incredibly talented people who made this film, and most of them live here in New York, so I’m really grateful that we’ll be premiering it here.

Also, the programming this year feels especially strong, which is a real honor to be part of.

W&H: What’s the best and worst advice you’ve received?

Sp: Oh, I don’t know. It’s a constant triangulated process of checking in with those who care the most about about you, those whose work you admire, and your own angst, isn’t it?

I guess “work harder” is persistently both my best and perhaps also worst advice to myself.

W&H: What advice do you have for other female directors?

Sp: That therapists will often negotiate reduced rates for artists.

W&H: Name your favorite woman-directed film and why.

Sp: Chantal Akerman’s “Jeanne Dielman, 23 Commerce Quay, 1080 Brussels” is likely to reside permanently at the top because it first changed what I thought movies could do or even be.

Among other things, it taught me how to do a certain kind of looking, how to use stillness to draw attention to what you want to be seen, and how politically and emotionally charged a lack or absence can be.

But, a few months ago, I at last watched her incredible final film “No Home Movie.” I’ve found that I’ve been carrying around the two films, wrestling with each other across the decades from a pair of living rooms and kitchens, intertwined in my head ever since.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have.

Sp: This is — obviously — such a complex issue, and I have to admit that I get really stuck on the metrics often used to frame the conversation. In this case, limiting the discussion solely to the numbers around “women directors” really eliminates some of the more fundamental issues that I see as being in play regarding how women operate in the arts — namely, how female labor is valued and appreciated.

I mainly work in documentary, so I can only speak to that. But, if you glance just one row down below the director credit, you’ll often see that the majority of the positions down the line, starting with the producers, tend to be held by women.

I think it’s really important to question why the same roles that are more typically filled by women are also those that tend to be devalued in comparison to the director. It’s related to a broader, more general problem in understanding and highlighting the labor that goes into filmmaking.

So, the question shouldn’t just be, “Why aren’t there more female directors?” (which I agree is important); it should also be, ‘“Why don’t we equally recognize the labor that women are doing as the backbone of production?”

Recently, filmmakers like Anna Rose Holmer and Kirsten Johnson have gone out of their way to insist on the primacy of their crucial collaborative partnerships, which I think is both inspiring and just plain correct.

Tribeca 2017 Women Directors: Meet Sierra Pettengill — “The Reagan Show” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Cinema Eye Names Top Documentaries and Directors of the Past Decade

  • Indiewire
Cinema Eye has named 10 filmmakers and 20 films that have been voted as the top achievements in documentary filmmaking during the past 10 years. Founded in 2007 to “recognize and honor exemplary craft and innovation in nonfiction film,” Cinema Eye polled 110 members of the documentary community to determine the winning films and filmmakers just as the organization kicks off its tenth year.

Read More: Behind the Scenes of Cinema Eye’s Secret Field Trip for Nominees

Among the films chosen are Joshua Oppenheimer’s “The Act of Killing,” Laura Poitras’ Oscar-winning “Citizenfour” and Banksy’s “Exit Through the Gift Shop.” Poitras and Oppenheimer were both also named to the list of the top documentary filmmakers, joining Alex Gibney, Werner Herzog and Frederick Wiseman, who recently won an honorary Oscar and will be saluted at the annual Governors Awards on November 12.

“It’s fantastic that he is being recognized by the Academy for a
See full article at Indiewire »

San Francisco Film Society Announces Winners of 2016 Documentary Film Fund

  • Indiewire
San Francisco Film Society Announces Winners of 2016 Documentary Film Fund
The San Francisco Film Society has just unveiled the three winners of the 2016 Sffs Documentary Film Fund awards. Totaling $75,000, the funds will support the feature-length documentaries in post-production and help push them towards completion. Chosen for their compelling stories, intriguing characters and innovative visual approach, the winners are: “For Ahkeem” by Jeremy Levine and Landon Van Soest, “The Rescue List” by Alyssa Fedele and Zachary Fink and Peter Bratt’s “Woman in Motion.”

“These projects are great examples of balance between artistic vision and social impact,” stated the jury in a statement. “They tell neglected or overlooked stories by exploring the lives of very interesting characters who stand for larger social issues. For ‘Ahkeem’ is an extremely patient verité film, yet with a sense of political urgency in the way it tackles its complex subject. ‘The Rescue List’ portrays an artful balance of ethnography and visual poetry while it brings
See full article at Indiewire »

San Francisco Film Society Announces Finalists For 2016 Documentary Film Fund

San Francisco Film Society Announces Finalists For 2016 Documentary Film Fund
Today, the San Francisco Film Society today announced the ten finalists for the 2016 Sffs Documentary Film Fund awards totaling $75,000. The Sffs Documentary Film Fund supports feature-length documentaries in postproduction and was created to support singular nonfiction film work. Finalists were selected from more than 200 applications, and winners will be announced in mid-September.

Read More: How the San Francisco Film Society is Empowering Filmmakers With Technology

Dff has an excellent track record for championing compelling films that have gone on to earn great acclaim. Previous winners include Zachary Heinzerling’s “Cutie and the Boxer,” which won Sundance’s Directing Award for documentary and was nominated for an Oscar for Best Documentary Feature; Joe Brewster and Michèle Stephenson’s “American Promise,”which premiered at the 2013 Sundance Film Festival and won the festival’s Special Jury Prize in the documentary category; and Moby Longinotto’s “The Joneses,” which premiered at the 2016 San Francisco International Film Festival.
See full article at Indiewire »

Diversity Scandal Overlooks Historic Year for Women at Oscars

By Patrick Shanley

Managing Editor

When it comes to this year’s Academy Awards, no word is more buzzworthy than “diversity”. For the second year in a row the Oscars have nominated only white actors in their four main acting categories, sparking backlash and, as a result, inciting the Academy to announce new changes to tackle its “diversity problem”.

Amidst another year of #OscarsSoWhite trending on Twitter, however, the fact that 2015 has been an exceptionally strong year for women has been largely overlooked. Three of this year’s best picture nominees (Brooklyn, Room, Mad Max: Fury Road) are female-centric and feature strong female protagonists in the center of the action. In fact, even outside of those films and their performances, a number of women are nominated for best picture as producers, as well. Kristie Macosko Krieger is nominated for Bridge of Spies, Blye Pagon Faust is nominated for Spotlight, Dede Gardner
See full article at Scott Feinberg »

What’s new on Amazon December 2015

Among the highlights that are new on Amazon December 2015 will the blockbusters Ant-Man (pictured) and Mission: Impossible: Rogue Nation, which are available for purchase on Amazon Instant Video. Those and other highlights below. New On Amazon December 2015 Piv: New In December 2015 — Available for Streaming on Prime Instant Video Available December 1 Bedazzled The Details Hoffa Monkey Business River of No Return Something’s Gotta Give (exclusive streaming home) Available December 9 Meet Me in Montenegro (exclusive streaming home) Available December 11 Transparent Season 2 Available December 12 Interstellar Tumble Leaf Season 2 Available December 15 Cutie and the Boxer Available … Continue reading →

The post What’s new on Amazon December 2015 appeared first on Channel Guide Magazine.
See full article at ChannelGuideMag »

10 Best Movies and TV Shows to Stream in December

10 Best Movies and TV Shows to Stream in December
Streaming services are a crucial addition to modern civilization, but only in December do they become a truly indispensible survival tool. Whether curled around your laptop in order to keep warm or retreating to your favorites queue in a desperate attempt to hide from your loved ones, this is the season when having something good to watch can mean the difference between life and death.

Fortunately for us, Netflix, Hulu, and the other major hubs have busted out the big guns just in time. From indisputable classics to contemporary gems,
See full article at Rolling Stone »

2016 Sundance Film Festival Predictions: Pacho Velez’s The Reagan Years

When the award-winning Manakamana landed on the film festival circuit (the Golden Leopard win in Locarno was the first of many worthy acknowledgments), it not only further demonstrated the excellence out of the Sensory Ethnography Lab and made a name for the filmmaker tandem with an anthropological-like curiosity, but one refreshing takeaway was that it reminded us that there are novel approaches in nonfiction filmmaking with huge, emotionally giddy payoffs. For his next project, docu-helmer Pacho Velez takes a President whose legacy mysteriously continues to enflame and shape current politico debate. Spliced into three parts and presented as a series of shorts (The Reagan Shorts) at the Rotterdam Film Fest this past January, The Reagan Years is certainly in getting ready phase as it was invited to the July set Sundance Institute Music and Sound Design Lab. Proposed as an archival journey from Hollywood to the White House, the big
See full article at »

A Conversation With Lisa Immordino Vreeland, Director, 'Peggy Guggenheim: Art Addict'

Totally and tragically unconventional, Peggy Guggenheim moved through the cultural upheaval of the 20th century collecting not only not only art, but artists. Her sexual life was -- and still today is -- more discussed than the art itself which she collected, not for her own consumption but for the world to enjoy.

Her colorful personal history included such figures as Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp and countless others. Guggenheim helped introduce the world to Pollock, Motherwell, Rothko and scores of others now recognized as key masters of modernism.

In 1921 she moved to Paris and mingled with Picasso, Dali, Joyce, Pound, Stein, Leger, Kandinsky. In 1938 she opened a gallery in London and began showing Cocteau, Tanguy, Magritte, Miro, Brancusi, etc., and then back to Paris and New York after the Nazi invasion, followed by the opening of her NYC gallery Art of This Century, which became one of the premiere avant-garde spaces in the U.S. While fighting through personal tragedy, she maintained her vision to build one of the most important collections of modern art, now enshrined in her Venetian palazzo where she moved in 1947. Since 1951, her collection has become one of the world’s most visited art spaces.

Featuring: Jean Dubuffet, Marcel Duchamp, Max Ernst, Alberto Giacometti, Arshile Gorky, Vasil Kandinsky, Paul Klee, Willem de Kooning, Fernand Leger, Rene Magritte, Man Ray, Jean Miro, Piet Mondrian, Henry Moore, Robert Motherwell, Pablo Picasso, Jackson Pollock, Mark Rothko, Kurt Schwitters, Gino Severini, Clyfford Still and Yves Tanguy.

Lisa Immordino Vreeland (Director and Producer)

Lisa Immordino Vreeland has been immersed in the world of fashion and art for the past 25 years. She started her career in fashion as the Director of Public Relations for Polo Ralph Lauren in Italy and quickly moved on to launch two fashion companies, Pratico, a sportswear line for women, and Mago, a cashmere knitwear collection of her own design. Her first book was accompanied by her directorial debut of the documentary of the same name, "Diana Vreeland: The Eye Has To Travel" (2012). The film about the editor of Harper's Bazaar had its European premiere at the Venice Film Festival and its North American premiere at the Telluride Film Festival, going on to win the Silver Hugo at the Chicago Film Festival and the fashion category for the Design of the Year awards, otherwise known as “The Oscars” of design—at the Design Museum in London.

"Peggy Guggenheim: Art Addict" is Lisa Immordino Vreeland's followup to her acclaimed debut, "Diana Vreeland: The Eye Has to Travel". She is now working on her third doc on Cecil Beaton who Lisa says, "has been circling around all these stories. What's great about him is the creativity: fashion photography, war photography, "My Fair Lady" winning an Oscar."

Sydney Levine: I have read numerous accounts and interviews with you about this film and rather than repeat all that has been said, I refer my readers to Indiewire's Women and Hollywood interview at Tribeca this year, and your Indiewire interview with Aubrey Page, November 6, 2015 .

Let's try to cover new territory here.

First of all, what about you? What is your relationship to Diana Vreeland?

Liv: I am married to her grandson, Alexander Vreeland. (I'm also proud of my name Immordino) I never met Diana but hearing so many family stories about her made me start to wonder about all the talk about her. I worked in fashion and lived in New York like she did.

Sl: In one of your interviews you said that Peggy was not only ahead of her time but she helped to define it. Can you tell me how?

Liv: Peggy grew up in a very traditional family of German Bavarian Jews who had moved to New York City in the 19th century. Already at a young age Peggy felt like there were too many rules around her and she wanted to break out. That alone was something attractive to me — the notion that she knew that she didn't fit in to her family or her times. She lived on her own terms, a very modern approach to life. She decided to abandon her family in New York. Though she always stayed connected to them, she rarely visited New York. Instead she lived in a world without borders. She did not live by "the rules". She believed in creating art and created herself, living on her own terms and not on those of her family.

Sl: Is there a link between her and your previous doc on Diana Vreeland?

Liv: The link between Vreeland and Guggenheim is their mutual sense of reinvention and transformation. That made something click inside of me as I too reinvented myself when I began writing the book on Diana Vreeland .

Can you talk about the process of putting this one together and how it differed from its predecessor?

Liv: The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through — instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage. I'm still new to this, but it's the storytelling aspect that I loved in both projects. One thing about Peggy that Mrs. Vreeland didn't have was a very tragic personal life. There was so much that happened in Peggy's life before you even got to what she actually accomplished. And so we had to tell a very dense story about her childhood, her father dying on the Titanic, her beloved sister dying — the tragic events that fundamentally shaped her in a way. It was about making sure we had enough of the personal story to go along with her later accomplishments.

World War II alone was such a huge part of her story, opening an important art gallery in London, where she showed Kandinsky and other important artists for the first time. The amount of material to distill was a tremendous challenge and I hope we made the right choices.

Sl: How did you learn make a documentary?

Liv: I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.

Research is fundamental; finding as much as you can and never giving up. I love the research. It is my "precise time". Not just for interviews but of footage, photographs never seen before. It is a painstaking process that satisfies me. The research never ends. I was still researching while I was promoting the Diana Vreeland book. I love reading books and going to original sources.

The archives in film museums in the last ten years has changed and given museums a new role. I found unique footage at Moma with the Elizabeth Chapman Films. Chapman went to Paris in the 30s and 40s with a handheld camera and took moving pictures of Brancusi and Duchamps joking around in a studio, Gertrude Stein, Leger walking down the street. This footage is owned by Robert Storr, Dean of Yale School of Art. In fact he is taking a sabbatical this year to go through the boxes and boxes of Chapman's films. We also used " Entre'acte" by René Clair cowritten with Dadaist Francis Picabia, "Le Sang du poet" of Cocteau, Hans Richter "8x8","Gagascope" and " Dreams That Money Can Buy" produced by Peggy Guggenheim, written by Man Ray in 1947.

Sl: How long did it take to research and make the film?

Liv: It took three years for both the Vreeland and the Guggenheim documentary.

It was more difficult with the Guggenheim story because there was so much material and so much to tell of her life. And she was not so giving of her own self. Diana could inspire you about a bandaid; she was so giving. But Peggy didn't talk much about why she loved an artist or a painting. She acted more. And using historical material could become "over-teaching" though it was fascinating.

So much had to be eliminated. It was hard to eliminate the Degenerate Art Show, a subject which is newly discussed. Stephanie Barron of Lacma is an expert on Degenerate Art and was so generous.

Once we decided upon which aspects to focus on, then we could give focus to the interviews.

There were so many of her important shows we could not include. For instance there was a show on collages featuring William Baziotes , Jackson Pollack and Robert Motherwell which started a more modern collage trend in art. The 31 Women Art Show which we did include pushed forward another message which I think is important.

And so many different things have been written about Peggy — there were hundreds of articles written about her during her lifetime. She also kept beautiful scrapbooks of articles written about her, which are now in the archives of the Guggenheim Museum.

The Guggenheim foundation did not commission this documentary but they were very supportive and the film premiered there in New York in a wonderful celebration. They wanted to represent Peggy and her paintings properly. The paintings were secondary characters and all were carefully placed historically in a correct fashion.

Sl: You said in one interview Guggenheim became a central figure in the modern art movement?

Liv: Yes and she did it without ego. Sharing was always her purpose in collecting art. She was not out for herself. Before Peggy, the art world was very different. And today it is part of wealth management.

Other collectors had a different way with art. Isabelle Stewart Gardner bought art for her own personal consumption. The Gardner Museum came later. Gertrude Stein was sharing the vision of her brother when she began collecting art. The Coen sisters were not sharing.

Her benevolence ranged from giving Berenice Abbott the money to buy her first camera to keeping Pollock afloat during lean times.

Djuana Barnes, who had a 'Love Love Love Hate Hate Hate' relationship with Peggy wrote Nightwood in Peggy's country house in England.

She was in Paris to the last minute. She planned how to safeguard artwork from the Nazis during World War II. She was storing gasoline so she could escape. She lived on the Ile St. Louis with her art and moved the paintings out first to a children's boarding school and then to Marseilles where it was shipped out to New York City.

Her role in art was not taken seriously because of her very public love life which was described in very derogatory terms. There was more talk about her love life than about her collection of art.

Her autobiography, Out of This Century: Confessions of an Art Addict (1960) , was scandalous when it came out — and she didn't even use real names, she used pseudonyms for her numerous partners. Only after publication did she reveal the names of the men she slept with.

The fact that she spoke about her sexual life at all was the most outrageous aspect. She was opening herself up to ridicule, but she didn't care. Peggy was her own person and she felt good in her own skin. But it was definitely unconventional behavior. I think her sexual appetites revealed a lot about finding her own identity.

A lot of it was tied to the loss of her father, I think, in addition to her wanting to feel accepted. She was also very adventurous — look at the men she slept with. I mean, come on, they are amazing! Samuel Beckett, Yves Tanguy, Marcel Duchamp, and she married Max Ernst. I think it was really ballsy of her to have been so open about her sexuality; this was not something people did back then. So many people are bound by conventional rules but Peggy said no. She grabbed hold of life and she lived it on her own terms.

Sl: You also give Peggy credit for changing the way art was exhibited. Can you explain that?

Liv: One of her greatest achievements was her gallery space in New York City, Art of This Century, which was unlike anything the art world has seen before or since in the way that it shattered the boundaries of the gallery space that we've come to know today — the sterile white cube. She came to be a genius at displaying her collections...

She was smart with Art of the Century because she hired Frederick Kiesler as a designer of the gallery and once again surrounded herself with the right people, including Howard Putzler, who was already involved with her at Guggenheim Jeune in London. And she was hanging out with all the exiled Surrealists who were living in New York at the time, including her future husband, Max Ernst, who was the real star of that group of artists. With the help of these people, she started showing art in a completely different way that was both informal and approachable. In conventional museums and galleries, art was untouchable on the wall and inside frames. In Peggy's gallery, art stuck out from the walls; works weren't confined to frames. Kiesler designed special chairs you could sit in and browse canvases as you would texts in a library. Nothing like this had ever existed in New York before — even today there is nothing like it.

She made the gallery into an exciting place where the whole concept of space was transformed. In Venice, the gallery space was also her home. Today, for a variety of reasons, the home aspect of the collection is less emphasized, though you still get a strong sense of Peggy's home life there. She was bringing art to the public in a bold new way, which I think is a great idea. It's art for everybody, which is very much a part of today's dialogue except that fewer people can afford the outlandish museum entry fees.

Sl: What do you think made her so prescient and attuned ?

Liv: She was smart enough to ask Marcel Duchamp to be her advisor — so she was in tune, and very well connected. She was on the cutting edge of what was going on and I think a lot of this had to do with Peggy being open to the idea of what was new and outrageous. You have to have a certain personality for this; what her childhood had dictated was totally opposite from what she became in life, and being in the right place at the right time helped her maintain a cutting edge throughout her life.

Sl: The movie is framed around a lost interview with Peggy conducted late in her life. How did you acquire these tapes?

Liv: We optioned Jacqueline Bogard Weld’s book, Peggy : The Wayward Guggenheim, the only authorized biography of Peggy, which was published after she died. Jackie had spent two summers interviewing Peggy but at a certain point lost the tapes somewhere in her Park Avenue apartment. Jackie had so much access to Peggy, which was incredible, but it was also the access that she had to other people who had known Peggy — she interviewed over 200 people for her book. Jackie was incredibly generous, letting me go through all her original research except for the lost tapes.

We'd walk into different rooms in her apartment and I'd suggestively open a closet door and ask “Where do you think those tapes might be?" Then one day I asked if she had a basement, and she did. So I went through all these boxes down there, organizing her affairs. Then bingo, the tapes showed up in this shoebox.

It was the longest interview Peggy had ever done and it became the framework for our movie. There's nothing more powerful than when you have someone's real voice telling the story, and Jackie was especially good at asking provoking questions. You can tell it was hard for Peggy to answer a lot of them, because she wasn't someone who was especially expressive; she didn't have a lot of emotion. And this comes across in the movie, in the tone of her voice.

Sl: Larry Gagosian has one of the best descriptions of Peggy in the movie — "she was her own creation." Would you agree, and if so why?

Liv: She was very much her own creation. When he said that in the interview I had a huge smile on my face. In Peggy's case it stemmed from a real need to identify and understand herself. I'm not sure she achieved it but she completely recreated herself — she knew that she did not want to be what she was brought up to be. She tried being a mother, but that was not one of her strengths, so art became that place where she could find herself, and then transform herself.

Nobody believed in the artists she cultivated and supported — they were outsiders and she was an outsider in the world she was brought up in. So it's in this way that she became her own great invention. I hope that her humor comes across in the film because she was extremely amusing — this aspect really comes across in her autobiography.

Sl: Finally, what do you think is Peggy Guggenheim's most lasting legacy, beyond her incredible art collection?

Liv: Her courage, and the way she used it to find herself. She had this ballsiness that not many people had, especially women. In her own way she was a feminist and it's good for women and young girls today to see women who stepped outside the confines of a very traditional family and made something of her life. Peggy's life did not seem that dreamy until she attached herself to these artists. It was her ability to redefine herself in the end that truly summed her up.

About the Filmmakers

Stanley Buchtal is a producer and entrepreneur. His movies credits include "Hairspray", "Spanking the Monkey", "Up at the Villa", "Lou Reed Berlin", "Love Marilyn", "LennoNYC", "Bobby Fischer Against the World", "Herb & Dorothy", "Marina Abramovic: The Artist is Present"," Jean-Michel Basquiat: The Radiant Child", "Sketches of Frank Gehry", "Black White + Gray: a Portrait of Sam Wagstaff and Robert Mapplethorpe", among numerous others.

David Koh is an independent producer, distributor, sales agent, programmer and curator. He has been involved in the distribution, sale, production, and financing of over 200 films. He is currently a partner in the boutique label Submarine Entertainment with Josh and Dan Braun and is also partners with Stanley Buchthal and his Dakota Group Ltd where he co-manages a portfolio of over 50 projects a year (75% docs and 25% fiction). Previously he was a partner and founder of Arthouse Films a boutique distribution imprint and ran Chris Blackwell's (founder of Island Records & Island Pictures) film label, Palm Pictures. He has worked as a Producer for artist Nam June Paik and worked in the curatorial departments of Anthology Film Archives, MoMA, Mfa Boston, and the Guggenheim Museum. David has recently served as a Curator for Microsoft and has curated an ongoing film series and salon with Andre Balazs Properties and serves as a Curator for the exclusive Core Club in NYC.

David recently launched with his partners Submarine Deluxe, a distribution imprint; Torpedo Pictures, a low budget high concept label; and Nfp Submarine Doks, a German distribution imprint with Nfp Films. Recently and upcoming projects include "Yayoi Kusama: a Life in Polka Dots", "Burden: a Portrait of Artist Chris Burden", "Dior and I", "20 Feet From Stardom", "Muscle Shoals", "Marina Abramovic the Artist is Present", "Rats NYC", "Nas: Time Is Illmatic", "Blackfish", "Love Marilyn", "Chasing Ice", "Searching for Sugar Man", "Cutie and the Boxer"," Jean-Michel Basquiat: the Radiant Child", "Finding Vivian Maier", "The Wolfpack, "Meru", and "Station to Station".

Dan Braun is a producer, writer, art director and musician/composer based in NYC. He is the Co-President of and Co-Founder of Submarine, a NYC film sales and production company specializing in independent feature and documentary films. Titles include "Blackfish", "Finding Vivian Maier", "Muscle Shoals", "The Case Against 8", "Keep On Keepin’ On", "Winter’s Bone", "Nas: Time is Illmatic", "Dior and I" and Oscar winning docs "Man on Wire", "Searching for Sugarman", "20 Ft From Stardom" and "Citizenfour". He was Executive Producer on documentaries "Kill Your Idols", (which won Best NY Documentary at the Tribeca Film Festival 2004), "Blank City", "Sunshine Superman", the upcoming feature adaptations of "Batkid Begins" and "The Battered Bastards of Baseball" and the upcoming horror TV anthology "Creepy" to be directed by Chris Columbus.

He is a producer of the free jazz documentary "Fire Music", and the upcoming documentaries, "Burden" on artist Chris Burden and "Kusama: a Life in Polka Dots" on artist Yayoi Kusama. He is also a writer and consulting editor on Dark Horse Comic’s "Creepy" and "Eerie 9" comic book and archival series for which he won an Eisner Award for best archival comic book series in 2009.

He is a musician/composer whose compositions were featured in the films "I Melt With You" and "Jean-Michel Basquiat, The Radiant Child and is an award winning art director/creative director when he worked at Tbwa/Chiat/Day on the famous Absolut Vodka campaign.

John Northrup (Co-Producer) began his career in documentaries as a French translator for National Geographic: Explorer. He quickly moved into editing and producing, serving as the Associate Producer on "Diana Vreeland: The Eye Has To Travel" (2012), and editing and co-producing "Wilson In Situ" (2014), which tells the story of theatre legend Robert Wilson and his Watermill Center. Most recently, he oversaw the post-production of Jim Chambers’ "Onward Christian Soldier", a documentary about Olympic Bomber Eric Rudolph, and is shooting on Susanne Rostock’s "Another Night in the Free World", the follow-up to her award-winning "Sing Your Song" (2011).

Submarine Entertainment (Production Company) Submarine Entertainment is a hybrid sales, production, and distribution company based in N.Y. Recent and upcoming titles include "Citizenfour", "Finding Vivian Maier", "The Dog", "Visitors", "20 Feet from Stardom", "Searching for Sugar Man", "Muscle Shoals", "Blackfish", "Cutie and the Boxer", "The Summit", "The Unknown Known", "Love Marilyn", "Marina Abramovic the Artist is Present", "Chasing Ice", "Downtown 81 30th Anniversary Remastered", "Wild Style 30th Anniversary Remastered", "Good Ol Freda", "Some Velvet Morning", among numerous others. Submarine principals also represent Creepy and Eerie comic book library and are developing properties across film & TV platforms.

Submarine has also recently launched a domestic distribution imprint and label called Submarine Deluxe; a genre label called Torpedo Pictures; and a German imprint and label called Nfp Submarine Doks.

Bernadine Colish has edited a number of award-winning documentaries. "Herb and Dorothy" (2008), won Audience Awards at Silverdocs, Philadelphia and Hamptons Film Festivals, and "Body of War" (2007), was named Best Documentary by the National Board of Review. "A Touch of Greatness" (2004) aired on PBS Independent Lens and was nominated for an Emmy Award. Her career began at Maysles Films, where she worked with Charlotte Zwerin on such projects as "Thelonious Monk: Straight No Chaser", "Toru Takemitsu: Music for the Movies" and the PBS American Masters documentary, "Ella Fitzgerald: Something To Live For". Additional credits include "Bringing Tibet Home", "Band of Sisters", "Rise and Dream", "The Tiger Next Door", "The Buffalo War" and "Absolute Wilson".

Jed Parker (Editor) Jed Parker began his career in feature films before moving into documentaries through his work with the award-winning American Masters series. Credits include "Lou Reed: Rock and Roll Heart", "Annie Liebovitz: Life Through a Lens", and most recently "Jeff Bridges: The Dude Abides".

Other work includes two episodes of the PBS series "Make ‘Em Laugh", hosted by Billy Crystal, as well as a documentary on Met Curator Henry Geldzahler entitled "Who Gets to Call it Art"?


Director, Writer, Producer: Lisa Immordino Vreeland

Produced by Stanley Buchthal, David Koh and Dan Braun Stanley Buchthal (producer)

Maja Hoffmann (executive producer)

Josh Braun (executive producer)

Bob Benton (executive producer)

John Northrup (co-producer)

Bernadine Colish (editor)

Jed Parker (editor)

Peter Trilling (director of photography)

Bonnie Greenberg (executive music producer)

Music by J. Ralph

Original Song "Once Again" Written and Performed By J. Ralph

Interviews Featuring Artist Marina Abramović Jean Arp Dore Ashton Samuel Beckett Stephanie Barron Constantin Brâncuși Diego Cortez Alexander Calder Susan Davidson Joseph Cornell Robert De Niro Salvador Dalí Simon de Pury Willem de Kooning Jeffrey Deitch Marcel Duchamp Polly Devlin Max Ernst Larry Gagosian Alberto Giacometti Arne Glimcher Vasily Kandinsky Michael Govan Fernand Léger Nicky Haslam Joan Miró Pepe Karmel Piet Mondrian Donald Kuspit Robert Motherwell Dominique Lévy Jackson Pollock Carlo McCormick Mark Rothko Hans Ulrich Obrist Yves Tanguy Lisa Phillips Lindsay Pollock Francine Prose John Richardson Sandy Rower Mercedes Ruehl Jane Rylands Philip Rylands Calvin Tomkins Karole Vail Jacqueline Bograd Weld Edmund White

Running time: 97 minutes

U.S. distribution by Submarine Deluxe

International sales by Hanway
See full article at Sydney's Buzz »

Cinereach Expands With Film Presence Co-Founders

Film Presence co-founders Sara Kiener and Merrill Sterritt are joining Cinereach, the not-for-profit company and foundation that has supported more than 200 films since 2006, Variety has learned exclusively.

Recent Cinereach-produced films include “Salero,” “Teenage,” “The Cold Lands” and “Beasts of the Southern Wild,” which was produced with Court 13. It’s supported “The Diary of a Teenage Girl,” “Evolution of a Criminal,” “Cutie and the Boxer” and “It Felt Like Love.”

Kiener and Sterritt are coming on board to pioneer the company’s expanding focus on audience and distribution strategies. The duo’s work at Film Presence focused on audience engagement for non-traditional theatrical releases through new online platforms and strategic community screening campaigns. Their clients have included Radius, Magnolia Pictures and A24.

“Innovative audience strategies are increasingly important as our films navigate the evolving distribution landscape,” said Philipp Engelhorn, Cinereach founder and executive director. “Sara and Merrill are at the
See full article at Variety - Film News »

Alan Berliner to deliver DocTalk masterclass

Three-time emmy award winning documentary filmmaker Alan Berliner is set to speak at this year's Antenna Documentary Film Festival in Sydney..

As part of DocTalk, delegates will hear from leading international documentary specialists, including festival programmers and funding experts, at the one-day series of masterclasses and panel discussion.

Acclaimed Us documentary filmmaker, Berliner; Wieland Speck and Maryanne Redpath from the Berlin International Film Festival (Berlinale); and Leah Biblin from Cinereach in New York will speak at DocTalk in Sydney on Wednesday 14 October 2015.

Berliner will deliver the Directing Documentary Masterclass at DocTalk.

Speck, the director of the Panorama section at Berlinale - a position that he.s held for more than 20 years - will provide insight into Berlinale and the European Film Market at DocTalk.

Redpath, the official Berlinale Delegate for Australia and New Zealand, head of the Generation section and head curator of the NATIVe series of Indigenous programming at Berlinale,
See full article at »

Tom Quinn and Jason Janego Exit Radius-TWC (Exclusive)

Tom Quinn and Jason Janego have left Radius-TWC, the boutique indie label they co-founded for the Weinstein Co. four years ago, and plan to form a new company, Variety has learned.

The departure comes at a time of change at the Weinstein Co., which last week lost chief operating officer David Glasser. Sources tell Variety that the decision to leave the company was amicable. A source adds that TWC will keep the Radius label.

In a short period of time, Radius-twc made a formidable name for itself, particularly in the alternative distribution space, putting up impressive numbers by releasing indies such as “Snowpiercer” simultaneously in theaters and on video-on-demand. And just last spring, Radius-twc scored its biggest hit with “It Follows,” a low-budget horror film that grossed nearly $15 million after a lengthy run on the festival circuit.

The company also carved out a niche in the documentary space, scoring Oscars
See full article at Variety - Film News »

Sundance Programmer Charlie Reff Dishes Out About Next Fest 2015

One of Los Angeles’ most lavish and historic film venues, The Theater at Ace Hotel, will host Sundance Next Fest once again August 7-9. Cinema and music come together for a second time during this weekend–long event that will showcase 5 films representing distinctively unique visions. These independent works taken from several sections within this year’s Park City program will screen for L.A. audiences followed by either a musical act or a special guest speaker. Last year the slate included “A Girl Walks Home Alone at Night, “Imperial Dreams” and "Life After Beth," which were accompanied by performers Warpaint, Tinashe, and Father John Misty, respectively. Thanks to the eclectic pairings, Next Fest became one of the most memorable festivals to take place in the city.

This time around the program looks even more compelling with a variety of filmmaking approaches that include the latest Noah Baumbach/Greta Gerwig collaboration, Rick Alverson’s new mind-bending flick, and an offbeat documentary that borders on the surreal.The festival kicked-off on Sunday with a packed outdoor screening of Jon Watts's "Cop Car" at the Hollywood Forever Cemetery hosted alongside Cinespia.

We talked to Sundance programmer Charlie Reff who shared his excitement for the film selection and dished out about the process of curating such peculiar celebration of audiovisual creativity.

Aguilar: It seems like the batch of films included in this year's Next Fest comes from a variety of sections in the Sundance 2015 program. You have films not only from the Next section, but also from Midnight, Premieres, and even a documentary. Tell me about the process or parameters to select these films.

Charlie Reff: This is the third year of the festival, counting the first year as Next Weekend, and we’ve never had specifically only Next section films. I believe last year we played four films from the Next section. We played a film from Midnight last year, and we played a doc called “Cutie and the Boxer” the first year. We definitely want to keep the diversity of the lineup. We still feel all the films are representative of Next. We like that Next is this idea of artistic pursuits that have an unconventional approach to storytelling, even a film like “Mistress America.” The reason we wanted to play that is because when Noah works with Greta in films like “Frances Ha” and now “Mistress America," they don’t feel like his other films. His other films have a certain tone and point of view, but when he and Greta had gone off to make these films, they are wildly different stylistically from the other films he’s done.

Even in the first year of the festival we were hoping to play a film like “Prince Avalanche,” but it came out before the festival. That was David Gordon Green, a studio guy being like, “Fuck it, I wanna go make a weird unique film without anybody holding me back.” We want to show films form the filmmakers that are still willing to go in this direction and the new generation that’s coming up and is committed to it still. I feel like it makes sense including a doc. I love “Finders Keepers,” it was one my favorite films at the festival and it’s just so unique. It’s such a unique watch for a documentary film. We want to champion the different approaches people are taking.

Aguilar: So you sit down with your team to figure out what films to play at Next Fest and go through every possible film from the Park City program?

Charlie Reff: One thing that’s actually interesting, is that first thing we think about is that any film released before the festival is automatically off the table. It was actually really unique this year distribution-wise because I think so many films rushed to release this year. I don’t know if you noticed that, but there were so many films coming out in the summer and the spring that were just acquired or coming out on VOD. That’s one thing that wipes away nearly half the slate. Beyond that, there are a lot of films that we want to play, but we need them all to have this unique Next quality that I talked about.

Aguilar: So you probably wouldn’t play a film like “Brooklyn,” which is very classical in terms of the filmmaking style and approach.

Charlie Reff: Exactly. I love the hell out of “Brooklyn,” but it’s so wonderfully classical that it would never play at Next Fest. The interesting thing that we always talk about when programming the Park City festival, and that it’s always a difficult thing for people to understand, is that every film that plays in the Next section could potentially play in our U.S. Dramatic Competition, but not every film in the U.S. Dramatic Competition could play in Next. They need to have that wild inventive quality to them, and that’s not to disrespect films that use classic storytelling, but that’s just how Next Fest is.

Aguilar: How do you decide what musical act goes well with a certain film? It seems like a complicated task and a leap of faith because it's difficult to know how an audience will react to a certain combination.

Charlie Reff: After going through it last year programming Next Fest and then programming last year’s and this year’s Park City festivals, as soon as I was watching a movie that I knew we were going to play and felt like a potentially cool Next Fest film, I was automatically already brainstorming ideas. It was like, “What would be an interesting crossover audience for this film? What musician has the right fan base that would love this film?” or vice versa, “The fan base for this film, what music do I think that they’ll be really into?“ I start thinking about the films and the music in my head and with my phone all the way back in November. We have the films to bring to people in, so I think about what music could be interesting and could make sort of a big statement.

With “Mistress America” I always wanted to pair it with Sky Ferreira. I’m a big fan of her. I know “Mistress America” has the Noah Baumbach and Greta Gerwig fan base. They pull that audience, so it’s about, “What can we do different? What audience could we bring to this film that would really get into it?” I started thinking about an ideal musician for the female, college-age, twenty-something, audience. “What artist can we bring in that would pull that kind of audience to ‘Mistress America’?" They maybe don’t know about the film yet, but they’ll fucking love it! That’s how the program for “Mistress America” came about.

Entertainment” and Sharon Van Etten was a really hard one to pull together just because it’s such a singular and provocative film. I had conversations with Rick Alverson, the director of the film, about what kind of mood would be good for after the film. We were thinking of something really aggressive afterwards and Rick wasn’t really into that idea. He said, “Honestly, it’s quite a ride you are putting that audience through with the film and it probably wouldn’t be good to put even more in-your-face kind of intensity after.” We thought that the film was almost like a folk tale and that it has that wanderer feel to it, so I started thinking about folksy artists. Sharon Van Etten popped into my head because I love her and she is beyond talented. When I think of all the films that I’ve watched in the world and all the music that I’ve listened to, I realize that Rick Alverson is a filmmaker that throws me for a loop when I watch his films. As much as I think that I understand cinema, when I see his films they completely disorient me. That’s what’s special about him. Maybe this has happened to you with other filmmakers, but he blows my mind so much that I kind of almost stop breathing and I think, “What the fuck am I seeing? What is he putting us through? What is he exploring? “ At the same time Sharon Van Ette is so raw. She is such a beautiful performer. Once when I was watching her set I found myself really listening to what she was singing about and I was like, “Wow, this sis really, really personal.” This is how the selection happens. It’s not some specific formula.

Regarding “Turbo Kid,” it’s always been a dream to do something like this from the moment of pitching idea of Next Fest. I would always talk about, “Man, there are all these films coming out that are pulling from 80s aesthetics and there is a very similar strand of music.” It’s such a popular thing and I thought that’s something we would do one year. Then “Turbo Kid” came along and I was like, “Fuck Yeah!” This is the ultimate movie to do this with and celebrate the idea of this generations that’s influenced by the sounds and aesthetics of the 80s. Toro Y Moi are two of my favorite artists that really experiment with those sounds and push them forward. The greatest thing about them is that neither one of them do it ironically or mocking. There is sincerity in the love for the music they are creating and the music from the time period that has been so influential for them. That’s what “Turbo Kid“ is too. It’s not an ironic film, is a love letter and it’s shockingly sincere about its love of the 80s. That’s something I wanted to do. I didn’t want to make a joke of the 80s, I wanted people who love the 80s.

Aguilar: The other two films will have a special Q&A instead of a musical act. What can you tell me about the speakers that will accompany the films and filmmakers?

Charlie Reff: We always talk to the filmmakers and we ask for ideas from them. With “Cronies” by Michael Larnell, we will have a filmmaker that came before him and that was “the guy” who he felt understood what they were creating. The speaker will be Robert Townsend.

With "Finders Keepers" we wanted a really fun conversation and we chose someone who will ask the really fun and exciting questions out of all the questions that someone could ask the filmmaker. We will have Thomas Middletich to ask the strange questions about the reality of the story. We will also have John, the subject for the film there as well.

Aguilar: Next Fest is back at the Theater at Ace Hotel, which is a fantastic venue. It feels like the ideal place to show these films in L.A.

Charlie Reff: We love working with them. They have been incredibly supportive. They got it. Two years before the very first festival, when we it was called Next Weekend, we had already visited the Ace Hotel while it was still under construction. We were exploring this idea that maybe it’ll be fun to play new independent films in old movie palaces. I love the idea because I think these places are incredibly special. That was in the back of our heads and then when we heard about the Ace being done, we went to them and explain what we were trying to do and they were like, “Yeah, we are in.” We love being there.

Find out more about Sundance Next Fest 2015 and get tickets to the events Here
See full article at Sydney's Buzz »

Say What You Will About the Academy - But Some Cool International Names Among 2015 New Member Invitees

Academy invitee Eddie Redmayne in 'The Theory of Everything.' Academy invites 322 new members: 'More diverse and inclusive list of filmmakers and artists than ever before' The Academy of Motion Picture Arts and Sciences has offered membership to 322 individuals "who have distinguished themselves by their contributions to theatrical motion pictures." According to the Academy's press release, "those who accept the invitations will be the only additions to the Academy's membership in 2015." In case all 322 potential new members say an enthusiastic Yes, that means an injection of new blood representing about 5 percent of the Academy's current membership. In the words of Academy President Cheryl Boone Isaacs (as quoted in the press release), in 2015 "our branches have recognized a more diverse and inclusive list of filmmakers and artists than ever before, and we look forward to adding their creativity, ideas and experience to our organization." In recent years, the Academy membership has
See full article at Alt Film Guide »

Oscar News: 322 Invited To Join; The Academy Museum Receives Approval

©Renzo Piano Building Workshop/©Studio Pali Fekete architects/©A.M.P.A.S.

The Academy of Motion Picture Arts and Sciences announced this week that the Los Angeles City Council, in a unanimous vote, approved plans for the Academy Museum of Motion Pictures. Construction will begin this summer, and ceremonial groundbreaking festivities will occur this fall.

“I am thrilled that Los Angeles is gaining another architectural and cultural icon,” said Mayor Eric Garcetti. “My office of economic development has worked directly with the museum’s development team to ensure that the Academy Museum of Motion Pictures will create jobs, support tourism, and pay homage to the industry that helped define our identity as the creative capital of the world.”

“We are grateful to our incredible community of supporters who have helped make this museum a reality,” said Dawn Hudson, the Academy’s CEO. “Building this museum has been an Academy
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Benedict Cumberbatch, Kevin Hart, Emma Stone and 319 others invited to vote for Oscar

  • Hitfix
Benedict Cumberbatch, Kevin Hart, Emma Stone and 319 others invited to vote for Oscar
Strangely dropping a press release on a historic day where the nation's attention is elsewhere, the Academy of Motion Picture Arts and Sciences revealed their annual list of new member invitees this morning. For those who criticize the makeup of the Academy there was some good news and the stark realization the organization still has a long way to go. The Academy has spent the last eight to 10 years attempting to diversify its membership and this year's class mostly reflects that. There are significantly more invitees of Asian and African-American descent, but the male to female disparity is still depressing. Out of the 25 potential new members of the Actor's Branch only seven are women. And, no, there isn't really an acceptable way for the Academy to spin that sad fact. Additionally, It's important to realize the 322 people noted in the release have only been invited to join Hollywood's most exclusive club.
See full article at Hitfix »
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