“I Saw the TV Glow” director Jane Schoenbrun finally celebrated their second feature at the film’s New York City premiere on Wednesday, April 24, in partnership with Rooftop Films. But “I Saw the TV Glow” first premiered back in January at Sundance, under the banner of A24, and with Emma Stone and Dave McCary’s production company Fruit Tree.
“I sent it to [Fruit Tree] and a couple other people, and they were like, ‘Hey, we wanna work with you,'” Schoenbrun told IndieWire. “Then I got a call from Emma Stone who was like, ‘Thank you so much for your business,’ and I was like, ‘You’re welcome!'”
The visually striking film follows two teens who are obsessed with a disturbing young adult TV show that, once canceled, starts to bleed into reality for the characters. David Ehrlich wrote in IndieWire’s review that the film “marries the queer radicality...
“I sent it to [Fruit Tree] and a couple other people, and they were like, ‘Hey, we wanna work with you,'” Schoenbrun told IndieWire. “Then I got a call from Emma Stone who was like, ‘Thank you so much for your business,’ and I was like, ‘You’re welcome!'”
The visually striking film follows two teens who are obsessed with a disturbing young adult TV show that, once canceled, starts to bleed into reality for the characters. David Ehrlich wrote in IndieWire’s review that the film “marries the queer radicality...
- 4/29/2024
- by Vincent Perella
- Indiewire
What happens when the line between reality and TV becomes a little too blurred?
For two outcast teens played by Justice Smith and Brigette Lundy-Paine in “I Saw the TV Glow,” a cult favorite horror series comes to life with haunting consequences. Writer/director Jane Schoenbrun’s A24 feature was one of IndieWire’s must-see films at Sundance 2024 and landed a coveted “A” rating from IndieWire critic David Ehrlich.
The film, which homages everything from the eerie vibes of David Lynch’s “Twin Peaks: The Return” to late-night Nickelodeon ’90s television, follows teens who “bond over their shared love of a scary television show, but the boundary between TV and reality begins to blur after it is mysteriously canceled,” per the official synopsis.
Helena Howard, Lindsey Jordan, Phoebe Bridgers, Fred Durst, Danielle Deadwyler, and Sloppy Jane round out the cast.
Writer/director Schoenbrun’s feature debut “We’re All Going to the World’s Fair...
For two outcast teens played by Justice Smith and Brigette Lundy-Paine in “I Saw the TV Glow,” a cult favorite horror series comes to life with haunting consequences. Writer/director Jane Schoenbrun’s A24 feature was one of IndieWire’s must-see films at Sundance 2024 and landed a coveted “A” rating from IndieWire critic David Ehrlich.
The film, which homages everything from the eerie vibes of David Lynch’s “Twin Peaks: The Return” to late-night Nickelodeon ’90s television, follows teens who “bond over their shared love of a scary television show, but the boundary between TV and reality begins to blur after it is mysteriously canceled,” per the official synopsis.
Helena Howard, Lindsey Jordan, Phoebe Bridgers, Fred Durst, Danielle Deadwyler, and Sloppy Jane round out the cast.
Writer/director Schoenbrun’s feature debut “We’re All Going to the World’s Fair...
- 2/28/2024
- by Samantha Bergeson
- Indiewire
Editor’s Note: This review originally published during the 2024 Sundance Film Festival. A24 will release “I Saw the TV Glow” in theaters on Friday, May 3.
Sinister and liberating in equal measure (and often at the same time), Jane Schoenbrun’s ultra-lo-fi “We’re All Going to the World’s Fair” leveraged the inherent loneliness of webcams and the performative danger of online creepypasta into a haunting portrait of the potentially dysphoric relationship between screens and identity in the internet age. The kind of sui generis shot in the dark that feels like it could only have been made by someone who wasn’t sure if anyone would see it, Schoenbrun’s first movie is one of the rare coming-of-age films that manages to embody the full dread and possibility of self-recognition, and for that reason it almost immediately resonated with an audience of people — trans people in particular — who’d been waiting...
Sinister and liberating in equal measure (and often at the same time), Jane Schoenbrun’s ultra-lo-fi “We’re All Going to the World’s Fair” leveraged the inherent loneliness of webcams and the performative danger of online creepypasta into a haunting portrait of the potentially dysphoric relationship between screens and identity in the internet age. The kind of sui generis shot in the dark that feels like it could only have been made by someone who wasn’t sure if anyone would see it, Schoenbrun’s first movie is one of the rare coming-of-age films that manages to embody the full dread and possibility of self-recognition, and for that reason it almost immediately resonated with an audience of people — trans people in particular — who’d been waiting...
- 1/19/2024
- by David Ehrlich
- Indiewire
As written by the legendary French composer Georges Bizet, the 19th-century opera “Carmen” has a classic femme fatale at its heart: a fiery, free-spirited and seductive woman headed for her inevitable demise through the downfall of a former lover. So take it with a grain of salt upon hearing the title “Carmen,” in this case a beautiful, dreamlike and defiantly experimental film directed by Benjamin Millepied.
Yes, the tragedy, beauty, love, and passion that define Bizet’s exquisite late Romantic-era masterpiece are all in here in Millepied’s directorial debut. But Millepied’s runaway Carmen, as imagined by writers Loïc Barrere, Alexander Dinelaris and Lisa Loomer, is not so much a doomed temptress archetype as a freedom-hungry firebrand in search of her voice and identity.
In that regard, it would be unfair to claim that Millepied’s “Carmen” is an adaptation of Bizet’s timeless story. In fact, the director...
Yes, the tragedy, beauty, love, and passion that define Bizet’s exquisite late Romantic-era masterpiece are all in here in Millepied’s directorial debut. But Millepied’s runaway Carmen, as imagined by writers Loïc Barrere, Alexander Dinelaris and Lisa Loomer, is not so much a doomed temptress archetype as a freedom-hungry firebrand in search of her voice and identity.
In that regard, it would be unfair to claim that Millepied’s “Carmen” is an adaptation of Bizet’s timeless story. In fact, the director...
- 4/21/2023
- by Tomris Laffly
- The Wrap
Don DeLillo’s tome “White Noise” has frequently been a title thrown into the “unfilmable novel” sweepstakes due to its massively descriptive, interior, dreamy prose, but adaptor/director Noah Baumbach and cinematographer Lol Crawley not only found a palatable visual modus to reintroduce DeLillo’s 1985 characters into the 2020s, but put the most bliss-out cherry-on-top imaginable, a nearly 10-minute, expressive dance number featuring the film’s entire cast traversing the aisles of the production designer Jess Gonchor’s impressively-mounted A&p supermarket set, set to an infectious new tune by LCD Soundsystem.
“I think we probably did that dance sequence in a day, but had three different scenes [in that supermarket] so I can’t remember where we landed,” says Crawley, collaborating with the usually more demure Baumbach for their first-ever project. “We followed them around to the pace of somebody pushing a shopping trolley, so it’s fairly controlled. By the end of it,...
“I think we probably did that dance sequence in a day, but had three different scenes [in that supermarket] so I can’t remember where we landed,” says Crawley, collaborating with the usually more demure Baumbach for their first-ever project. “We followed them around to the pace of somebody pushing a shopping trolley, so it’s fairly controlled. By the end of it,...
- 12/13/2022
- by Jason Clark
- The Wrap
In an Emmys season of some truly memorable transformations on screen, Emmy Rossum leading the cast of Peacock’s “Angelyne” may be the most mind-boggling.
The legendary billboard queen of Los Angeles is well-known for her larger-than-life appearance, with breasts, hair and makeup that could only be rivaled by a Barbie doll or drag queen. That is, until Rossum stepped into the role.
She sat in the makeup chair for upwards of five hours on some shoot days and embodied the icon over six decades, with each time period requiring a totally different set of accouterments. Those included individual prosthetics on her cheeks, chin, lips, nose, forehead, eyelids, breasts and neck. Even her ear lobes required their own unique pieces. Although it sounds like a lot, prosthetic designer Vincent Van Dyke told Variety he appreciated the challenge of transforming Rossum without it being obvious how much work went into the process.
The legendary billboard queen of Los Angeles is well-known for her larger-than-life appearance, with breasts, hair and makeup that could only be rivaled by a Barbie doll or drag queen. That is, until Rossum stepped into the role.
She sat in the makeup chair for upwards of five hours on some shoot days and embodied the icon over six decades, with each time period requiring a totally different set of accouterments. Those included individual prosthetics on her cheeks, chin, lips, nose, forehead, eyelids, breasts and neck. Even her ear lobes required their own unique pieces. Although it sounds like a lot, prosthetic designer Vincent Van Dyke told Variety he appreciated the challenge of transforming Rossum without it being obvious how much work went into the process.
- 6/27/2022
- by Sasha Urban
- Variety Film + TV
Mank BTS: Picture: Miles CristIt’s impressive when a Director of Photography’s first fiction feature is with David Fincher, notorious for his exacting eye in terms of both working methods and stringent aesthetics. But before Mank—Fincher’s passion project on Herman J. Mankiewicz and the writing of Citizen Kane—Erik Messerschmidt, Asc had been a part of Fincher’s team on both seasons of Mindhunter and even earlier as a gaffer on Gone Girl for Dp Jeff Cronenweth. On Mindhunter, Messerschmidt’s camera infused the bloodless institutional interiors of its serial-killer/FBI interview set pieces with subtly vulnerable undertones, hewing to a Fincher playbook of visual control that telegraphs barely contained chaos.Mank posed its own challenge with the director’s dream of making a black-and-white period picture in 2020, a vision of authenticity that is something of a chimera in cinema’s digital age. The story shuttles between...
- 12/4/2020
- MUBI
For photographer Gregory Crewdson and cinematographer Matthew Libatique, light is the central force of their work. Whether capturing still life or moving images, light structure is essential to their storytelling.
Crewdson who is known for his elaborately-staged, heightened-reality compositions captured his latest work, “An Eclipse of Moths,” which is currently on exhibit at the Gagosian gallery in Beverly Hills through Nov. 21.
Libatique has shot “A Star is Born,” “Black Swan” and “The Prom.”
The two sat down to swap notes about light and how 1955’s “The Night of the Hunter” influenced their work.
How does light come into play for you?
Gregory Crewdson: The central one that I think we both use [to fight off dread] is light. Light is really a redeeming force. I think we both use it to tell stories. I would love to hear you talk about how you use light in terms of a narrative code because it’s different from movies.
Crewdson who is known for his elaborately-staged, heightened-reality compositions captured his latest work, “An Eclipse of Moths,” which is currently on exhibit at the Gagosian gallery in Beverly Hills through Nov. 21.
Libatique has shot “A Star is Born,” “Black Swan” and “The Prom.”
The two sat down to swap notes about light and how 1955’s “The Night of the Hunter” influenced their work.
How does light come into play for you?
Gregory Crewdson: The central one that I think we both use [to fight off dread] is light. Light is really a redeeming force. I think we both use it to tell stories. I would love to hear you talk about how you use light in terms of a narrative code because it’s different from movies.
- 10/26/2020
- by Jazz Tangcay
- Variety Film + TV
Tim Ives, the director of photography of Stranger Things, has said that the nighttime photography of Gregory Crewdson has “inspired me with its heightened reality.” Eric Messerschmidt, the Dp of Mindhunter and a former assistant of Crewdson’s, has stated that the artist’s work “lives right on the edge between reality and surrealism.” A number of observers have noted that the look of Ozark can often feel like a Crewsdon photo. And Dark co-creator Jantje Friese has said that the landscape of the show was partly inspired by Crewdson’s oeuvre: “He does this photography of suburbia where you have these really wide shots where,...
- 9/29/2020
- The Hollywood Reporter - Movie News
Tim Ives, the director of photography of Stranger Things, has said that the nighttime photography of Gregory Crewdson has “inspired me with its heightened reality.” Eric Messerschmidt, the Dp of Mindhunter and a former assistant of Crewdson’s, has stated that the artist’s work “lives right on the edge between reality and surrealism.” A number of observers have noted that the look of Ozark can often feel like a Crewsdon photo. And Dark co-creator Jantje Friese has said that the landscape of the show was partly inspired by Crewdson’s oeuvre: “He does this photography of suburbia where you have these really wide shots where,...
- 9/29/2020
- The Hollywood Reporter - Film + TV
[Editor’s note: The following interview contains spoilers for “I’m Thinking of Ending Things.”]
If nothing else, talking to the star of Charlie Kaufman’s trippy “I’m Thinking of Ending Things” is the chance to establish some hard and fast facts about a movie that avoids definitive answers. Something like, “Well, what name did you call your character?” Fortunately, Jessie Buckley gets it.
“I think Charlie kind of just looked at me, and I presumed he was talking to me when he was looking at me,” the actress said with a laugh. “I don’t even know if he called me ‘Young Woman,’ but that’s how it’s written in the script. I don’t think Charlie was going, ‘You. Young Woman, you. Come here.’ I think he just called me Jessie!”
In the film based on the Iain Reid novel, the “Young Woman” cycles through various names through the ever-twisting plot. She’s Lucy, and then Louisa,...
If nothing else, talking to the star of Charlie Kaufman’s trippy “I’m Thinking of Ending Things” is the chance to establish some hard and fast facts about a movie that avoids definitive answers. Something like, “Well, what name did you call your character?” Fortunately, Jessie Buckley gets it.
“I think Charlie kind of just looked at me, and I presumed he was talking to me when he was looking at me,” the actress said with a laugh. “I don’t even know if he called me ‘Young Woman,’ but that’s how it’s written in the script. I don’t think Charlie was going, ‘You. Young Woman, you. Come here.’ I think he just called me Jessie!”
In the film based on the Iain Reid novel, the “Young Woman” cycles through various names through the ever-twisting plot. She’s Lucy, and then Louisa,...
- 9/17/2020
- by Kate Erbland
- Indiewire
At a surprise party for his daughter, a randy Italian homeowner studies a neighbor’s wife through the sliding glass door and describes all the ways he’d like to violate her. In the bathroom, his 14-year-old son sits with his best friend, studying the hardcore porn sites listed in the browsing history of Dad’s cellphone. A few days earlier and a couple doors down, a pregnant teen senses the prepubescent kid’s sexual curiosity and taunts him with a series of increasingly provocative acts. For example, when he offers her a cookie, she exposes a breast and gives a whole new meaning to “Got milk?”
Innocence is not a concept to be found in the D’Innocenzo Brothers’ cinematic oeuvre, which consists of two films so far: “Boys Cry” and “Bad Tales,” both of which forgo the notion of childhood as a state of uncorrupted naivete. Rather, in the Italian siblings’ deeply cynically,...
Innocence is not a concept to be found in the D’Innocenzo Brothers’ cinematic oeuvre, which consists of two films so far: “Boys Cry” and “Bad Tales,” both of which forgo the notion of childhood as a state of uncorrupted naivete. Rather, in the Italian siblings’ deeply cynically,...
- 2/25/2020
- by Peter Debruge
- Variety Film + TV
Finally, someone has made a film about the existential horror of getting locked out of your account, and the horror is all too real. Daniel Goldhaber’s “Cam” also touches on a number of other digital crises (e.g. the way in which the internet’s short attention span requires people to constantly reaffirm their own existence), but this clever and unnerving mind-fuck of a movie is at its most effective when tracing the uneasy shadow relationships we share with our online personas.
It’s one thing to curate some kind of identity on social media — to make ourselves appear more aloof and desirable than we they are in the flesh — but what happens when the projection of who we are begins to subsume the reality? What happens when our avatars take on lives of their own? As Kurt Vonnegut put it: “We are what we pretend to be, so...
It’s one thing to curate some kind of identity on social media — to make ourselves appear more aloof and desirable than we they are in the flesh — but what happens when the projection of who we are begins to subsume the reality? What happens when our avatars take on lives of their own? As Kurt Vonnegut put it: “We are what we pretend to be, so...
- 7/19/2018
- by David Ehrlich
- Indiewire
Scarlett Johansson is easily one of the busiest actors these days so it comes as no surprise that she is now in early talks to star in the Focus Features drama Reflective Light.
Variety reports that Gregory Crewdson, an art photographer, is making his directing debut on the adaptation of the 2014 Carla Buckley novel The Deepest Secret.
The story is about a teenage boy who suffers from an ailment that makes him gravely allergic to sunlight. If Johansson’s deal goes through, she would play the boy's mother, so devoted to her son’s care that she alienates the rest of their family, creating a nocturnal lifestyle for him at the expense of her own well-being. When a neighborhood girl goes missing, everything begins to unravel.
Focus got the rights to the movie right before this year’s Cannes Film Festival and hopes to start production next year.
Johansson, can...
Variety reports that Gregory Crewdson, an art photographer, is making his directing debut on the adaptation of the 2014 Carla Buckley novel The Deepest Secret.
The story is about a teenage boy who suffers from an ailment that makes him gravely allergic to sunlight. If Johansson’s deal goes through, she would play the boy's mother, so devoted to her son’s care that she alienates the rest of their family, creating a nocturnal lifestyle for him at the expense of her own well-being. When a neighborhood girl goes missing, everything begins to unravel.
Focus got the rights to the movie right before this year’s Cannes Film Festival and hopes to start production next year.
Johansson, can...
- 10/27/2017
- by Kristian Odland
- GeekTyrant
Tony Sokol Oct 27, 2017
Focus Drama is talking with Scarlett Johansson to star in the movie adaptation of the novel The Deepest Secret
Scarlett Johansson is about to go to go dark, darker than the Black Widow. She's in talks to star in Focus Drama’s upcoming film Reflective Light. The film will mark the directorial debut of art photographer Gregory Crewdson, who wrote the screenplay with Juliane Hiam.
Reflective Light is an adaptation of the 2014 Carla Buckley novel The Deepest Secret, about a boy who is allergic to sunlight, and the mother who will do whatever she will to cover him with darkness.
“Eve Lattimore is barely keeping things together,” according to the official Penguin Random House synopsis.
“Her husband works fifteen hundred miles away, leaving Eve to juggle singlehandedly the demands of their teenaged daughter and fragile son. Tyler was born with Xp—the so-called vampire disease: even one...
Focus Drama is talking with Scarlett Johansson to star in the movie adaptation of the novel The Deepest Secret
Scarlett Johansson is about to go to go dark, darker than the Black Widow. She's in talks to star in Focus Drama’s upcoming film Reflective Light. The film will mark the directorial debut of art photographer Gregory Crewdson, who wrote the screenplay with Juliane Hiam.
Reflective Light is an adaptation of the 2014 Carla Buckley novel The Deepest Secret, about a boy who is allergic to sunlight, and the mother who will do whatever she will to cover him with darkness.
“Eve Lattimore is barely keeping things together,” according to the official Penguin Random House synopsis.
“Her husband works fifteen hundred miles away, leaving Eve to juggle singlehandedly the demands of their teenaged daughter and fragile son. Tyler was born with Xp—the so-called vampire disease: even one...
- 10/26/2017
- Den of Geek
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.
– IFC Films has acquired the U.S rights to director Jamie M. Dagg’s thriller “Sweet Virginia,” starring Jon Bernthal, Christopher Abbott, Imogen Poots, Rosemarie DeWitt and Odessa Young. The film, which premiered at the recent Tribeca Film Festival, was written by Ben and Paul China from their Black List script, and was produced by Brian Kavanaugh-Jones for Automatik, Chris Ferguson for Oddfellows and Fernando Loureiro and Roberto Vasconcellos for Exhibit, who also financed.
Read More: Film Acquisition Rundown: Focus Features Picks Up ‘Tully,’ Electric Entertainment Buys ‘Lbj’ and More
Xyz Films is currently handling international sales and will screen the film at the upcoming Marché du Film at Cannes. “Sweet Virginia” is a riveting thriller that...
– IFC Films has acquired the U.S rights to director Jamie M. Dagg’s thriller “Sweet Virginia,” starring Jon Bernthal, Christopher Abbott, Imogen Poots, Rosemarie DeWitt and Odessa Young. The film, which premiered at the recent Tribeca Film Festival, was written by Ben and Paul China from their Black List script, and was produced by Brian Kavanaugh-Jones for Automatik, Chris Ferguson for Oddfellows and Fernando Loureiro and Roberto Vasconcellos for Exhibit, who also financed.
Read More: Film Acquisition Rundown: Focus Features Picks Up ‘Tully,’ Electric Entertainment Buys ‘Lbj’ and More
Xyz Films is currently handling international sales and will screen the film at the upcoming Marché du Film at Cannes. “Sweet Virginia” is a riveting thriller that...
- 5/12/2017
- by Graham Winfrey
- Indiewire
Exclusive: Focus Features has acquired Reflective Light, clearing the way for celebrated art photographer Gregory Crewdson to make his feature directorial debut, with La La Land‘s Marc Platt producing with Platt Productions’ Jared LeBoff. The film is an adaptation of the 2014 Carla Buckley novel The Deepest Secret, which Crewdson and partner Juliane Hiam have adapted. Casting will begin shortly. A teenage boy suffers a malady that makes him gravely allergic to sunlight…...
- 5/8/2017
- Deadline
Filmmaker Barry Jenkins has never been shy about chatting up his filmmaking influences, and a brand new video essay from Alessio Marinacci helps drive home a series of eye-opening comparisons between Jenkins’ Oscar-nominated “Moonlight” and the films of master Wong Kar-Wai.
Billed as his “homage to two extraordinary filmmakers,” Marinacci’s snappy and stunning essay juxtaposes imagery from “Moonlight” and a number of Wong’s most loved features, including “Days of Being Wild,” “In the Mood for Love” and “Happy Together.” For fans of either filmmaker, it’s a loving look at their works, and one that can surely help increase appreciation for both of their careers.
Read More: ‘Moonlight’ Glow: Creating the Bold Color and Contrast of Barry Jenkins’ Emotional Landscape
Back when Jenkins was first looking for financing for his multi-chapter love story, he put together a slideshow of images that spoke to his vision, and that slide...
Billed as his “homage to two extraordinary filmmakers,” Marinacci’s snappy and stunning essay juxtaposes imagery from “Moonlight” and a number of Wong’s most loved features, including “Days of Being Wild,” “In the Mood for Love” and “Happy Together.” For fans of either filmmaker, it’s a loving look at their works, and one that can surely help increase appreciation for both of their careers.
Read More: ‘Moonlight’ Glow: Creating the Bold Color and Contrast of Barry Jenkins’ Emotional Landscape
Back when Jenkins was first looking for financing for his multi-chapter love story, he put together a slideshow of images that spoke to his vision, and that slide...
- 2/6/2017
- by Kate Erbland
- Indiewire
The more I reflect on David Lowery‘s A Ghost Story, the more it emerges as my favorite film since The Tree of Life, a film that attempts similarly ambitious feats. I wrote in my review from Sundance, “Beginning with the beauty, patience, and humor of an Apichatpong Weerasethakul movie before segueing into the existential musings reminiscent of Richard Linklater dialogue, and then infinitely expanding its scope to become a stunning meditation on the passage of time, A Ghost Story is one of the most original, narratively audacious films I’ve ever seen.”
Thankfully, it looks like it won’t be the last time we see Rooney Mara, Casey Affleck, and Lowery together. “We decided on this one that we all need to do a movie together in Texas every three or four years. So hopefully this is the second of many,” Lowery said in the film’s press notes from Sundance.
Thankfully, it looks like it won’t be the last time we see Rooney Mara, Casey Affleck, and Lowery together. “We decided on this one that we all need to do a movie together in Texas every three or four years. So hopefully this is the second of many,” Lowery said in the film’s press notes from Sundance.
- 1/27/2017
- by Jordan Raup
- The Film Stage
Barry Jenkins is about to become the next big thing, but he’s been here before. “Moonlight,” which he wrote and directed, has been celebrated as the year’s major discovery and the ultimate achievement in modern black filmmaking. That’s nothing new for Jenkins: Eight years ago, the director faced similar acclaim on a smaller scale with his 2008 debut, “Medicine for Melancholy.” However, the lag between his first two features is a testament to Jenkins’ quiet determination — and to a culture that had yet to catch up. It takes time for the world to recognize a genuine vision.
“I think a filmmaker like me isn’t on the outside in the same way that I was in 2008, even though the work itself feels very, very outsiderish,” he said. “It’s completely fucking crazy, because it didn’t used to be that way.” While “Moonlight” marks Jenkins’ transition into a major artist,...
“I think a filmmaker like me isn’t on the outside in the same way that I was in 2008, even though the work itself feels very, very outsiderish,” he said. “It’s completely fucking crazy, because it didn’t used to be that way.” While “Moonlight” marks Jenkins’ transition into a major artist,...
- 10/19/2016
- by Eric Kohn
- Indiewire
Blu-ray & DVD Release Date: May 21, 2013
Price: DVD $29.99
Studio: Zeitgeist
One of the many photographs seen in Gregory Crewdson: Brief Encounters.
The 2012 documentary Gregory Crewdson: Brief Encounters chronicles the work of acclaimed Brooklyn-born photographer.
With his filmmaker-like sense of visual composition, Crewdson has created some of the most striking and gorgeously haunting pictures of the past two decades. His meticulously mounted, large-scale images offer strong narratives of small-town American life—elaborately detailed moviescapes crystallized into a single frame. While the photographs are staged with crews that rival many feature film productions, Crewdson takes inspiration as much from his own dreams and fantasies as the worlds of Alfred Hitchcock, David Lynch, Edward Hopper and Diane Arbus. Crewdson’s imagery has also infiltrated the pop culture landscape—including his memorable ads for HBO’s Six Feet Under and his album art for the band Yo La Tengo.
Directed by Ben Shapiro and shot...
Price: DVD $29.99
Studio: Zeitgeist
One of the many photographs seen in Gregory Crewdson: Brief Encounters.
The 2012 documentary Gregory Crewdson: Brief Encounters chronicles the work of acclaimed Brooklyn-born photographer.
With his filmmaker-like sense of visual composition, Crewdson has created some of the most striking and gorgeously haunting pictures of the past two decades. His meticulously mounted, large-scale images offer strong narratives of small-town American life—elaborately detailed moviescapes crystallized into a single frame. While the photographs are staged with crews that rival many feature film productions, Crewdson takes inspiration as much from his own dreams and fantasies as the worlds of Alfred Hitchcock, David Lynch, Edward Hopper and Diane Arbus. Crewdson’s imagery has also infiltrated the pop culture landscape—including his memorable ads for HBO’s Six Feet Under and his album art for the band Yo La Tengo.
Directed by Ben Shapiro and shot...
- 5/6/2013
- by Laurence
- Disc Dish
Title: Gregory Crewdson: Brief Encounters Director: Ben Shapiro A documentary snapshot of American photographer Gregory Crewdson’s decade-long quest to create a series of haunting, exactingly arranged, melancholic portraits of small town life, director Ben Shapiro’s “Gregory Crewdson: Brief Encounters” is a nonfiction affirmation of the latent sorrow and loneliness attached to certain surface images, and in its own way a quiet celebration of that almost telepathic connection. An example of narrowcasting through and through — Shapiro punts on a variety of ways to expand the canvas of his storytelling — the movie achieves a certain hold for those inclined toward psycho-social rumination, but by and large fails to connect its subject’s work to [ Read More ]
The post Gregory Crewdson: Brief Encounters Movie Review appeared first on Shockya.com.
The post Gregory Crewdson: Brief Encounters Movie Review appeared first on Shockya.com.
- 3/8/2013
- by bsimon
- ShockYa
Suburban Horror: Shapiro Dissects Crewdson
Ben Shapiro’s new documentary on renowned suburban photographer Gregory Crewdson is a detrimentally revealing work the focuses on his latest body of work, ‘Beneath The Roses’, which took several year to complete and consists of about fifty massive prints that commiserate with loneliness and regret. Crewdson’s photographs are meticulously staged pieces that mimic the cinematic look of motion pictures, but lack the narrative backbone that comes with making movies. Giving a face and a background to the name, Gregory Crewdson: Brief Encounters bears bits of his upbringing and plenty regarding the process of the photographer’s hands-off approach to the artwork that carries his name, indirectly teasing out questions of authorship in art.
With help from a small film crew sized collective, each enormous photo in ‘Beneath The Roses’ is taken either on a fully fabricated sound stage or in the fleeting moments...
Ben Shapiro’s new documentary on renowned suburban photographer Gregory Crewdson is a detrimentally revealing work the focuses on his latest body of work, ‘Beneath The Roses’, which took several year to complete and consists of about fifty massive prints that commiserate with loneliness and regret. Crewdson’s photographs are meticulously staged pieces that mimic the cinematic look of motion pictures, but lack the narrative backbone that comes with making movies. Giving a face and a background to the name, Gregory Crewdson: Brief Encounters bears bits of his upbringing and plenty regarding the process of the photographer’s hands-off approach to the artwork that carries his name, indirectly teasing out questions of authorship in art.
With help from a small film crew sized collective, each enormous photo in ‘Beneath The Roses’ is taken either on a fully fabricated sound stage or in the fleeting moments...
- 12/20/2012
- by Jordan M. Smith
- IONCINEMA.com
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