Despite the fact that the West mostly knows about Tsai Ming-liang, Hou Hsiao Hsen, Edward Yang and Ang Lee’s works, Taiwan is actually home of a rather vibrant movie industry, which produces films of quality of every category. Particularly during the last few years, when Netflix gave local filmmakers a platform for their films to be known all over the world, the aforementioned fact became even more evident, with the audience discovering the quite high level of Taiwanese productions, beyond the aforementioned masters. In that fashion, we chose to highlight 40 of the best local productions, actually including two works by them, which could, though, very easily be omitted.
Without further ado, here are 40 great Taiwanese movies released from 2010 and onwards, with a focus, as always, on diversity
1. A Family Tour (2018) by Liang Ying
Liang Ying finally releases a vindicating story against censorship and oppression, because when freedom is so...
Without further ado, here are 40 great Taiwanese movies released from 2010 and onwards, with a focus, as always, on diversity
1. A Family Tour (2018) by Liang Ying
Liang Ying finally releases a vindicating story against censorship and oppression, because when freedom is so...
- 7/10/2022
- by AMP Group
- AsianMoviePulse
Five projects win cash prizes at the closing of IFFR Pro Days and CineMart.
Greek supernatural drama Cora has won the Eurimages Co-production Award, worth €20,000, at the closing ceremony of International Film Festival Rotterdam’s IFFR Pro Days and CineMart co-production market.
The film will mark the feature directorial debut of Evi Kalogiropoulou, whose Motorway 65 was nominated for best short film at Cannes 2020, and follows two young women who fall in love and struggle to escape the confines of a dystopian patriarchal society.
Awarding the prize, open to CineMart projects that will be a European co-production, the jury said it...
Greek supernatural drama Cora has won the Eurimages Co-production Award, worth €20,000, at the closing ceremony of International Film Festival Rotterdam’s IFFR Pro Days and CineMart co-production market.
The film will mark the feature directorial debut of Evi Kalogiropoulou, whose Motorway 65 was nominated for best short film at Cannes 2020, and follows two young women who fall in love and struggle to escape the confines of a dystopian patriarchal society.
Awarding the prize, open to CineMart projects that will be a European co-production, the jury said it...
- 2/5/2021
- by Michael Rosser
- ScreenDaily
Bangladeshi director Abdullah Mohammad Saad has teamed with Singaporean producer Jeremy Chua on drama “I See Waves,” an Asian Project Market selection. Produced by Chua’s Potocol, the film follows a tormented medical professor who finds her definitions of justice tested after she witnesses a sexual assault.
“I have a lot of friends who went to private medical schools and kept hearing a lot of stories from them,” Saad told Variety. “Some of them stayed with me, especially this harassment incident.”
Joining the project as co-producer is Bangladesh’s Rajiv Mohajan, a journalist who has also worked as an assistant director on eminent filmmaker Mostofa Sarwar Farooki’s “Television,” which closed Busan in 2012, and “Third Person Singular Number” (2009).
The team has raised $45,000, which includes $10,000 in development money from Busan’s Asian Cinema Fund, of the $250,000 budget. “Our strategy is to split the budget into 40% private equity and 60% soft funds,” says Chua.
“I have a lot of friends who went to private medical schools and kept hearing a lot of stories from them,” Saad told Variety. “Some of them stayed with me, especially this harassment incident.”
Joining the project as co-producer is Bangladesh’s Rajiv Mohajan, a journalist who has also worked as an assistant director on eminent filmmaker Mostofa Sarwar Farooki’s “Television,” which closed Busan in 2012, and “Third Person Singular Number” (2009).
The team has raised $45,000, which includes $10,000 in development money from Busan’s Asian Cinema Fund, of the $250,000 budget. “Our strategy is to split the budget into 40% private equity and 60% soft funds,” says Chua.
- 10/8/2018
- by Naman Ramachandran
- Variety Film + TV
Considering the esteemed level of curation at the New York Film Festival, which begins this Friday at the Film Society of Lincoln Center, a comprehensive preview could mostly consist of the entire schedule.
There’s the gala slots, Main Slate selections, two films from Film Twitter phenom Hong Sang-soo, and much more, as well as a delectable line-up of restorations.
So rather than single all of these out for our preview, we’re looking at a handful of under-the-radar highlights from across the festival. Check them out below and return for our coverage.
Asako I & II (Ryûsuke Hamaguchi)
Best known for his five-hour drama Happy Hour, Ryûsuke Hamaguchi returned this year with the more palatable Asako I & II, clocking in at a mere 120 minutes. Following its bow in competition at Cannes Film Festival, the film will make its U.S. premiere at the New York Film Festival. Based on Tomoka Shibasaki’s novel,...
There’s the gala slots, Main Slate selections, two films from Film Twitter phenom Hong Sang-soo, and much more, as well as a delectable line-up of restorations.
So rather than single all of these out for our preview, we’re looking at a handful of under-the-radar highlights from across the festival. Check them out below and return for our coverage.
Asako I & II (Ryûsuke Hamaguchi)
Best known for his five-hour drama Happy Hour, Ryûsuke Hamaguchi returned this year with the more palatable Asako I & II, clocking in at a mere 120 minutes. Following its bow in competition at Cannes Film Festival, the film will make its U.S. premiere at the New York Film Festival. Based on Tomoka Shibasaki’s novel,...
- 9/24/2018
- by The Film Stage
- The Film Stage
The last time that director Liang Ying released a film it was apparently deemed to be a dangerous enough critique of the Chinese police and judicial system that sending the cops to provoke not only Ying’s family in Shanghai but also his wife’s family in Sichuan was thought to be a fair response. It was also said, at the time, that the authorities had even attempted to buy the rights to Ying’s film in order to–as we can only assume–stop it from being distributed. So it’s no surprise then that Ying’s follow-up to When Night Falls and his fifth feature, A Family Tour, tells the story of a family torn apart as a result of similarly depressing state machinations.
Tour proves to be an incredibly loaded and angry piece of melodrama, in many ways mirroring the director’s life since the infractions took place.
Tour proves to be an incredibly loaded and angry piece of melodrama, in many ways mirroring the director’s life since the infractions took place.
- 8/7/2018
- by Rory O'Connor
- The Film Stage
The Busan film fest’s Asian Project Market (Apm) has highlighted a “strong presence” of women filmmakers in this year’s line-up.
A total of 27 titles from 16 countries have been selected including projects from names including Yim Soon-rye, Tan Chui Mui and Laila Pakalnina.
In its 19th year, the Apm (formerly called the Pusan Promotion Plan or Ppp) said it tried to go back to its original mission of discovering up-and-coming talent with a selection that includes Pavle Vuckovic - who debuted last year in Cannes with Panama - bringing his Serbian thriller Mountain Eyes and Lei Lei with her debut feature animation Ningdu,which has Isabelle Glachant attached as a producer.
Apm stated it saw “an increased interest and more submissions by female directors and producers” this year. Yim is bringing Project Lee Jung-Seob, based on the legendary Korean artist’s life, while Tan has Malaysian coming-of-age drama All About Yuyu and Pakalnina has Latvia-Estonia...
A total of 27 titles from 16 countries have been selected including projects from names including Yim Soon-rye, Tan Chui Mui and Laila Pakalnina.
In its 19th year, the Apm (formerly called the Pusan Promotion Plan or Ppp) said it tried to go back to its original mission of discovering up-and-coming talent with a selection that includes Pavle Vuckovic - who debuted last year in Cannes with Panama - bringing his Serbian thriller Mountain Eyes and Lei Lei with her debut feature animation Ningdu,which has Isabelle Glachant attached as a producer.
Apm stated it saw “an increased interest and more submissions by female directors and producers” this year. Yim is bringing Project Lee Jung-Seob, based on the legendary Korean artist’s life, while Tan has Malaysian coming-of-age drama All About Yuyu and Pakalnina has Latvia-Estonia...
- 8/23/2016
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Claire Denis’ presentation was moderated The Hollywood Reporter’s Todd McCarthy. Since Claire was the head of La Fabrique du Cinema du Monde this year, she brought the Chinese director-producer team Liu Shu and Liang Ying as guests to discuss their take on gender politics in the cinema industry as they know it. Their film, “ Lotus Position” is one of 13 projects chosen by La Fabrique this year. With a budget of € 420,000 of which € 80,000 has been secured, they are searching for coproducers and cowriters and for post-production studios as project partners (Europe and Asia), distributors, international sales, international funds (Eurimages Support to World Cinema, World Cinema Fund, SorFond, Visions Sud Est, Doha Film Institute grant post production).
Watch the video of the interview here.
Clair was rather vague about her own success “as a woman”. She said she was not really conscious of any prejudices or mishandling when she got into the business. Maybe the men saw her as this little sassy little girl, but to her, she was just working to do what she loved and did not really notice. It was unusual when she started directing, and there were not many women, but that never stopped her. It was most important to make a film. Doubt was not about being a woman, but about whether she could make a good film. Maybe some people saw her as a “little girl who wanted to make movies”, but that never touched her at all. It was as if she was “walking in the rain without getting wet”. Her parents never stopped her either.
“Did you have female role modes?” Todd McCarthy asked her.
“I read mostly. Virginia Woolf was my favorite.” She didn’t want to even begin to think about Simone de Beauvoir (editor here: I am rereading Simone de Beauvoir now! The Mandarins) She read Francoise Sagan (“How I adored Bonjour Tristesse and A Certain Smile which I paired with the Johnny Matthes song in the days of my youth,” I thought – Sydney here). She had no fear. Juliette Greco (who starred in Otto Preminger’s 1958 Bonjour Tristesse) was so strong. She was on top. Thanks to 1946 French cinema, she was accepted in the small French film industry.
How do you see cinema today?
There are so many coproductions with France, like Jim Jarmusch’s new film [sic. If I heard this correctly, I have been unable to track what his new film is…sorry fans. But “Only Lovers Left Alive” did have French coproduction money. S.]
In Hollywood they say women have trouble with the crews. Did you?
As first Ad, maybe the crew was a bit annoyed; my voice was not loud enough. But we made a film. The power of concentrating and the power of belief is stronger than that.
[Todd asks this] as a film critic: Among other women critics, are there so many women critics in France?
Maybe less, there is some prejudice from Cahiers de Cinema. But there are female critics though it may be a more masculine world.
How has the French industry changed since you entered in the 70s?
Maurice Pialet said, “More and more women are working in cinema because it is no longer alive. Cinema is dead”. I see more girls in school, equal between boys and girls. There seem to be more women producers than men. There is no “pushing”, women are there. In some other countries, it is not so.
Each time Claire starts a new project, she starts from zero. Her self-doubt is not that she can’t do it, but that she might not be able to go ahead enough with shrewdness and determination without complaining about obstacles, to keep on convincing “them”. Women must come in on time and on budget.
As a note on Les Fabrique du Cinema du Monde, Claire described the “master classes” as having no master nor class. It is a collaboration of newer and more seasoned cineastes. A female Chinese journalist made her first film and is meeting now with industry people she said referring to one of her guests, Liu Shu.
How about women in the Chinese industry?
Claire’s two Chinese guests are at Cinema du Monde with “ Lotus Position”, about a young woman’s psychological and personal quest in China today which takes her from pain to fear, from confrontation to serenity and ends with the question remaining: Can she accept injustice?
Director Liu Shu is a graduate of the University of Shandong where she majored in art. She became a television journalist and then turned to the cinema. Employed in an Ngo, she presented independent and experimental films in a network of academic and artistic venues.” Lotus”, the first film she directed, wrote and produced on her own, premiered at the Critics' Week in Venice in 2012 .
Producer Liang Ying has worked with the production company, Chinese Shadows, for three years. Headquartered in Hong Kong, this sales and production company represents the new generation of Asian filmmakers in order to introduce them worldwide and to accompany in their meetings with their public. Chines Shadows' recent productions include “Red Amnesia” (Wang Xiaoshuai, Venice 2014 Competition) and “(Sex) Appeal” (Wang Wei Ming, Busan 2014 Competition).
The Chinese industry is progressing according to Liu Shu. But she likes Claire Denis’ description of doing “a good job” for its depiction of a male-female work.
She read the N.Y. Film Academy Study of 2007 and no such statistical study exists in China. They hear in China there were two commercial films by women. Women make independent films with no support; it is a fight to make a film. There are not many women directors in China.
Director Liu Shu never watches TV because it is always about men with a lot of women. The image they always see is about a woman searching for a husband.
Todd: Why are there so many films like that?
Because the Chinese leader is a man.
How do you fight against that?
Add more women?
It is a small industry with small companies. One company can make a big difference. At university there were many women.
The audience had some interesting questions:
“How to inspire investors to take a chance with women?”
“How to change the talk from revolution to revelation?
Producer, Joyce Pierpolone (a guest at the events) cited the Sundance-Women in Film-usc Study of Women in the Cinema (available on Sundance.org ) which says that the number of women writers, directors, DPs and producers stopped growing some 10 years ago and as budgets got larger, there were less women. Even though at film schools gender representation is 50-50.
The Kering Foundation combats violence against women. In line with the Group’s new identity and to enhance its impact internationally, the Foundation has refocused its actions on three geographic areas and prioritizes one cause in each:
Sexual violence in the Americas (United-States, Brazil and Argentina) Harmful traditional practices in Western Europe (France, Italy and United-Kingdom) Domestic violence in Asia (China) The Foundation structures its action around 3 key pillars:
Supporting local and international NGOs Awarding Social Entrepreneurs (Social Entrepreneurs Awards) Organizing awareness campaigns You can watch all the speakers live on The Kering Group videos here: https://vimeo.com/keringgroup/videos...
Watch the video of the interview here.
Clair was rather vague about her own success “as a woman”. She said she was not really conscious of any prejudices or mishandling when she got into the business. Maybe the men saw her as this little sassy little girl, but to her, she was just working to do what she loved and did not really notice. It was unusual when she started directing, and there were not many women, but that never stopped her. It was most important to make a film. Doubt was not about being a woman, but about whether she could make a good film. Maybe some people saw her as a “little girl who wanted to make movies”, but that never touched her at all. It was as if she was “walking in the rain without getting wet”. Her parents never stopped her either.
“Did you have female role modes?” Todd McCarthy asked her.
“I read mostly. Virginia Woolf was my favorite.” She didn’t want to even begin to think about Simone de Beauvoir (editor here: I am rereading Simone de Beauvoir now! The Mandarins) She read Francoise Sagan (“How I adored Bonjour Tristesse and A Certain Smile which I paired with the Johnny Matthes song in the days of my youth,” I thought – Sydney here). She had no fear. Juliette Greco (who starred in Otto Preminger’s 1958 Bonjour Tristesse) was so strong. She was on top. Thanks to 1946 French cinema, she was accepted in the small French film industry.
How do you see cinema today?
There are so many coproductions with France, like Jim Jarmusch’s new film [sic. If I heard this correctly, I have been unable to track what his new film is…sorry fans. But “Only Lovers Left Alive” did have French coproduction money. S.]
In Hollywood they say women have trouble with the crews. Did you?
As first Ad, maybe the crew was a bit annoyed; my voice was not loud enough. But we made a film. The power of concentrating and the power of belief is stronger than that.
[Todd asks this] as a film critic: Among other women critics, are there so many women critics in France?
Maybe less, there is some prejudice from Cahiers de Cinema. But there are female critics though it may be a more masculine world.
How has the French industry changed since you entered in the 70s?
Maurice Pialet said, “More and more women are working in cinema because it is no longer alive. Cinema is dead”. I see more girls in school, equal between boys and girls. There seem to be more women producers than men. There is no “pushing”, women are there. In some other countries, it is not so.
Each time Claire starts a new project, she starts from zero. Her self-doubt is not that she can’t do it, but that she might not be able to go ahead enough with shrewdness and determination without complaining about obstacles, to keep on convincing “them”. Women must come in on time and on budget.
As a note on Les Fabrique du Cinema du Monde, Claire described the “master classes” as having no master nor class. It is a collaboration of newer and more seasoned cineastes. A female Chinese journalist made her first film and is meeting now with industry people she said referring to one of her guests, Liu Shu.
How about women in the Chinese industry?
Claire’s two Chinese guests are at Cinema du Monde with “ Lotus Position”, about a young woman’s psychological and personal quest in China today which takes her from pain to fear, from confrontation to serenity and ends with the question remaining: Can she accept injustice?
Director Liu Shu is a graduate of the University of Shandong where she majored in art. She became a television journalist and then turned to the cinema. Employed in an Ngo, she presented independent and experimental films in a network of academic and artistic venues.” Lotus”, the first film she directed, wrote and produced on her own, premiered at the Critics' Week in Venice in 2012 .
Producer Liang Ying has worked with the production company, Chinese Shadows, for three years. Headquartered in Hong Kong, this sales and production company represents the new generation of Asian filmmakers in order to introduce them worldwide and to accompany in their meetings with their public. Chines Shadows' recent productions include “Red Amnesia” (Wang Xiaoshuai, Venice 2014 Competition) and “(Sex) Appeal” (Wang Wei Ming, Busan 2014 Competition).
The Chinese industry is progressing according to Liu Shu. But she likes Claire Denis’ description of doing “a good job” for its depiction of a male-female work.
She read the N.Y. Film Academy Study of 2007 and no such statistical study exists in China. They hear in China there were two commercial films by women. Women make independent films with no support; it is a fight to make a film. There are not many women directors in China.
Director Liu Shu never watches TV because it is always about men with a lot of women. The image they always see is about a woman searching for a husband.
Todd: Why are there so many films like that?
Because the Chinese leader is a man.
How do you fight against that?
Add more women?
It is a small industry with small companies. One company can make a big difference. At university there were many women.
The audience had some interesting questions:
“How to inspire investors to take a chance with women?”
“How to change the talk from revolution to revelation?
Producer, Joyce Pierpolone (a guest at the events) cited the Sundance-Women in Film-usc Study of Women in the Cinema (available on Sundance.org ) which says that the number of women writers, directors, DPs and producers stopped growing some 10 years ago and as budgets got larger, there were less women. Even though at film schools gender representation is 50-50.
The Kering Foundation combats violence against women. In line with the Group’s new identity and to enhance its impact internationally, the Foundation has refocused its actions on three geographic areas and prioritizes one cause in each:
Sexual violence in the Americas (United-States, Brazil and Argentina) Harmful traditional practices in Western Europe (France, Italy and United-Kingdom) Domestic violence in Asia (China) The Foundation structures its action around 3 key pillars:
Supporting local and international NGOs Awarding Social Entrepreneurs (Social Entrepreneurs Awards) Organizing awareness campaigns You can watch all the speakers live on The Kering Group videos here: https://vimeo.com/keringgroup/videos...
- 6/19/2015
- by Sydney Levine
- Sydney's Buzz
Directors include Brillante Mendoza, Vimukthi Jayasundara, Yeon Sang-ho.Scroll down for full list
Busan’s Asian Project Market (Apm) has announced this year’s line-up including films from directors Brillante Mendoza, Vimukthi Jayasundara, Yeon Sang-ho and July Jung.
Winner of the 2005 Cannes Film Festival Camera d’or, Vimukthi Jayasundara (The Forbidden Land) will present Sri Lankan project Hair Of The Dog That Bit You.
The drama is about a female tourist guide’s loss of memory and identity, and her struggle to come to terms with what is left of her life and an unknown future.
Cannes 2009 Best Director winner Brillante Mendoza (Kinatay) has Philippines-France-Germany co-production Fowl in the Apm line-up.
The story follows Ramon, a Filipino contract worker working at Singapore Post. When his wife Jenny suddenly dies, he has to travel back to the Philippines with her as if she were one of the many parcels he is so used to handling.
Korean directors...
Busan’s Asian Project Market (Apm) has announced this year’s line-up including films from directors Brillante Mendoza, Vimukthi Jayasundara, Yeon Sang-ho and July Jung.
Winner of the 2005 Cannes Film Festival Camera d’or, Vimukthi Jayasundara (The Forbidden Land) will present Sri Lankan project Hair Of The Dog That Bit You.
The drama is about a female tourist guide’s loss of memory and identity, and her struggle to come to terms with what is left of her life and an unknown future.
Cannes 2009 Best Director winner Brillante Mendoza (Kinatay) has Philippines-France-Germany co-production Fowl in the Apm line-up.
The story follows Ramon, a Filipino contract worker working at Singapore Post. When his wife Jenny suddenly dies, he has to travel back to the Philippines with her as if she were one of the many parcels he is so used to handling.
Korean directors...
- 8/19/2014
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Directors include Brillante Mendoza, Vimukthi Jayasundara, Yeon Sang-ho.
Busan’s Asian Project Market (Apm) has announced this year’s line-up including directors Brillante Mendoza, Vimukthi Jayasundara, Yeon Sang-ho and July Jung.
Winner of the 2005 Cannes Film Festival Camera d’or, Vimukthi Jayasundara (The Forbidden Land) will present Sri Lankan project Hair Of The Dog That Bit You.
The drama is about a female tourist guide’s loss of memory and identity, and her struggle to come to terms with what is left of her life and an unknown future.
Cannes 2009 Best Director winner Brillante Mendoza (Kinatay) has Philippines-France-Germany co-production Fowl in the Apm line-up.
The story follows Ramon, a Filipino contract worker working at Singapore Post. When his wife Jenny suddenly dies, he has to travel back to the Philippines with her as if she were one of the many parcels he is so used to handling.
Korean directors include July Jung, the [link=nm...
Busan’s Asian Project Market (Apm) has announced this year’s line-up including directors Brillante Mendoza, Vimukthi Jayasundara, Yeon Sang-ho and July Jung.
Winner of the 2005 Cannes Film Festival Camera d’or, Vimukthi Jayasundara (The Forbidden Land) will present Sri Lankan project Hair Of The Dog That Bit You.
The drama is about a female tourist guide’s loss of memory and identity, and her struggle to come to terms with what is left of her life and an unknown future.
Cannes 2009 Best Director winner Brillante Mendoza (Kinatay) has Philippines-France-Germany co-production Fowl in the Apm line-up.
The story follows Ramon, a Filipino contract worker working at Singapore Post. When his wife Jenny suddenly dies, he has to travel back to the Philippines with her as if she were one of the many parcels he is so used to handling.
Korean directors include July Jung, the [link=nm...
- 8/19/2014
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
7:40 pm – Started today off with the film that took home the Golden Lion last week in Venice, Ki-duk Kim’s Pieta. Splitting opinions with it’s series of shocking reveals, the film is a poetic revenge drama. Regardless of my reservations of watching a 4.5 hour film at a festival, I saw Kiyoshi Kurosawa’s slow, melodramatic onion, Penance. The Asian triple bill of today was rounded out by When Night Falls by director Liang Ying. Finishing my last full day here with Harmony Korine’s Spring Breakers, which I’ve heard many good words about throughout the last week. One more day. [Jordan M. Smith]
2:00 pm – There have been a pair of press screenings, but tonite is the official public premiere to the Midnight Madness section’s The ABCs of Death – 26 plus filmmakers in Kaare Andrews, Angela Bettis, Adrián García Bogliano, Bruno Forzani & Hélène Cattet, Ernesto Díaz Espinoza, Jason Eisener, Xavier Gens,...
2:00 pm – There have been a pair of press screenings, but tonite is the official public premiere to the Midnight Madness section’s The ABCs of Death – 26 plus filmmakers in Kaare Andrews, Angela Bettis, Adrián García Bogliano, Bruno Forzani & Hélène Cattet, Ernesto Díaz Espinoza, Jason Eisener, Xavier Gens,...
- 9/14/2012
- by IONCINEMA.com Contributing Writers
- IONCINEMA.com
The 16th annual Bradford International Film Festival, which will run March 18-28, is a total celebration of all forms of cinema, from classic films to modern world cinema to a tribute to Cinerama and more. But, most excitingly, is a bombastic collection of some of the best, most exciting underground films being made today.
From Bad Lit’s perspective, the most thrilling screening of the entire 10-day affair is the new film by British filmmaker Peter Whitehead, Terrorism Considered as One of the Fine Arts. In the U.S., Whitehead is a “lost” filmmaker from the underground’s heyday in the ’60s, being left out of most histories of the underground movement. Whitehead directed several influential films, including Wholly Communion and The Fall, before dropping out of filmmaking in the mid-’70s.
Film historian Jack Sargeant wrote extensively about and interviewed Whitehead for his wonderful book on Beat cinema, Naked Lens.
From Bad Lit’s perspective, the most thrilling screening of the entire 10-day affair is the new film by British filmmaker Peter Whitehead, Terrorism Considered as One of the Fine Arts. In the U.S., Whitehead is a “lost” filmmaker from the underground’s heyday in the ’60s, being left out of most histories of the underground movement. Whitehead directed several influential films, including Wholly Communion and The Fall, before dropping out of filmmaking in the mid-’70s.
Film historian Jack Sargeant wrote extensively about and interviewed Whitehead for his wonderful book on Beat cinema, Naked Lens.
- 3/5/2010
- by Mike Everleth
- Underground Film Journal
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