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African American Film Critics Assn. Proclaims 2017 ‘Year of the Woman’

African American Film Critics Assn. Proclaims 2017 ‘Year of the Woman’
For its ninth annual awards program, the African American Film Critics Association has proclaimed 2017 the “year of the woman in cinema.”

“There is no argument that women have made a bold step forward this year in Hollywood,” said Aafca president Gil Robertson. “The evidence demonstrated during the past year speaks for itself both in terms of box office and critical recognition by women, and we predict that there will be continued momentum going forward. We are also pleased that African American women are a part of this progress and are taking advantage of increased opportunities to make their cinematic imprint.”

Filmmakers like Dee Rees and Ava DuVernay have already made considerable waves this year. Netflix acquired Rees’ “Mudbound” out of Sundance for $12.5 million and set it on a crash course for Oscar season, while DuVernay’s “13th” (also a Netflix title) picked up an Oscar nomination and an Emmy this year.

Women wrote, produced,
See full article at Variety - Film News »

Trailer Watch: A Trans Woman Deals with Heartbreak and Prejudice in “A Fantastic Woman”

“A Fantastic Woman”

The first trailer for “A Fantastic Woman” sees Marina (Daniela Vega) living a nightmare. The waitress and singer has not only lost Orlando (Francisco Reyes), the love of her life, after he dies suddenly, she’s also being denied the right to mourn for him. “You won’t go to the funeral or the wake. Understood?” his ex-wife (Aline Kuppenheim) asks.

Marina is forbidden from attending her partner’s funeral and wake because his ex is “just looking out for [her] loved ones.” And she seemingly doesn’t want them to discover that Marina is a trans woman. “Orlando was a loved one to me,” Marina points out, though it doesn’t seem like his friends and family have given much thought into what she thinks or feels. She’s “forced to confront his family and society, and to fight again to show them who she is: complex, strong, forthright, fantastic,” the film’s official synopsis details.

“A Fantastic Woman” made its world premiere at the Berlinale in February and has been receiving raves ever since. The Sebastián Lelio-directed drama will screen later this month at the Toronto International Film Festival.

Many are predicting that newcomer Vega could be a contender come awards season — she would make herstory as the first trans actress to receive an Oscar nomination.

“A Fantastic Woman” hits select theaters November 17.


Trailer Watch: A Trans Woman Deals with Heartbreak and Prejudice in “A Fantastic Woman” 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 »

Hot Docs 2017 Women Directors: Meet Ashley Sabin — “Do Donkeys Act?”

“Do Donkeys Act?”

Ashley Sabin’s documentaries have screened internationally in festivals and on television worldwide. Her vast body of work includes four recent “animal ethnography” films based in the world of donkeys.

“Do Donkeys Act?” will premiere at the 2017 Hot Docs Canadian International Documentary Festival on April 27. The film is co-directed by David Redmon.

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

As: “Do Donkeys Act?” is an ethno-poetic animal fiction that takes that its playfully self-reflexive cues from documentarians Jean Rouch and Chris Marker.

Encouraging us to respect a major language barrier we might not otherwise consider — the mystery and intrigue of donkey utterances — “Do Donkeys Act?” invites us to “step into their shade and listen closely” as we attune to a series of dramatic performances in which we eavesdrop on donkeys speaking amongst themselves.

By reclaiming the donkey from the indignity of a centuries-old, master-slave relationship — in which the dominant image of the donkey has been negative and related to stubbornness, jackassery, etc. — “Do Donkeys Act?” elevates a denigrated and degraded beast to the role of lead actor and performance artist. To paraphrase performance artist Marina Abramović, the donkey is present.

W&H: What drew you to this story?

As: We focused our lens and sound recorder on donkeys because of their bray. Late one night, we listened to a YouTube video of a donkey braying, and at that point we knew we had to make a film. The sound is musical and enchanting. I was pregnant with our first child, so it seemed like the kind of film on which we could embark.

The movie is about the phenomenology of being with the expressive donkeys. What surprised us, though, is how intuitive and empathic they are.

Turns out, we didn’t premiere the film until we had our second child! Sometimes, these documentaries take a while to simmer.

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

As: “Do Donkeys Act?” subtly subverts the notion of the “dumb beast.” It captures donkeys communicating emotionally with each other in the midst of healing from human cruelty and neglect.

It’s really about being present with these beautiful creatures and experiencing their sentience.

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

As: We have two wonderful producers, Deborah Smith and Dale Smith, who put in the first funds. They believe in us and the work we do, which is such a gift. Then my co-director, David Redmon, secured a Leverhulme Institute Grant in the UK, which allowed him to finish his book, publish articles on donkeys, and complete the movie. The rest was self-financed.

We’ve always worked in a way whereby we produce work, distribute it, and then use the funds from distribution to make the next piece. This means we had to work at a fast rate. This has since changed, as we have two children. We’re currently working on a new model.

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

As: We used to live in Montreal, and, in fact, we filmed at a donkey sanctuary near Toronto in Guelph, Canada.

It is a real pleasure to return and share “Do Donkeys Act?” with a Canadian audience that has a passion for documentary.

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

As: Best advice: Cut on motion. This is an interesting way of thinking about editing. People, objects, landscapes, and donkeys are constantly in flux.

Worst advice: Use professional lighting. I don’t think that person understood our filmmaking style at all.

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

As: I feel fortunate to have found a wonderful partner. We have similar sensibilities. We also disagree enough to allow the filmmaking process to be challenging and interesting.

Editing is a lonely process, so if you can find good collaborators, it can help the film and the process.

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

As: It’s a tie between Kelly Reichardt’s “Old Joy” and Agnes Varda’s “The Gleaners and I.” Both have a beautiful simplicity to their narrative. They are playful, and I can feel the hands of the creator. The maker feels resourceful and creative.

They aren’t perfect films, but something about their imperfections also attracts me.

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 on this topic.

As: I think it’s important to encourage women filmmakers, as well as other daring makers and new voices.

After having two children, a new issue has come to my attention: the lack of childcare at film festivals. How can a family of filmmakers fully participate without some childcare help? I think if this issue changes the division of labor between both women and men everyone would benefit greatly.


Hot Docs 2017 Women Directors: Meet Ashley Sabin — “Do Donkeys Act?” 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 »

Every Book Emma Watson Has Ever Recommended

A version of this article originally appeared on ew.com.

Emma Watson loves to read.

The actress has that in common with her brainy Harry Potter character Hermione as well as bookish Belle, who she plays in the much-anticipated film Beauty and the Beast, out March 17. In addition to being a bookworm, Watson is also an outspoken feminist and as well as a Un Women Goodwill Ambassador and promoter of the organization’s HeForShe movement, which is dedicated to recruiting men into the movement for gender equality. As a response to her work with the Un, she launched the feminist
See full article at PEOPLE.com »

Awards Roundup: Natalie Portman to Be Honored at Hollywood Film Awards, Lee Daniels to Receive Special Achievement Award and More

  • Indiewire
Awards Roundup: Natalie Portman to Be Honored at Hollywood Film Awards, Lee Daniels to Receive Special Achievement Award and More
Keep up with the glitzy film awards world with our weekly Awards Roundup column.

-Natalie Portman will receive the Hollywood Actress Award for her role as Jacqueline Kennedy in “Jackie” at the annual Hollywood Film Awards. Comedian James Corden will host the event, which is celebrating its 20th anniversary this year and takes place in Beverly Hills on November 6. Also being honored at the awards are actress Janelle Monáe, who will receive the Hollywood Spotlight Award for her breakout role in “Hidden Figures,” and the cast of the film “Gold,” including Academy Award-winning actor Matthew McConaughey, Golden Globe Award-nominated actress Bryce Dallas Howard, Golden Globe Award-nominated actor Edgar Ramirez and Golden Globe Award-winning actress Stacy Keach, all of whom will receive the Hollywood Ensemble Award.

-The African American Film Critics Association will honor Oscar-Nominated producer-director Lee Daniels with the Aafca Cinema Vanguard award at its Special Achievement Awards ceremony
See full article at Indiewire »

Comic-Con San Diego 2016: All of the Screenings, Panels and Events You Can't Miss

  • PEOPLE.com
Comic-Con San Diego 2016: All of the Screenings, Panels and Events You Can't Miss
Headed to Comic-Con 2016 in San Diego this weekend? We're here to help you prepare to tackle it all. From exciting film screenings - like Oliver Stone's Snowden - to movie-centric panels, there's a lot to see and do at the San Diego Convention Center over just four days. Start your week laughing with Seth Rogen about his naughty, animated comedy Sausage Party and finish up by learning how to craft your own, personal R2-D2. Here's a rundown of some of the best film screenings, panels and events to check out at Comic-Con. Thursday, July 2110:00 a.m.: Feed
See full article at PEOPLE.com »

Comic-Con San Diego 2016: All of the Screenings, Panels and Events You Can't Miss

  • PEOPLE.com
Comic-Con San Diego 2016: All of the Screenings, Panels and Events You Can't Miss
Headed to Comic-Con 2016 in San Diego this weekend? We're here to help you prepare to tackle it all. From exciting film screenings - like Oliver Stone's Snowden - to movie-centric panels, there's a lot to see and do at the San Diego Convention Center over just four days. Start your week laughing with Seth Rogen about his naughty, animated comedy Sausage Party and finish up by learning how to craft your own, personal R2-D2. Here's a rundown of some of the best film screenings, panels and events to check out at Comic-Con. Thursday, July 2110:00 a.m.: Feed
See full article at PEOPLE.com »

TF1 Acquires Licensing Rights to ‘The Smurfs’ in France

TF1 Acquires Licensing Rights to ‘The Smurfs’ in France
Paris — French commercial network group TF1 has acquired licensing rights to “The Smurfs” brand for France and is prepping various events such a musical show and an exhibit.

The deal was inked between TF1 Licences and Véronique Culliford’s Imps. Both companies have worked before. TF1 Video has been a partner of Imps for the last 10 years.

Besides TF1 Video, “The Smurfs” has so far attracted about 700 partners, including Le Lombard, Dupuis, Hachette, De Agostini-Altaya, Panini, Pez, Chupa Chups, Ferrero, Haribo, McDonald’s, Delacre, Oreo, H&M, Zara, Benetton, Women’s Secret, MegaBrands, Ubisoft, Capcom and Tesco.

“We are happy and proud to collaborate with TF1 Licences, an experimented and audacious agent with a large experience in exploiting classic brands. We’ll be able to create synergies with the brands within the different divisions of the group, said Culliford, the daughter of “The Smurfs” creator Pierre Culliford aka Peyo.

Marina Narishkin,
See full article at Variety - Film News »

‘The Bachelor’ Season 20: Ben Higgins’ Winner Revealed (Spoilers)

‘The Bachelor’ Season 20: Ben Higgins’ Winner Revealed (Spoilers)
Spoiler Alert: Do not read ahead, if you have not watched the Season 20 finale of “The Bachelor.” The following post reveals the winner chosen by Ben Higgins.

Another season of “The Bachelor” has come and gone.

Following perhaps the most dramatic lead-up to a finale for the long-running ABC dating show, suitor Ben Higgins, one of the franchise’s most beloved bachelors, finally chose his leading lady.

The two finalists were JoJo Fletcher — the 24-year-old real estate developer from Dallas, Texas — and Lauren Bushnell — the 25-year-old blonde flight attendant who resides in Marina Del Rey, California.

The big decision came after Higgins had told both women “I love you” in the weeks before — something that had never been said twice on “The Bachelor.” During the “Women Tell All” special one week prior, a sneak peek clip was shown in which Higgins tells one of the finalists that he’s in
See full article at Variety - TV News »

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 SydneysBuzz »

Q&A: Alexandre de la Patelliere And Matthieu Delaporte Chat About ‘Daddy or Mommy’

Paris– Alexandre de la Patelliere And Matthieu Delaporte, the scribe-helmer duo behind arthouse comedy hit “What’s In The Name” (box office France: 21 million Euros) based on their play, are back with the script of a subversive comedy, “Daddy or Mommy” whose catchy concept has lured exhibitors and distributors alike. A twist on traditional divorce-themed movies, the film stars two of France’s best-known comedians, Marina Fois and Laurent Lafitte, as a couple battling to not get custody. Produced by Dimitri Rassam and distributed by Pathe, “Daddy or Mommy” will come out on more than 500 screens across France on Feb. 4 and is playing this week as part of the Unifrance Rendez-Vous in Paris.

Variety: “Daddy or Mommy” shows two parents who are divorcing and playing the worst tricks on their kids to not get custody — it’s one of the most subversive comedies I’ve seen. Would you say that
See full article at Variety - Film News »

Should WWE Sign Ufc Champion Ronda Rousey?

Isaac Brekken/AP/Press Association Images

Ronda Rousey is arguably the greatest women’s Mma fighter in the world. She’s the current Ufc Women’s Bantamweight Championship and holds a record of 9-0 in Mma with eight of her victories via submission and one by knockout. She’s also jumping into the film industry with roles in The Expendables 3, Fast & The Furious 7 and the Entourage. Prior to her Mma career, she won an Olympic bronze medal for the Us in Women’s Judo in Beijing in 2008.

Rousey is also a huge WWE fan. She often tweets about her love of pro wrestling (@RondaRousey) and recently welcomed current WWE diva Natalya to come train with her as well as her “Four Horsewomen” friends Shayna Baszler, Marina Shafir and Jessamyn Duke.


In the past, Rousey has also talked about how Cm Punk was a favorite of hers and the
See full article at Obsessed with Film »

Russia sets two stands at Cannes

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Roskino and Russian Cinema Fund to make presentations.

Russian cinema will be represented by not one, but two stands at the Marché du Film much to the bewilderment of some in the industry.

While Roskino, the successor to the former state film organisation Sovexportfilm, is the official organiser of the Russian Pavilion with support from the Ministries of Culture and Foreign Affairs, the Russian Cinema Fund is backing the Russian Cinema stand in the Festival Palais.

Both initiatives will be having presentations of extracts from completed films or works in progress to sales agents, distributors and festival programmers.

Roskino’s line-up on May 17 will include Natalia Meshaninova’s The Hope Factory [pictured], Igor Voloshin’s Moscow-Russia Express, the documentary Rudolf Nureyev. A Rebel Demon, and Sergei Dvortsevoy’s My Little One, co-produced by the late Karl Baumgartner.

The Russian Cinema Fund will follow three days later – on May 20 - with its own showcase of 19 projects at various stages
See full article at ScreenDaily »

#Best Tweets of 2012 @Post50s

#Best Tweets of 2012 @Post50s
Forget "out of the mouths of babes" -- there were plenty of biting witticisms, expletive-laden celebrations (warning: one is included in this piece), carefully crafted observations and pearls of irreverent wisdom on Twitter in 2012 put there by folks who are post 50.

When it came time to figuring out what the best tweets of 2012 by post 50s were, there was no shortage of contestants. From James Cameron's descent into the Marina Trench, the deepest place on Earth...

Just arrived at the ocean's deepest pt. Hitting bottom never felt so good. Can't wait to share what I'm seeing w/ you @deepchallenge

James Cameron (@JimCameron) March 25, 2012

... to the outspoken Cher's battle cry for womankind ...

God Do I Love Women With Attitude ! Fuck Yes !

— Cher (@cher) September 20, 2012

...it was a lively year for midlifers on Twitter. And while Betty White may be past the midlife point -- nah, we need her to live
See full article at Huffington Post »

2012 Gotham Awards: ‘Moonrise Kingdom’ Wins Best Feature, ‘Beast’ Takes Home Pair

In the battle of the Andersons, it was Wes who beat P.T for Best Feature at the 2012 Gotham Awards. Moonrise Kingdom would go 1 for 2 as Lynn Shelton’s Your Sister’s Sister easily among the year’s the best, for its natural, on-screen chemistry was handsomely awarded the Best Ensemble Performance prize. Making it an almost all Sundance Film Festival takes Gotham kind of year, in the Best Film Not Playing at a Theater Near You it’s Terence Nance’s An Oversimplification of Her Beauty which gets an extra boost for theatrical play. Pic was produced by Andrew Corkin who is lining up Jim Mickle’s We Are What We Are for festival play next year.

The heavy favorite in all categories combined was Beasts of the Southern Wild‘s Benh Zeitlin as Best Breakthrough Director and Audience award, while in the Breakthrough Actor category, it’s Emayatzy Corinealdi
See full article at IONCINEMA.com »

The nominees for the 22nd Gotham Independent Film Awards are...

Awards season got underway yesterday as the nominations for the 22nd Gotham Independent Film Awards were announced in New York, with Beasts of the Southern Wild, Bernie, Middle of Nowhere and Moonrise Kingdom leading the field with nods in two categories each.

Richard Linklater's Bernie, Ava DuVernay's Middle of Nowhere and and Wes Anderson's Moonrise Kingdom will all contest the coveted Best Feature award alongside Julie Loktev's The Loneliest Planet and Paul Thomas Anderson's The Master, while Beasts director Benh Zeitlin managed to secure a nomination in the Breakthrough Director category, which will also be contested by Zal Batmanglij (Sound of My Voice), Brian M. Cassidy and Melanie Shatzky (Francine), Jason Cortlund and Julia Halperin (Now, Forager) and Antonio Méndez Esparza (Here and There).

Check out the full list of nominations here...

Best Feature


The Loneliest Planet

The Master

Middle of Nowhere

Moonrise Kingdom

See full article at Flickeringmyth »

Gotham Awards Noms: Beasts of the Southern Wild Gets Pair of Noms, No Best Picture Nod

Bernie, Middle of Nowhere, Moonrise Kingdom and Beasts of the Southern Wild each received a pair of nominations for the 22nd Gotham Independent Film Awards, but the big surprise has to be the Best Picture snub of Benh Zeitlin’s Sundance and Cannes winner. The jury of five favored Moonrise Kingdom, Bernie, Middle of Nowhere, The Loneliest Planet and The Master over other well-received truly indie titles such as Craig Zobel’s Compliance and James Ponsoldt’s Smashed. The awards will be handed out on November 26th.

Best Feature


Richard Linklater, director; Richard Linklater, Ginger Sledge, Celine Rattray, Martin Shafer, Liz Glotzer, Matt Williams, David McFadzean, Judd Payne, Dete Meserve, producers (Millennium Entertainment)

The Loneliest Planet

Julia Loktev, director; Jay Van Hoy, Lars Knudsen, Helge Albers, Marie Therese Guirgis, producers (Sundance Selects)

The Master

Paul Thomas Anderson, director; Joanne Sellar, Daniel Lupi, Paul Thomas Anderson, Megan Ellison, producers (The
See full article at IONCINEMA.com »

Marina Go on Crikey’s new look, the plan to get more women writing for it

This week independent news and commentary website Crikey unveiled a new look.

Marina Go, publisher at parent company Private Media, chatted to Mumbrella editor Tim Burrowes about:

The Crikey business model Why the bylines are all for blokes; The rumours of a food launch; The Power Index Women’s Agenda

The video was shot earlier this week, shortly before news emerged that Private Media CEO Amanda Gome had been ousted.
See full article at Encore Magazine »

Feminist Friday: The Sentencing of Pussy Riot, Paul Ryan’s Fits about Your Ladybits

Tags: Pussy RiotRachel MaddowPaul RyanElizabeth BanksHolland TaylorMartha PlimptonIMDb

Nadezhda Tolokonnikova, Marina Alyokhina, and Yekaterina Samutsevich of Pussy Riot have been sentenced to two years in prison, officially for hooliganism and having a concert at a Moscow Cathedral, but many believe their actual crime is pissing off Vladimir Putin. Gawker published their fierce and moving closing statements last week. I highly recommend them.

This Week in Ladybits

Feministing pointed to a remarkable article by an abortion provider on what’s at stake in the ongoing attempts to lock down your uterus.

Hey, Rachel Maddow, are your arms tired from hammering Paul Ryan all week? In addition to looking like Will Schuester’s evil twin, Ryan really, really, really does not care for ladies controlling their own ladybits. For example, he sponsored a bill that would make abortion illegal even in the case of rape or incest - and Kevin Drum over
See full article at AfterEllen.com »

Crikey publisher’s Women’s Agenda site goes live

Women’s Agenda, a website ‘for career-minded women’ from the publisher of Crikey, has gone live this morning.

The Private Media publication, which was a year in development, will be edited by Angela Priestley, former editor of The Power Index.

Women’s Agenda starts life with 4,000 registered users, having been marketed by Private Media across a number of its sites.

The website is geared towards “giving a voice to career-focused, aspirational women who want to set their own agendas,” according to publisher Marina Go.

Angela Priestley

Areas covered include finance, investment, employment, post-graduate education, career progression, life-balance, technology, grooming, style, travel and culture.

In an Inspirational Women section, the site will feature the likes of magazine veteran Ita Buttrose, Sydney Mayor Clover Moore, author Tara Moss and barrister Rana Rashda.

The site has been designed by Jemma McMahon, who worked on The Knot Australia, Primped websites and the soon-to-be-relaunched, Crikey.
See full article at Encore Magazine »
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