As we gear up for an awards season ripe with many quality queer films, it’s important to remember smaller successes who may get lost in the shuffle. Lgbt-themed film festivals Outfest and Frameline kicked off the summer, while New York’s own NewFest wrapped up last week. It’s always thrilling to see a gay film get awards attention, like the kind lavished on Luca Guadagnino’s “Call Me By Your Name” and foreign language contender “Bpm (Beats Per Minute).” But it’s been a banner year for nuanced queer films across the board, and especially ones from queer-identified filmmakers.
From up-and-comers making splashy debuts, to longtime favorites who have stepped up their game, the filmmakers on this list represent a varied swath of not only the Lgbt spectrum, but vastly different artistic styles. That means they have the potential to reach different audiences — and open up perspectives across demographics.
From up-and-comers making splashy debuts, to longtime favorites who have stepped up their game, the filmmakers on this list represent a varied swath of not only the Lgbt spectrum, but vastly different artistic styles. That means they have the potential to reach different audiences — and open up perspectives across demographics.
- 11/3/2017
- by Jude Dry
- Indiewire
Editing a film can be a lonely process where filmmakers loose all objectivity about what they’re creating. Getting feedback from trusted voices and learning how a film plays to an audience is important, but renting a theater is expensive, especially for a low budget independent film.
It’s for this reason that Kickstarter has decided to open the doors to its state-of-the-art 50-person theater inside the company’s Brooklyn Headquarters to filmmakers looking for a place to screen its works-in-progress. Starting today, filmmakers who used the Kickstarter crowdfunding platform are eligible to apply for what they are calling “Rough Cut,” a program that allows the company’s theater to be booked at no charge.
The program unofficially started months ago, when the crowdfunding platform – which has been used by 106 Sundance Festival films over the last six years – started granting theater access to their alumni with films nearing completion and...
It’s for this reason that Kickstarter has decided to open the doors to its state-of-the-art 50-person theater inside the company’s Brooklyn Headquarters to filmmakers looking for a place to screen its works-in-progress. Starting today, filmmakers who used the Kickstarter crowdfunding platform are eligible to apply for what they are calling “Rough Cut,” a program that allows the company’s theater to be booked at no charge.
The program unofficially started months ago, when the crowdfunding platform – which has been used by 106 Sundance Festival films over the last six years – started granting theater access to their alumni with films nearing completion and...
- 10/25/2017
- by Chris O'Falt
- Indiewire
Tyler Perry’s “Boo 2! A Madea Halloween” would be tone deaf, lacking in plot, and almost entirely humorless in any year. That is happens to arrive in theaters amid a cascade of sexual assault survivors sharing their stories about sexual assault doesn’t help its case. Perry has built his slice of a Hollywood empire profiting off the cheap laughter of the most insidious homophobic impulses in society — the ones that tell people there is nothing funnier than a man in a dress. “Boo!” is no exception.
Still, Perry is a versatile character comedian. Madea, the wise-cracking old lady he has played in drag for 15 years, is the movie’s central figure and also its funniest. Perry also plays her “creepy old man” brother, Joe, whose only breaks from slobbering over teenage girls are to call Madea “dude” or “man.” Perry’s discomfort with Madea’s drag is so palpable,...
Still, Perry is a versatile character comedian. Madea, the wise-cracking old lady he has played in drag for 15 years, is the movie’s central figure and also its funniest. Perry also plays her “creepy old man” brother, Joe, whose only breaks from slobbering over teenage girls are to call Madea “dude” or “man.” Perry’s discomfort with Madea’s drag is so palpable,...
- 10/22/2017
- by Jude Dry
- Indiewire
When Richard Turner says he has a “two or three pack-a-day habit,” he’s not talking about cigarettes. A self-described “card mechanic” (because he can fix a card game), Turner is almost never without a deck in his hands — at one point in “Dealt,” Luke Korem’s sweet but listless documentary about the legendary sleight-of-hand trickster, Turner’s wife recounts how she once caught him absently running a card over his fingers while they were having sex. Needless to say, the 63-year-old has put in his 10,000 hours more than 10 times over.
Also: He’s completely blind. And he might not want you to know that. The fact might sound self-evident — he’s a close-up magician! — but Turner never gives anything away. From the moment he saunters on stage at Hollywood’s Magic Castle, everything is part of the act, including the eye contact he appears to make with the intimate crowd.
Also: He’s completely blind. And he might not want you to know that. The fact might sound self-evident — he’s a close-up magician! — but Turner never gives anything away. From the moment he saunters on stage at Hollywood’s Magic Castle, everything is part of the act, including the eye contact he appears to make with the intimate crowd.
- 10/20/2017
- by David Ehrlich
- Indiewire
It’s no surprise that digital tools proved self-destructive. Hollywood has always believed bigger is better, that raw spectacle is the only thing that reliably seduces people into the cinema. To tweak a famous line from one of the films that got us here: The studios were so preoccupied with whether or not they could, they didn’t stop to think if they should.
The disaster movie genre has been dead or dying for a while now, and we’ve reached the point in the grieving process where we’ve come to accept that something like this is going to be utterly defanged by CGI (shout out to the lifeless, plastic likes of “2012” and “San Andreas”), so you almost have to give “Geostorm” a little bit of credit: For a movie about the potentially destructive power of 21st-century technology, it sure is a convincing example of the potentially destructive power of 21st-century technology.
The disaster movie genre has been dead or dying for a while now, and we’ve reached the point in the grieving process where we’ve come to accept that something like this is going to be utterly defanged by CGI (shout out to the lifeless, plastic likes of “2012” and “San Andreas”), so you almost have to give “Geostorm” a little bit of credit: For a movie about the potentially destructive power of 21st-century technology, it sure is a convincing example of the potentially destructive power of 21st-century technology.
- 10/20/2017
- by David Ehrlich
- Indiewire
“Susanne Bartsch picked up where [Andy] Warhol left off,” RuPaul Charles says of his friend, the woman he says set him down the path to become Supermodel of the World. He’s not the only one: Performance artist Joey Arias credits Bartsch with encouraging him to try drag, transgender pioneer Flawless Sabrina speaks of her in the same breath as Warhol, and fashion historians trace London style’s expansion to New York and Tokyo in the ’80s to Bartsch.
As for the woman herself, she’s still throwing parties.
While dressing for one of her fabled Tuesday night parties at Meatpacking district club Le Bain, Bartsch was fretting over the colors for one of her outstanding looks: “It’s not really pink,” she says. “I mean, I know it’s pink, but it’s not a pink that I feel pink in.”
Read More:‘BearCity’ Is the Biggest and Hairiest Gay...
As for the woman herself, she’s still throwing parties.
While dressing for one of her fabled Tuesday night parties at Meatpacking district club Le Bain, Bartsch was fretting over the colors for one of her outstanding looks: “It’s not really pink,” she says. “I mean, I know it’s pink, but it’s not a pink that I feel pink in.”
Read More:‘BearCity’ Is the Biggest and Hairiest Gay...
- 10/20/2017
- by Jude Dry
- Indiewire
In the years since hanging up his quidditch broom, Daniel Radcliffe has blazed a surprisingly adventurous trail, devoting himself to risky projects that stray far from the beaten path, some of them quite literally. For the second time in the last 18 months, the former “Harry Potter” star has wandered off into the wilderness, following the miraculously inventive “Swiss Army Man” with a true-life survival story about a restless Israeli kid who wound up stranded by himself in an uncharted stretch of the Amazon. And while “Jungle” glaringly lacks the flair and depth of feeling that defined Radcliffe’s previous stroll through the great outdoors, it’s somehow even more disgusting than “Swiss Army Man,” a movie in which the actor plays a corpse whose farts are so explosive that they propel his body across the surface of the ocean like a jet ski.
“I was desperate to escape the well-worn path,...
“I was desperate to escape the well-worn path,...
- 10/19/2017
- by David Ehrlich
- Indiewire
There’s a brilliant moment late in “Thor: Ragnarok” in which Bruce Banner (Mark Ruffalo) propels himself out of a spaceship to help his friends in the battle below. By now, most people inundated with Marvel movies over the past decade know the drill: The shock of the free fall transforms Banner into his raging alter ego, The Hulk, who lands on both feet with a domineering thud — except this time, it doesn’t. Banner face-plants on the magic rainbow bridge of Asgard, and for a moment both sides of the conflict stand agape.
This is the essence of the energetic spark that director Taika Waititi brings to the third “Thor” movie, which injects more overt comedy to Marvel’s sprawling expanded universe than ever before. That should come as no surprise: The Kiwi director’s vampire mockumentary “What We Do In the Shadows” and last year’s “Hunt for the Wilderpeople...
This is the essence of the energetic spark that director Taika Waititi brings to the third “Thor” movie, which injects more overt comedy to Marvel’s sprawling expanded universe than ever before. That should come as no surprise: The Kiwi director’s vampire mockumentary “What We Do In the Shadows” and last year’s “Hunt for the Wilderpeople...
- 10/19/2017
- by Eric Kohn
- Indiewire
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