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- Feed Preview Brandon Harris | Filmmaker Magazine
Remembering Melvin Van Peebles, 1932 – 2021
Melvin Van Peebles, revolutionary independent filmmaker whose credits include Sweet Sweetback’s Baadasssss Song, Watermelon Man and La Permission, died Tuesday in Manhattan. He was 89. On this ...
Summer Festival(ing): On Seattle, BAMCinemaFEST & Fantasia
I normally go to the Seattle International Film Festival towards the end, when the festival hosts its largest contingent of industry types and you get to go to the top of the Space Needle, where ...
Laura Poitras Talks Assange, Her Final Version of Risk and Trump’s Tax Returns
Just now released on Showtime, Laura Poitras’s Risk, which found its way to theaters in May via upstart distributor Neon, is in a vastly different form than when it premiered last year in Cann...
“You Try to Find the Beauty, Shoot It and Move On”: John G. Young on His Microbudget Drama, Bwoy
As Brad, a grief-stricken closeted gay man in upstate New York who becomes increasingly obsessed with a younger Jamaica man (Jimmy Brooks) he meets in an online meat market, Anthony Rapp (Star Tr...
Tribeca 2017 Critic’s Notebook: This Land Is Your Land
#Tribeca2017 came to a close last night, after a final day of screenings dominated by the many winners from both Thursday evening’s award ceremony, held at the Borough of Manhattan Community Co...
Tribeca 2017 Critic’s Notebook: Performance Anxiety
Ever searching for an identity, the Tribeca Film Festival returned — for a 16th time last week — to Midtown, the Upper West Side, Chelsea and, yes, the neighborhood for which it’s named. ...
Spring Festivals on the Sea: Borscht, Miami and Annapolis
Around the time Miami’s Borscht Diez went down in late February, Black Cinema seemed to take over the world for a second. That was cool; Get Out was all anyone wanted to talk about. The doldru...
Last Dance Before Trumpism: Eastern Oregon, Park City (Virtual) and Rotterdam
In retrospect, it seems like it was the last glimmer of something. We were all in Eastern Oregon again, the loose circuit of folks who gather annually for the tiny two-and-a-half day, two-venue ...
Fear and Loathing and Black Rebels in Rotterdam
Being an American in rainy, gray Holland now, one feels compelled to apologize all the time. The 46th International Film Festival Rotterdam is halfway through and during the days I’ve been here...
On the Southern Circuit in the Time of October Surprises: Sidewalk, Third Horizon Caribbean and Hot Springs Film Festivals
Birmingham, tucked right in the middle of Alabama, is easily the biggest city in “the heart of Dixie”; its 1.1 million-person metropolitan area dwarfs the populations of Huntsville and Mobile...
Summer Festivaling, Part 1: On Seattle, BAMCinemaFEST, Oak Cliff
By the time most of the prominent guests, critics and industry hangers-on arrive at the Seattle International Film Festival every year, the show is almost over. The red carpet is rolled out for �...
Primary Colors: On the Sun Valley and Miami Film Festivals in the Hour of Republican Reckoning!
Despite the complete lack of interest from much of the population — and assuredly the tax incentive and rebate-averse Idaho State Legislature, the same one chronicled by Frederick Wisemen a dec...
The Origins and Challenges of Cartel Land, Amy, What Happened, Miss Simone? and Winter on Fire
Few festivals do a better job of rounding up the year’s most enticing documentaries than the always charming Savannah Film Festival. During its 18th edition last fall, the festival — largely ...
Park City Critic’s Notebook: Suicide Watch
Sundance went into a frenzy over the weekend over flatulent corpses and new corporate money. While the rash of walkouts that greeted the world premiere of Swiss Army Man, in which the remains o...
Park City Critic’s Notebook: Mermaid Feelings
On the first day of the 2016 Sundance Film Festival, before the Opening Night films — a seemingly lukewarm cancer movie and the newest from the ever-prolific Rachel Grady and Heidi Ewing — Ro...
“As Far as I’m Concerned, We Are Making the Movie Version”: Sam Esmail on Mr. Robot
It remains unclear at what point this century cyberpunk — a science-fiction subgenre that emerged largely from the pens of William Gibson and Philip K. Dick — leapt from the realm of specula...
Microcinema Blues: What Happens When Corporations Sponsor Experimental Cinema?
The Mini Microcinema, in Cincinnati’s Over-the-Rhine district, is perhaps the country’s only corporate-backed experimental microcinema. At least until today, when it has its final event in th...
Tribeca 2015 Critic’s Notebook: When I Live My Life Over Again, Dirty Weekend, Applesauce and Bad Hurt
It’s awards day at Tribeca and judging by the informal polling taking place at parties with free booze and in line at the Shake Shack next to the Regal Battery Park, the cinerati thinks this wa...
Tribeca 2015 Critic’s Notebook: Live from New York, Ludacris, The Survivalist, Crocodile Gennadiy and More
The Tribeca Film Festival isn’t going away. The 47 people who care about the lives and deaths of film festivals ask the same question every year: Is this brash upstart turned middle-aged guy re...
“I’m Not Interested in Cinema”: Adam Curtis on Bitter Lake
This weekend the True/False Film Festival will bestow its annual True Vision Award to BBC house provocateur Adam Curtis “in honor of his dedication to and advancement in the field of nonfiction...