An other-worldly story, set against the backdrop of Cold War era America circa 1962, where a mute janitor working at a lab falls in love with an amphibious man being held captive there and devises a plan to help him escape.
In the mid-1960s, wealthy debutant Edie Sedgwick meets artist Andy Warhol. She joins Warhol's famous Factory and becomes his muse. Although she seems to have it all, Edie cannot have the love she craves from Andy, and she has an affair with a charismatic musician, who pushes her to seek independence from the artist and the milieu.
Jacob Bernstein's extremely entertaining film is a tribute to his mother Nora Ephron: Hollywood-raised daughter of screenwriters who grew up to be an ace reporter turned piercingly funny essayist turned novelist/screenwriter/playwright/director. Ephron comes vibrantly alive onscreen via her words; the memories of her sisters, colleagues, former spouses, and many friends; scenes from her movies; and, above all, her own inimitable presence. Watch any given moment of Ephron being her sparkling but caustically witty self (for instance, this response to a scolding talk show host—"You have a soft spot for Julie Nixon, don't you. See, I don't...") and you find it hard to believe that she’s been gone from our midst for three years. Everything Is Copy (Ephron's motto, inherited from her mother) is a lovingly drawn but frank portrait and, incidentally, a vivid snapshot of an earlier, livelier, bitchier, and funnier moment in New York culture.
Although at first sight this might look like a simple ‘making of DANCER IN THE DARK’, the later developments in the film reveal the whole drama of Lars von Trier’s inner life during the shooting process. All his doubts and insecurities in collaborating with the crew and actors - especially actresses - are exposed. The biggest drama started when Björk walked off the set. Nobody knew whether she would be back or not. Admitting that he feels threatened by women, who can ‘make him feel embarrassed’, the director gives this documentary the nature of a personal diary. When he discusses the importance, purpose and beauty of the use of a hundred cameras in a certain sequence or the meaning of the Dogma 95 rules, the audience is witnessing the process of the artist’s search. Is the pain that the director went through during the shooting really visible in the final result, as Lars von Trier claims in this film? (from: http://www.idfa.nl/)
The film features a conversation between Lucas and Francis Ford Coppola, producer of THX 1138. They discuss Lucas' vision for the film, including his ideas about science fiction in general and in particular his concept of the "used future" which would famously feature in his film Star Wars. Intercut with this discussion is footage shot prior to the start of production of THX 1138 showing several of its actors having their heads shaved, a requirement for appearing in the film. In several cases the actors are shown being shaved in a public location. For example, Maggie McOmie is shaved outside the Palace of Fine Arts in San Francisco, while Robert Duvall watches a sporting event as his hair is cut off. Another actor, Marshall Efron, who would later play an insane man in the film, cut off his own hair and was filmed doing so in a bathtub.
A documentary on the Z Channel, one of the first pay cable stations in the US, and its programming chief, Jerry Harvey. Debuting in 1974, the LA-based channel's eclectic slate of movies became a prime example of the untapped power of cable television.
Schlock! The Secret History of American Movies (2001)
You've heard of Hollywood, a town of tinsel and glamour, the town of Paramount, Columbia and MGM. But there is another Hollywood, a place where maverick independent EXPLOITATION FILMMAKERS went toe to toe with the big guys and came out on top!
A short documentary in the Chaplin Today series about Chaplin's 'Monsieur Verdoux'. Includes an interview with Claude Chabrol, whose 1963 film 'Landru' concerns the same serial killer that inspired Chaplin's film.
Released two years after James Dean's death, this documentary chronicles his short life and career via black-and-white still photographs, interviews with the aunt and uncle who raised him, his paternal grandparents, a New York City cabdriver friend, the owner of his favorite Los Angeles restaurant, outtakes from East of Eden, footage of the opening night of Giant, and Dean's ironic PSA for safe driving.
In this revealing documentary, Ken McMullen creates an elegant portrait of artist and filmmaker Derek Jarman, based on an interview conducted by John Cartwright. The questions are unobtrusive, allowing Jarman to reflect on his major films. Despite the debilitating effects of serious illness, we see an artist with his inner vision unimpaired; still humorous, self effacing and disarmingly charming.
'The Ambiguity of David Thomas Broughton' is a musical documentary following the creative process of one of the UK’s most enigmatic musicians and performers. As a musical act, David Thomas Broughton is almost unclassifiable. His live shows are a exhilarating mix of musical experimentation and performance art, underlined with a raw unpredictability. His recorded material is dark but beautiful, marrying traditional folk with a surrealist edge. Off-stage, he’s an introvert with a passion for bird watching. Who is the real David Thomas Broughton? Through a series of interviews with friends, family and collaborators, filmmaker Greg Butler attempts to unravel this ambiguity. His journey takes him to David’s home town of Otley, where we track David’s creative process as he records new material to be played at the End of the Road Festival.
With a movie camera mounted in the passenger seat of his car, Andy Anderson drove around filming his local neighbourhood of Fort Worth, Texas. The procession of sunny lawns and quiet houses has a day-dreamy innocence, however on the soundtrack, a narrator recites from the police records of over 600 crimes committed in the area. Domestic violence, petty theft, drug related assault; the list of vicious and hapless actions unfolds randomly, "a woman said her husband punched her in the face when he asked her for ten dollars and she didn't have the money. theft; two lawnmowers.." In a powerful counterpoint of sound and image Drive By Shooting creates a two hour-long surveillance film that misses all the action, yet evokes a sense of vulnerability on the streets and violence behind closed doors.
Philo Bregstein tells us this film looks at Pasolini's life and art to explain why he died. The film traces Pasolini's life chronologically - family roots, hiding during World War II, teaching, moving to Rome, being arrested and acquitted many times, publishing poems, getting into film, being provocative, and being murdered. Interviews with Alberto Moravia, Laura Betti, Maria Antonietta Macciocch, and Bernard Bertolucci are inter-cut with readings of Pasolini's poems and with clips from four films - primarily the Gospel According to St. Matthew - to illustrate his changing ideas and points of view. Bregstein makes a case for Pasolini's being lynched.
Even though women make up 51 percent of the U.S. population, only about 4 percent of movies are directed by women. Of the 220 TV shows, representing about 3500 total episodes, only 14 percent were directed by women. Bloomberg interviewed several female directors in Hollywood, from Oscar winners to the director of "Twilight" to explore the various forms of sexism and discrimination they have faced in Hollywood, and what they are trying to do to change things