Shortlist of 15 films to be announced on December 17.
Us box office hits Won’t You Be My Neighbor?, Rbg, Three Identical Strangers and Free Solo have made it on to the 166-strong longlist of documentary feature Oscar hopefuls.
The shortlist of 15 films will be announced on December 17. Thursday’s (8) longlist includes Fahrenheit 11/9, Crime + Punishment, Generation Wealth, Maria By Calas, The Price Of Everything, Pope Francis – A Man of His Word, Ruben Blades Is Not My Name, Shirkers, They’ll Love Me When I’m Dead, Trust Machine, and Matangi / Maya / M.I.A. are also in contention.
A...
Us box office hits Won’t You Be My Neighbor?, Rbg, Three Identical Strangers and Free Solo have made it on to the 166-strong longlist of documentary feature Oscar hopefuls.
The shortlist of 15 films will be announced on December 17. Thursday’s (8) longlist includes Fahrenheit 11/9, Crime + Punishment, Generation Wealth, Maria By Calas, The Price Of Everything, Pope Francis – A Man of His Word, Ruben Blades Is Not My Name, Shirkers, They’ll Love Me When I’m Dead, Trust Machine, and Matangi / Maya / M.I.A. are also in contention.
A...
- 11/8/2018
- by Jeremy Kay
- ScreenDaily
A total of 166 films have been submitted for consideration in the documentary feature category for the 91st Academy Awards.
Notable titles up for the gold include “Rbg,” “Three Identical Strangers,” “Free Solo” and “Won’t You Be My Neighbor?” — which have performed strongly at the box office. Fred Rogers documentary “Won’t You Be My Neighbor?” has grossed $22.6 million domestically.
Nine of the 10 titles named as finalists for the International Documentary Association’s top feature are on the list, including “Crime + Punishment,” “Dark Money,” “Free Solo,” “Hale County This Morning, This Evening,” “Minding the Gap,” “Of Fathers and Sons,” “The Silence of Others,” “United Skates” and “Won’t You Be My Neighbor?”
The Academy of Motion Picture Arts and Sciences noted that several of the 166 films have not yet had their required Los Angeles and New York qualifying runs. A shortlist of 15 movies will be announced on Dec. 17.
Nominations...
Notable titles up for the gold include “Rbg,” “Three Identical Strangers,” “Free Solo” and “Won’t You Be My Neighbor?” — which have performed strongly at the box office. Fred Rogers documentary “Won’t You Be My Neighbor?” has grossed $22.6 million domestically.
Nine of the 10 titles named as finalists for the International Documentary Association’s top feature are on the list, including “Crime + Punishment,” “Dark Money,” “Free Solo,” “Hale County This Morning, This Evening,” “Minding the Gap,” “Of Fathers and Sons,” “The Silence of Others,” “United Skates” and “Won’t You Be My Neighbor?”
The Academy of Motion Picture Arts and Sciences noted that several of the 166 films have not yet had their required Los Angeles and New York qualifying runs. A shortlist of 15 movies will be announced on Dec. 17.
Nominations...
- 11/8/2018
- by Dave McNary
- Variety Film + TV
Last year, the Academy documentary branch had to grapple with a record 170 documentary feature submissions for the Best Documentary Feature Oscar. This year, it’s not so bad: only 166 were entered. The short list of 15 will be announced, along with eight others for the first time on a single date this year: December 17.
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
- 11/8/2018
- by Anne Thompson
- Thompson on Hollywood
Last year, the Academy documentary branch had to grapple with a record 170 documentary feature submissions for the Best Documentary Feature Oscar. This year, it’s not so bad: only 166 were entered. The short list of 15 will be announced, along with eight others for the first time on a single date this year: December 17.
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
- 11/8/2018
- by Anne Thompson
- Indiewire
A whopping 166 documentary features have been submitted to the academy for consideration at the 2019 Oscars. That is down by four from last year’s record 170 submissions. Among these contenders are all of the highest grossing documentaries of the year including “Free Solo,” “Rbg” and “Won’t You Be My Neighbor?”
To winnow the entries down to the 15 semi-finalists that will be announced on December 17, the academy is sending monthly packages of the newly eligible documentary feature screeners to all 400 or so members of the documentary branch. While all members are encouraged to watch as many of these as they can, one-fifth of the voters are assigned each title. In late November, each branch member will submit a preferential ballot listing their top 15 choices.
See 2019 Oscars: Foreign-language film entries from A (Afghanistan) to Y (Yemen)
All of these ballots will be collated to determine the 15 semi-finalists. Branch members will then be...
To winnow the entries down to the 15 semi-finalists that will be announced on December 17, the academy is sending monthly packages of the newly eligible documentary feature screeners to all 400 or so members of the documentary branch. While all members are encouraged to watch as many of these as they can, one-fifth of the voters are assigned each title. In late November, each branch member will submit a preferential ballot listing their top 15 choices.
See 2019 Oscars: Foreign-language film entries from A (Afghanistan) to Y (Yemen)
All of these ballots will be collated to determine the 15 semi-finalists. Branch members will then be...
- 11/8/2018
- by Paul Sheehan
- Gold Derby
The Academy of Motion Picture Arts and Sciences said today that 166 films have been submitted for Feature Documentary consideration for the 91st Academy Awards. Among them are box office success stories Rgb, Three Identical Strangers, Free Solo and Won’t You Be My Neighbor?
The Academy notes that several of the films have not yet had their required Los Angeles and New York qualifying releases. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules in order to advance in the voting process. This year, for the first time, films that have won a qualifying award at a competitive film festival or have been submitted in the Foreign Language Film category as their country’s official selection, are also eligible in the category.
A shortlist of 15 films will be announced on December 17, and Oscar nominations will be unveil January 22. The hardware...
The Academy notes that several of the films have not yet had their required Los Angeles and New York qualifying releases. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules in order to advance in the voting process. This year, for the first time, films that have won a qualifying award at a competitive film festival or have been submitted in the Foreign Language Film category as their country’s official selection, are also eligible in the category.
A shortlist of 15 films will be announced on December 17, and Oscar nominations will be unveil January 22. The hardware...
- 11/8/2018
- by Erik Pedersen
- Deadline Film + TV
In a year that has seen multiple documentaries find mainstream success, the Academy of Motion Picture Arts and Sciences released the list of 166 docs that have been submitted for Oscar consideration this year.
Among the films on the list are Michael Moore’s anti-Trump polemic “Fahrenheit 11/9,” as well as CNN Films’ Ruth Bader Ginsburg biography “Rbg” and Focus’ Mister Rogers retrospective “Won’t You Be My Neighbor?”
Other films considered frontrunners include “Three Identical Strangers,” the wild story of triplets who were separated at birth by a bizarre experiment, “Free Solo,” which documents the first ever attempt to climb Yosemite’s El Capitan without any climbing gear, and “Dark Money,” an investigative report into the influence of billionaires on American democracy through the lens of a Montana congressional race.
Also Read: Sorry, Oscar Documentary Voters: Your Workload Just Doubled
The contender field is slightly less than last year’s record field of 170 but does include,...
Among the films on the list are Michael Moore’s anti-Trump polemic “Fahrenheit 11/9,” as well as CNN Films’ Ruth Bader Ginsburg biography “Rbg” and Focus’ Mister Rogers retrospective “Won’t You Be My Neighbor?”
Other films considered frontrunners include “Three Identical Strangers,” the wild story of triplets who were separated at birth by a bizarre experiment, “Free Solo,” which documents the first ever attempt to climb Yosemite’s El Capitan without any climbing gear, and “Dark Money,” an investigative report into the influence of billionaires on American democracy through the lens of a Montana congressional race.
Also Read: Sorry, Oscar Documentary Voters: Your Workload Just Doubled
The contender field is slightly less than last year’s record field of 170 but does include,...
- 11/8/2018
- by Jeremy Fuster
- The Wrap
No new-openers in this week’s top five.
Today’s Gbp to Usd conversion rate - 1.29
Rank Film / Distributor Three-day gross (Aug 24-26) Running gross Week 1 Christopher Robin (Disney) £2.1m £7.9m 2 2 Mamma Mia! Here We Go Again (Universal) £1.7m £59.3m 6 3 The Meg (Warner Bros) £1.5m £12.2m 3 4 The Equalizer 2 (Sony Pictures) £1.3m £4.9m 2 5 Incredibles 2 (Disney) £1.3m £51.6m 7 Disney
Christopher Robin stayed top of the UK box office over a bank holiday weekend that saw no new openers trouble the top five.
The Disney film was down a very slim 12% in its second session, adding £2.1m for £7.9m to date.
Incredibles 2 also held particularly well,...
Today’s Gbp to Usd conversion rate - 1.29
Rank Film / Distributor Three-day gross (Aug 24-26) Running gross Week 1 Christopher Robin (Disney) £2.1m £7.9m 2 2 Mamma Mia! Here We Go Again (Universal) £1.7m £59.3m 6 3 The Meg (Warner Bros) £1.5m £12.2m 3 4 The Equalizer 2 (Sony Pictures) £1.3m £4.9m 2 5 Incredibles 2 (Disney) £1.3m £51.6m 7 Disney
Christopher Robin stayed top of the UK box office over a bank holiday weekend that saw no new openers trouble the top five.
The Disney film was down a very slim 12% in its second session, adding £2.1m for £7.9m to date.
Incredibles 2 also held particularly well,...
- 8/28/2018
- by Tom Grater
- ScreenDaily
Mamma Mia! Here We Go Again hits £54.5m in the UK.
Today’s Gbp to Usd conversion rate - 1.28
RankFilm / DistributorThree-day gross (Aug 17-19) Running gross Week 1 Christopher Robin (Disney) £2.4m £2.5m 1 2 Mamma Mia! Here We Go Again (Disney) £2.2m £54.5m 5 3 The Meg (Warner Bros) £2.1m £8.5m 2 4 The Equalizer 2 (Universal) £1.9m £2m 1 5 Incredibles 2 (Disney) £1.4m £48.6m 6 Disney
Christopher Robin, director Marc Forster’s film based on A. A. Milne’s classic Winnie-the-Pooh children’s novels, starring Ewan McGregor alongside a CGI Winnie (voiced by Jim Cummings) got underway in the UK with a £2.4m weekend from 658 sites, an average of £3,647. With previews,...
Today’s Gbp to Usd conversion rate - 1.28
RankFilm / DistributorThree-day gross (Aug 17-19) Running gross Week 1 Christopher Robin (Disney) £2.4m £2.5m 1 2 Mamma Mia! Here We Go Again (Disney) £2.2m £54.5m 5 3 The Meg (Warner Bros) £2.1m £8.5m 2 4 The Equalizer 2 (Universal) £1.9m £2m 1 5 Incredibles 2 (Disney) £1.4m £48.6m 6 Disney
Christopher Robin, director Marc Forster’s film based on A. A. Milne’s classic Winnie-the-Pooh children’s novels, starring Ewan McGregor alongside a CGI Winnie (voiced by Jim Cummings) got underway in the UK with a £2.4m weekend from 658 sites, an average of £3,647. With previews,...
- 8/20/2018
- by Tom Grater
- ScreenDaily
The Heiresses, Heathers re-release roll out in the UK.
Update: Following yesterday’s delay due to a system error, this weekend’s full UK box office results are now in.
Today’s Gbp to Usd conversion rate - 1.29
Rank Film / Distributor Three-day gross (Aug 10-12) Running gross Week 1 ‘The Meg’ (Warner Bros) £3.7m £4.4m 1 2 ’Mamma Mia! Here We Go Again (Disney) £3.6m £49.3m 4 3 Incredibles 2 (Disney) £2.4m £45m 5 4 Ant-Man And The Wasp (Disney) £2.3m £10.5m 2 5 Mission: Impossible – Fallout (Paramount) £2m £17.8m 3 Warner Bros
The Meg, the action movie in which Jason Statham battles a 70-foot prehistoric shark, got its chops...
Update: Following yesterday’s delay due to a system error, this weekend’s full UK box office results are now in.
Today’s Gbp to Usd conversion rate - 1.29
Rank Film / Distributor Three-day gross (Aug 10-12) Running gross Week 1 ‘The Meg’ (Warner Bros) £3.7m £4.4m 1 2 ’Mamma Mia! Here We Go Again (Disney) £3.6m £49.3m 4 3 Incredibles 2 (Disney) £2.4m £45m 5 4 Ant-Man And The Wasp (Disney) £2.3m £10.5m 2 5 Mission: Impossible – Fallout (Paramount) £2m £17.8m 3 Warner Bros
The Meg, the action movie in which Jason Statham battles a 70-foot prehistoric shark, got its chops...
- 8/14/2018
- by Tom Grater
- ScreenDaily
The Heiresses, Heathers re-release roll out in the UK.
A system error at Odeon Cinemas means today’s UK box office report will be delayed. Full numbers are scheduled to be delivered later this afternoon. The below titles are largely not playing at Odeon or, where indicated, are incomplete due to the missing figures.
Today’s Gbp to Usd conversion rate - 1.29
Arrow Films
The re-release of Michael Lehmann‘s 1988 comedy Heathers, starring Winona Ryder and Christian Slater, on the film’s 30th anniversary, took £37,933 from 107 cinemas this weekend.
Thunderbird
The Heiresses, Marcelo Martinessi’s Paraguay-set drama which premiered at the Berlinale this year,...
A system error at Odeon Cinemas means today’s UK box office report will be delayed. Full numbers are scheduled to be delivered later this afternoon. The below titles are largely not playing at Odeon or, where indicated, are incomplete due to the missing figures.
Today’s Gbp to Usd conversion rate - 1.29
Arrow Films
The re-release of Michael Lehmann‘s 1988 comedy Heathers, starring Winona Ryder and Christian Slater, on the film’s 30th anniversary, took £37,933 from 107 cinemas this weekend.
Thunderbird
The Heiresses, Marcelo Martinessi’s Paraguay-set drama which premiered at the Berlinale this year,...
- 8/13/2018
- by Tom Grater
- ScreenDaily
This meditative documentary gets to grips with British sculptor and nature artist, whose work is about the ephemeral and enduring
A companion piece to River and Tides: Andy Goldsworthy Working with Time, a 2001 documentary about the remarkable British artist, this elegant sequel reteams Goldsworthy, cinematographer-director-editor Thomas Riedelsheimer and composer Fred Frith to create another mesmerising cinematic experience observing the artist at work, shaping and interacting with nature around the world.
A friend who watched this with me said that it’s the kind of film she’d like to see again when she’s dying. That pretty much nails its meditative, melancholy tone and suits the kind of work Goldsworthy does, which is all about the ephemeral and the enduring; time and the tactile qualities of the instant. At an intriguingly eclectic range of sites including San Francisco, Brazil, Gabon, central Edinburgh and rural corners of France and England, Goldsworthy...
A companion piece to River and Tides: Andy Goldsworthy Working with Time, a 2001 documentary about the remarkable British artist, this elegant sequel reteams Goldsworthy, cinematographer-director-editor Thomas Riedelsheimer and composer Fred Frith to create another mesmerising cinematic experience observing the artist at work, shaping and interacting with nature around the world.
A friend who watched this with me said that it’s the kind of film she’d like to see again when she’s dying. That pretty much nails its meditative, melancholy tone and suits the kind of work Goldsworthy does, which is all about the ephemeral and the enduring; time and the tactile qualities of the instant. At an intriguingly eclectic range of sites including San Francisco, Brazil, Gabon, central Edinburgh and rural corners of France and England, Goldsworthy...
- 8/10/2018
- by Leslie Felperin
- The Guardian - Film News
Holdovers likely to dominate UK box office this weekend.
It’s a soft-looking set of releases in the UK this weekend, which will mean holdover studio fare such as Mamma Mia! Here We Go Again (Universal), Ant-Man And The Wasp (Disney) and Mission: Impossible – Fallout (Paramount) will be looking to make use of the forecast break from the UK’s summer heatwave.
The Mamma Mia! sequel stayed top of the chart for the third straight week last weekend, moving to a mighty £39.3m, while Marvel’s Ant-Man sequel disappointed with a soft opening of £5m (for a superhero title).
In the indie space,...
It’s a soft-looking set of releases in the UK this weekend, which will mean holdover studio fare such as Mamma Mia! Here We Go Again (Universal), Ant-Man And The Wasp (Disney) and Mission: Impossible – Fallout (Paramount) will be looking to make use of the forecast break from the UK’s summer heatwave.
The Mamma Mia! sequel stayed top of the chart for the third straight week last weekend, moving to a mighty £39.3m, while Marvel’s Ant-Man sequel disappointed with a soft opening of £5m (for a superhero title).
In the indie space,...
- 8/10/2018
- by Tom Grater
- ScreenDaily
Chicago – The British artist Andy Goldsworthy is a true “outsider” artist, because many of his works are rooted in the grown-and-death cycles of the great outdoors. He is described as a sculptor, photographer and environmentalist, but many of his art creations use materials available in any wooded area, based on a connection to nature combined with a creative soul. This is profiled in the second film about him from the same director, “Leaning Into the Wind - Andy Goldsworthy.”
Rating: 4.0/5.0
This is a followup documentary film to “Rivers and Tides - Andy Goldsworthy Working with Time” (2001) by director Thomas Riedelsheimer, who also directs “Leaning Into the Wind.” The director obviously loves his subject, as the film is a valentine to Goldworthy’s methods and completed works. This functions as a study of both how perhaps ancient civilizations invented art, and the collaboration that the artist has using the natural environment as his media.
Rating: 4.0/5.0
This is a followup documentary film to “Rivers and Tides - Andy Goldsworthy Working with Time” (2001) by director Thomas Riedelsheimer, who also directs “Leaning Into the Wind.” The director obviously loves his subject, as the film is a valentine to Goldworthy’s methods and completed works. This functions as a study of both how perhaps ancient civilizations invented art, and the collaboration that the artist has using the natural environment as his media.
- 3/28/2018
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
By Glenn Dunks
As a medium, film is a record forever. An actor can give a stunning performance on a stage, but without a camera to capture it, it remains somewhat in the ether – a happening, an instance, a moment in time that can only truly live on in the mind of those who witnessed it. Of course, that doesn’t make it any less valid or worthy, but it’s something worth considering as we watch movies that they, even fictional ones, are ultimately a document of the emotions and the energy and the craft that was put into it, captured forever for anybody to experience.
I thought of this as I watched Thomas Riedelsheimer’s Leaning into the Wind: Andy Goldsworthy because it is a film that will live on as the only document of some of Goldsworthy’s work. The artist is known predominantly for his works...
As a medium, film is a record forever. An actor can give a stunning performance on a stage, but without a camera to capture it, it remains somewhat in the ether – a happening, an instance, a moment in time that can only truly live on in the mind of those who witnessed it. Of course, that doesn’t make it any less valid or worthy, but it’s something worth considering as we watch movies that they, even fictional ones, are ultimately a document of the emotions and the energy and the craft that was put into it, captured forever for anybody to experience.
I thought of this as I watched Thomas Riedelsheimer’s Leaning into the Wind: Andy Goldsworthy because it is a film that will live on as the only document of some of Goldsworthy’s work. The artist is known predominantly for his works...
- 3/27/2018
- by Glenn Dunks
- FilmExperience
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGWe're very much in love with Zama, Lucrecia Martel's long-anticipated return to filmmaking. The new trailer calls us back to our encounter of the film at Toronto last year and our conversation with the director.We all know that Rainer Werner Fassbinder made a lot—a whole lot—of films in his all too brief 15 years of activity, but it's truly remarkable how new (old) work of his keeps appearing. First there was the revelation of World on a Wire (1973) and now another made-for-tv epic has been restored and is being re-released, Eight Hours Are Not a Day (1972-1973). We wonder what other future delights and provocations Rwf has in store for us!Recommended READINGDoll & EmAt The Guardian, Lili Loofbourow takes a look at how stories about women are perceived and received differently than those about men.
- 3/15/2018
- MUBI
New blood! “The Death of Stalin” came along just in time to replace the aging awards titles that dominated the specialized world since October. In its initial two-city platform, audiences embraced the unlikely comedy involving a group of famous Soviet figures who plan to kill the Communist despot. Maybe the Oscar hangover won’t be so bad this year.
Two other wider releases — “The Leisure Seeker” and “Thoroughbreds” — had larger grosses, but far lower per-theater averages. Neither suggest much traction.
Opening
The Death of Stalin (IFC) – Metacritic: 88; Festivals include: Toronto 2017, Sundance 2018
$181,308 in 4 theaters; PTA (per theater average): $45,307
Armando Iannucci’s early-1950s, Moscow-set comedy that surrounding plotting and maneuvers at the dictator’s demise is the first 2018 platform release to suggest crossover appeal. The $45,000 PTA in four New York/Los Angeles theaters is impressive; it’s just behind “The Grand Budapest Hotel” and “While We’re Young,” both in...
Two other wider releases — “The Leisure Seeker” and “Thoroughbreds” — had larger grosses, but far lower per-theater averages. Neither suggest much traction.
Opening
The Death of Stalin (IFC) – Metacritic: 88; Festivals include: Toronto 2017, Sundance 2018
$181,308 in 4 theaters; PTA (per theater average): $45,307
Armando Iannucci’s early-1950s, Moscow-set comedy that surrounding plotting and maneuvers at the dictator’s demise is the first 2018 platform release to suggest crossover appeal. The $45,000 PTA in four New York/Los Angeles theaters is impressive; it’s just behind “The Grand Budapest Hotel” and “While We’re Young,” both in...
- 3/11/2018
- by Tom Brueggemann
- Indiewire
In a radio interview a few years ago, the British sculptor Andy Goldsworthy talked about the feeling he gets when he’s in the middle of building something and suddenly it falls apart. “Failure is really, really important,” he said. “But failures have to hurt.” The point was that for Goldsworthy, who makes deliberately ephemeral things, building a stone wall knowing it’ll collapse is not at all the same as really hoping it doesn’t.Being radio, that interview had to do without an illustration, but helpfully the German filmmaker Thomas Riedelsheimer has been making occasional documentary profiles of Goldsworthy in which such moments occur on camera, with the sneak-up force of real epiphanies. In 2001’s Rivers and Tides, it was an orb of stones crumpling into a sodden foundation of beach sand. In Riedelsheimer’s new film, Leaning Into the Wind, it’s an arrangement of yellow elm leaves,...
- 3/8/2018
- MUBI
Earlier today the folks at the Northwest Film Center announced the full line-up for this year’s Portland International Film Festival, and have published a Pdf for all to read online. The printed copies will be making their way around town this week.
The Northwest Film Center is proud to reveal the 41st Portland International Film Festival (Piff 41) lineup. This year’s Festival begins on Thursday, February 15th and runs through Thursday, March 1st. Our Opening Night selection is the new comedy The Death of Stalin from writer/director Armando Iannucci (Veep, In the Loop). The film, adapted from the graphic novel by Fabien Nury, stars Steve Buscemi, Olga Kurylenko, Jason Isaacs, and Michael Palin. The Death of Stalin will screen simultaneously on Opening Night at the Whitsell Auditorium, located in the Portland Art Museum (1219 Sw Park Ave) and on two screens at Regal Fox Tower 10 (846 Sw Park Ave).
Check...
The Northwest Film Center is proud to reveal the 41st Portland International Film Festival (Piff 41) lineup. This year’s Festival begins on Thursday, February 15th and runs through Thursday, March 1st. Our Opening Night selection is the new comedy The Death of Stalin from writer/director Armando Iannucci (Veep, In the Loop). The film, adapted from the graphic novel by Fabien Nury, stars Steve Buscemi, Olga Kurylenko, Jason Isaacs, and Michael Palin. The Death of Stalin will screen simultaneously on Opening Night at the Whitsell Auditorium, located in the Portland Art Museum (1219 Sw Park Ave) and on two screens at Regal Fox Tower 10 (846 Sw Park Ave).
Check...
- 1/30/2018
- by Ryan Gallagher
- CriterionCast
Exclusive: Distributor to time release alongside Us launch through Magnolia.
Films We Like has snapped up Canadian rights in a deal with Mongrel International.
Thomas Riedelsheimer’s second film about the life and work of British artist Andy Goldsworthy follows his acclaimed 2001 film Rivers And Tides.
Leaning Into The Wind premiered at the San Francisco International Film Festival and explores the outdoor spaces that have inspired Goldsworthy, spanning Scotland, France and New England.
Films We Like plans a Canadian theatrical release later this year alongside the Us launch through Magnolia Pictures.
The companies are following a similar pattern this autumn on Lucky, John Carroll Lynch’s feature directorial starring Harry Dean Stanton as a 90-year-old atheist on a spiritual quest.
Films We Like president Ron Mann brokered the Leaning Into The Wind deal with Mongrel International president Charlotte Mickie.
Films We Like has snapped up Canadian rights in a deal with Mongrel International.
Thomas Riedelsheimer’s second film about the life and work of British artist Andy Goldsworthy follows his acclaimed 2001 film Rivers And Tides.
Leaning Into The Wind premiered at the San Francisco International Film Festival and explores the outdoor spaces that have inspired Goldsworthy, spanning Scotland, France and New England.
Films We Like plans a Canadian theatrical release later this year alongside the Us launch through Magnolia Pictures.
The companies are following a similar pattern this autumn on Lucky, John Carroll Lynch’s feature directorial starring Harry Dean Stanton as a 90-year-old atheist on a spiritual quest.
Films We Like president Ron Mann brokered the Leaning Into The Wind deal with Mongrel International president Charlotte Mickie.
- 4/14/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.
– Gravitas Ventures has acquired the U.S. theatrical, digital and video rights to “Elián,” the story of Elián González, a five-year-old Cuban boy plucked from the Florida Straits on Thanksgiving Day in 1999, and how the fight over his future sparked a flashpoint for U.S. and Cuban tensions. Directed by Ross McDonnell and Tim Golden, the film is executive produced by Alex Gibney’s Jigsaw Productions.
Read More: Film Acquisition Rundown: Fox Searchlight Picks Up ‘The Spy With No Name,’ FilmRise Buys ‘Marjorie Prime’ and More
“Elián” is slated for a platform theatrical release beginning in New York and Los Angeles on May 19. The film will also be premiering at this year’s Tribeca Film Festival on...
– Gravitas Ventures has acquired the U.S. theatrical, digital and video rights to “Elián,” the story of Elián González, a five-year-old Cuban boy plucked from the Florida Straits on Thanksgiving Day in 1999, and how the fight over his future sparked a flashpoint for U.S. and Cuban tensions. Directed by Ross McDonnell and Tim Golden, the film is executive produced by Alex Gibney’s Jigsaw Productions.
Read More: Film Acquisition Rundown: Fox Searchlight Picks Up ‘The Spy With No Name,’ FilmRise Buys ‘Marjorie Prime’ and More
“Elián” is slated for a platform theatrical release beginning in New York and Los Angeles on May 19. The film will also be premiering at this year’s Tribeca Film Festival on...
- 4/14/2017
- by Graham Winfrey
- Indiewire
Magnolia Pictures acquired U.S. distribution rights to director Thomas Riedelsheimer's documentary Leaning Into the Wind and is planning a theatrical rollout later this year. It’s Riedelsheimer’s sophomore docu on renowned British artist Andy Goldsworthy, following their 2001 collaboration Rivers and Tides. The film, which world premiered at the San Francisco International Film Festival, centers on the vibrant journey through the diverse layers of Goldsworthy’s world…...
- 4/12/2017
- Deadline
Separately, Films We Like acquires Lucky, plans simultaneous release in Canada with Us distributor Magnolia.
Magnolia Pictures has picked up Us rights from Mongrel International to Thomas Riedelsheimer’s Leaning Into The Wind.
Riedelsheimer’s second documentary about British artist Andy Goldsworthy following Rivers And Tides recently received its world premiere at the San Francisco International Film Festival.
Leaning Into The Wind journeys into the hillsides, terrains, and other outdoor spaces where Goldsworthy feels most at home, from urban Edinburgh and Glasgow to the south of France and New England.
Magnolia plans a theatrical release later this year.
“Thomas has crafted another extraordinary film in Leaning Into The Wind,” Magnolia president Eamonn Bowles said. “Not only is it a visual masterpiece, it’s also one of the most fascinating character studies I’ve seen in years.”
“Fifteen years after Rivers And Tides, San Francisco again provided such a warm and enthusiastic welcome,” Riedelsheimer said. “I...
Magnolia Pictures has picked up Us rights from Mongrel International to Thomas Riedelsheimer’s Leaning Into The Wind.
Riedelsheimer’s second documentary about British artist Andy Goldsworthy following Rivers And Tides recently received its world premiere at the San Francisco International Film Festival.
Leaning Into The Wind journeys into the hillsides, terrains, and other outdoor spaces where Goldsworthy feels most at home, from urban Edinburgh and Glasgow to the south of France and New England.
Magnolia plans a theatrical release later this year.
“Thomas has crafted another extraordinary film in Leaning Into The Wind,” Magnolia president Eamonn Bowles said. “Not only is it a visual masterpiece, it’s also one of the most fascinating character studies I’ve seen in years.”
“Fifteen years after Rivers And Tides, San Francisco again provided such a warm and enthusiastic welcome,” Riedelsheimer said. “I...
- 4/12/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Either an artistic environmentalist or an environmental artist, Cheshire native Andy Goldsworthy has spent the better part of his life using natural resources (and almost nothing else) to create site-specific works that are built to fall apart. He wraps icicles around shrubs like ribbons, and leaves before they melt. He lies on the ground at the first hint of rain in order to leave a dry silhouette amidst the drops. Some of his projects disappear in seconds — he’s known to wrap flower petals around his hands so tight that they look like engorged flesh, and then dip his hands into a stream to watch the petals shed off and float away. Others will surely outlive him — he’s fascinated by rock walls, and will carve trenches between them in order to foster the sensation of being inside the earth — but on a long enough timeline, even those more enduring...
- 4/12/2017
- by David Ehrlich
- Indiewire
Nothing short of extraordinary, Thomas Riedelsheimer’s “Leaning into the Wind – Andy Goldsworthy” rekindles the captivating observation of English artist Andy Goldsworthy at this year’s San Fransisco International Film Festival. Reidelsheimer premiered one of his first English-language documentaries in 2002 at Sfiff, with his first documentary focused on artist Andy Goldsworthy’s work, “River and Tides – Andy Goldsworthy Working With Time.”
Read More: San Francisco’s Master Plan to Keep Film Relevant In the 21st Century — Sf International Film Festival
Receiving unexpected acclaim, “Rivers and Tides” got picked up for distribution, eventually making its way to Roger Ebert, where he gave the film four stars. Reidelsheimer returns to the fest this year with the second installment of Andy Goldsworthy’s work, “Leaning into the Wind – Andy Goldsworthy.”
This year, Sfiff has programmed a new, highly selective, section of the festival titled Launch. Only five films live within the Launch section...
Read More: San Francisco’s Master Plan to Keep Film Relevant In the 21st Century — Sf International Film Festival
Receiving unexpected acclaim, “Rivers and Tides” got picked up for distribution, eventually making its way to Roger Ebert, where he gave the film four stars. Reidelsheimer returns to the fest this year with the second installment of Andy Goldsworthy’s work, “Leaning into the Wind – Andy Goldsworthy.”
This year, Sfiff has programmed a new, highly selective, section of the festival titled Launch. Only five films live within the Launch section...
- 4/6/2017
- by Kerry Levielle
- Indiewire
In 2002, director Thomas Riedelsheimer premiered his documentary “River and Tides – Andy Goldsworthy Working With Time” at the San Francisco International Film Festival. At the time, its future was uncertain: Unlike Sundance, San Francisco wasn’t an active marketplace for movies in search of U.S. distribution. Nevertheless, the movie won a top prize at the festival and began its theatrical life at the Roxie that year before gradually finding an audience nationwide. When it opened in Chicago in early 2003, Roger Ebert gave it four stars, noting its Bay Area origin story and a history of “finding its audience not so much through word of mouth as through hand on elbow, as friends steered friends into the theater.”
Now, Riedelsheimer is returning to San Francisco with a sequel to “Rivers and Tides” called “Leaning Into the Wind,” which updates viewers on the progress of British artist Goldsworthy, and the movie has...
Now, Riedelsheimer is returning to San Francisco with a sequel to “Rivers and Tides” called “Leaning Into the Wind,” which updates viewers on the progress of British artist Goldsworthy, and the movie has...
- 3/30/2017
- by Eric Kohn
- Indiewire
Exclusive: Documentary sees director Riedelsheimer revisiting artist Andy Goldsworthy.
Mongrel International has acquired international sales on Leaning Into The Wind, Thomas Riedelsheimer’s follow-up to his acclaimed documentary Rivers And Tides.
Sixteen years after Riedelsheimer profiled the work of land artist Andy Goldsworthy he revisits the artist.
Leaning Into The Wind will get its world premiere at the San Francisco International Film Festival in April alongside an anniversary screening of Rivers And Tides.
The new film shot from 2013-16 is described as a more personal investigation into Goldsworthy’s work as he incorporates his own body into his work and collaborates with crews on massive machinery.
Leaning Into The Wind is a Scottish-German co-production produced by Leslie Hills and Stefan Tolz with support from The National Lottery through Creative Scotland, Robert Hiscox, Roger Evans and Aey Phanachet, Sakurako and William Fisher, Miel de Botton, John Caulkins and Leslie Hills.
Piffl will distribute in Germany and Eurozoom in France...
Mongrel International has acquired international sales on Leaning Into The Wind, Thomas Riedelsheimer’s follow-up to his acclaimed documentary Rivers And Tides.
Sixteen years after Riedelsheimer profiled the work of land artist Andy Goldsworthy he revisits the artist.
Leaning Into The Wind will get its world premiere at the San Francisco International Film Festival in April alongside an anniversary screening of Rivers And Tides.
The new film shot from 2013-16 is described as a more personal investigation into Goldsworthy’s work as he incorporates his own body into his work and collaborates with crews on massive machinery.
Leaning Into The Wind is a Scottish-German co-production produced by Leslie Hills and Stefan Tolz with support from The National Lottery through Creative Scotland, Robert Hiscox, Roger Evans and Aey Phanachet, Sakurako and William Fisher, Miel de Botton, John Caulkins and Leslie Hills.
Piffl will distribute in Germany and Eurozoom in France...
- 2/10/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
San Francisco-based Fandor has signed streaming partnerships with Cinedigm, Factory 25 and Oscilloscope Laboratories.
The VOD service’s library of more than 5,000 titles includes Computer Chess (pictured), The Messenger, An Oversimplification of Her Beauty, Sun Don’t Shine and Rivers And Tides: Andy Goldsworthy Working With Time.
“Following our expansion into Canada in September, film acquisitions have accelerated accordingly,” said Fandor co-founder and chief content officer Jonathan Marlow. “Over the last few weeks, we have added many invaluable partnerships to an already exceptional portfolio of distributors, aggregators and individual filmmakers.”...
The VOD service’s library of more than 5,000 titles includes Computer Chess (pictured), The Messenger, An Oversimplification of Her Beauty, Sun Don’t Shine and Rivers And Tides: Andy Goldsworthy Working With Time.
“Following our expansion into Canada in September, film acquisitions have accelerated accordingly,” said Fandor co-founder and chief content officer Jonathan Marlow. “Over the last few weeks, we have added many invaluable partnerships to an already exceptional portfolio of distributors, aggregators and individual filmmakers.”...
- 12/5/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The line between creative ambition and risky obsession is sharply drawn—or rather, carved out of New Mexico sandstone—in the life and work of wholly motivated artist Ra Paulette, an aging environmental sculptor whose labyrinthine, intricately detailed, functional art-caves are literally so underground that you've never heard of him. Akin to Andy Goldsworthy—who also painstakingly creates fleeting beauty in the wilderness, but mainly reaches his audience through photographs of those creations—Paulette may benefit from being the subject of Jeffrey Karoff's intriguing doc portrait. "When he has a shovel in his hand, he's like a coke addict with piles of coke. He just wants to keep going and going," says the man who married Paulette's ex-girlfriend; the couple then...
- 7/24/2013
- Village Voice
"The Man From Nowhere" (2010)
Directed by Lee Jeong-beom
Released by Well Go USA
Matt Singer said there's a sequence in this Korean revenge thriller that has "already taken up permanent residence in the Movie Hall of Fame section of my brain," so what more do you need? "Mother" star Won Bin stars as the man who is framed by local gangsters and seeks to retrieve the young girl he lives next door to after she's been kidnapped.
"Abducted" (2011)
Directed by Jon Bonnell
Released by Brain Damage Films
Originally called "Match.Dead," this 2009 thriller details the perils of online dating when a teen girl (Kathleen Benner) arranges a date with a man she soon learns is a psychopath (James Ray). Alan Smithee is the credited screenwriter on IMDb, so one might not want to go in with high expectations.
"Babysitters Beware" (2011)
Directed by Douglas Horn
Released by Phase 4 Films
If you're the...
Directed by Lee Jeong-beom
Released by Well Go USA
Matt Singer said there's a sequence in this Korean revenge thriller that has "already taken up permanent residence in the Movie Hall of Fame section of my brain," so what more do you need? "Mother" star Won Bin stars as the man who is framed by local gangsters and seeks to retrieve the young girl he lives next door to after she's been kidnapped.
"Abducted" (2011)
Directed by Jon Bonnell
Released by Brain Damage Films
Originally called "Match.Dead," this 2009 thriller details the perils of online dating when a teen girl (Kathleen Benner) arranges a date with a man she soon learns is a psychopath (James Ray). Alan Smithee is the credited screenwriter on IMDb, so one might not want to go in with high expectations.
"Babysitters Beware" (2011)
Directed by Douglas Horn
Released by Phase 4 Films
If you're the...
- 3/5/2011
- by Stephen Saito
- ifc.com
Your Weekly Source for Blu-Ray and DVD Release News
There’s a lot to choose from this week. Criterion Collection adds three, two old and one new… Burt Lancaster and Tony Curtis star in Sweet Smell Of Success about a powerful columnist who tries to keep his sister from marrying a jazz musician; Senso is an Italian classic about a countess and a lieutenant who pursue a self-destructive relationship; Fish Tank tells an edgy, inspirational story of a disadvantaged British girl who longs to be a hip hop dancer. Relish in 80′s buddy cop cinema with Eddie Murphy and Nick Nolte in 48 Hours. Admire the melding of nature and art in Rivers & Tides, a documentary about Andy Goldsworthy. Have a frighteningly silly time with the “animals attack” schlockfest fan-fave Birdemic. Robert Duvall shines as an eccentric recluse planning his own funeral party in Get Low, Vincent Cassell gets dangerous as...
There’s a lot to choose from this week. Criterion Collection adds three, two old and one new… Burt Lancaster and Tony Curtis star in Sweet Smell Of Success about a powerful columnist who tries to keep his sister from marrying a jazz musician; Senso is an Italian classic about a countess and a lieutenant who pursue a self-destructive relationship; Fish Tank tells an edgy, inspirational story of a disadvantaged British girl who longs to be a hip hop dancer. Relish in 80′s buddy cop cinema with Eddie Murphy and Nick Nolte in 48 Hours. Admire the melding of nature and art in Rivers & Tides, a documentary about Andy Goldsworthy. Have a frighteningly silly time with the “animals attack” schlockfest fan-fave Birdemic. Robert Duvall shines as an eccentric recluse planning his own funeral party in Get Low, Vincent Cassell gets dangerous as...
- 2/21/2011
- by Movie Geeks
- WeAreMovieGeeks.com
Publisher of Movie magazine and books on cinema and art
Ian Cameron, who has died aged 72 from a virulent form of lung disease, had a long and enterprising career as an independent producer of books, notably on cinema and art, and of an influential film magazine, Movie. Producer is the best word, since he was variously author, editor, photographer, designer and publisher. The flair and commitment that he brought to the last four of these roles came to overshadow his own writing, but in his 20s he was a sharp and articulate film critic, a dominant voice in the debates that were transforming attitudes to cinema in Britain in the 1960s.
His childhood had been unsettled. Born in London, he was only five when his mother died and his Scottish father sent him to live for a year with maiden aunts in Inverness; on returning, he found he now had a stepmother.
Ian Cameron, who has died aged 72 from a virulent form of lung disease, had a long and enterprising career as an independent producer of books, notably on cinema and art, and of an influential film magazine, Movie. Producer is the best word, since he was variously author, editor, photographer, designer and publisher. The flair and commitment that he brought to the last four of these roles came to overshadow his own writing, but in his 20s he was a sharp and articulate film critic, a dominant voice in the debates that were transforming attitudes to cinema in Britain in the 1960s.
His childhood had been unsettled. Born in London, he was only five when his mother died and his Scottish father sent him to live for a year with maiden aunts in Inverness; on returning, he found he now had a stepmother.
- 3/14/2010
- The Guardian - Film News
We've probably all experienced that day in our childhood, lying on the front lawn, when the clouds overhead reminded us of something--a dancing elephant, Ben Franklin's profile, or that '52 Packard.
For many, finding form and function inspired by nature has played a significant role in creating brilliant design. For me, nature is at the heart and soul of nearly everything I do and create, and it often provides metaphors that have led to solutions that have subtle impact.
Several years ago, I was working on a project from hell in Paris and had just left yet another depressing meeting. I was walking down a boulevard back to my hotel when I happened upon some picture perfect leaves lying on the sidewalk. Call it divine inspiration or just a vision amidst a desperate need to be cheered up, but those leaves reminded me immediately of my kids. I still can't...
For many, finding form and function inspired by nature has played a significant role in creating brilliant design. For me, nature is at the heart and soul of nearly everything I do and create, and it often provides metaphors that have led to solutions that have subtle impact.
Several years ago, I was working on a project from hell in Paris and had just left yet another depressing meeting. I was walking down a boulevard back to my hotel when I happened upon some picture perfect leaves lying on the sidewalk. Call it divine inspiration or just a vision amidst a desperate need to be cheered up, but those leaves reminded me immediately of my kids. I still can't...
- 10/16/2009
- by Joe Duffy
- Fast Company
"A lot of my work is like picking potatoes; you have to get into the rhythm of it." -Andy Goldsworthy Thomas Riedelsheimer's criminally unheard of documentary on British artist Andy Goldsworthy could be, for most people, just as much a test in patience as the process of making the works of art is for the artist. The pace of any film is dictated by character and if your only character is a methodical, patient and philosophical man who has taken, in essence, the simple act of making art in, and with, nature to a profound and inspiring level you can imagine the above quote being more than accurate. If you can get into the rhythm (more of an ebb and flow really) of Rivers and Tides you will however, find a simple and touching portrait of an artist and, along with Lars Von Trier's The Five Obstructions,...
- 10/16/2009
- by Neil Innes
- t5m.com
Screened
Mill Valley Film Festival
MILL VALLEY, Calif. -- Nathaniel Kahn, illegitimate son of the architect Louis I. Kahn, has created a beautiful, moving documentary about his father that should attract the same fervid audiences as Thomas Riedelsheimer's film on artist Andy Goldsworthy, "Rivers and Tides".
Like "Rivers and Tides" (or Agnes Varda's "The Gleaners and I"), "My Architect" examines an artist's aesthetic, but Nathaniel Kahn also is searching for the artist himself and trying to define a relationship with a father he little knew. Louis Kahn died ignobly in 1974 of a heart attack in a Penn Station bathroom, deep in debt. He left behind a wife and a daughter, a mistress and another daughter and a second mistress and a son, Nathaniel.
Louis Kahn was trained in the Beaux-Arts style at Yale, but it was ancient architecture that inspired his own vision. Kahn felt that architecture should be monumental, ceremonial, even holy. His Salk Institute for Biological Sciences overlooks the Pacific Ocean in La Jolla, Calif., like some ancient maritime temple. The arched corridors of the Kimbell Art Center in Fort Worth, Texas, unfold behind a tranquil reflecting pool like mystical berms.
His difficult personality and work style may have severely limited the number of commissions Kahn received. "Artists don't get jobs", the architect Philip Johnson explains to Nathaniel. Frank Gehry proclaims that Lou was "a mystic who couldn't speak the language of business." The genial I.M. Pei reassures Nathaniel that "three or four masterpieces are better than 50 or 60 buildings." The filmmaker later shows a gorgeous stop-motion sunset over the Salk Institute that reiterates these artists' praise.
To paraphrase what Pauline Kael wrote of the young Nicolas Cage, Louis Kahn was an architect before he was a human being. His son suffered for this, yet Nathaniel's picture isn't about anger. "My Architect" is tinged with sorrow, compassion, forgiveness and, ultimately, love. More than 25 years after his father's death, Nathaniel visits his father's architectural works and speaks to the people who knew him: cabbies, colleagues, lovers and relatives. Kahn possesses a gentle but firm interviewing style and a generosity with his subjects that lets them open up.
Nathaniel continually attempts to define family, meeting with his two half sisters and asking if they are a family. "Yes", they answer, "if we choose to care about each other, then we're a family." And when he interviews his own mother, Harriet Pattison, he learns something essential about love and the mysterious forms it takes.
The movie is a tad long at 116 minutes, and there are one or two questionable music choices (Beethoven's Ninth, playing over images of the Kimbell museum, is too bombastic for the tone of the film), but the film captures the immense importance of architecture to the people it serves. The Bangladeshi architect Shamsul Wares, who worked with Kahn on the phenomenal National Assembly Hall in Dhaka, Bangladesh, a serene and mighty citadel, proclaims that Louis "gave us democracy." Louis, Wares explains, "loved everybody, but to love everybody, sometimes you don't see the closest ones." Nathaniel Kahn tries his best to love one who should have been closer, and ends up loving everybody right along with his father.
MY ARCHITECT
New Yorker Films
Louis Kahn Project
Credits:
Director-writer: Nathaniel Kahn
Producers: Nathaniel Kahn, Susan Rose Behr, Yael Melamede, John Hochroth, Judy Moon, Phyllis Kaufman
Executive producers: Susan Rose Behr, Andrew Clayman, Darrell Friedman
Director of photography: Bob Richman
Music: Joseph Vitarelli: Editor: Sabine Krayenbuhl
Narrator: Nathaniel Kahn
Running time -- 116 minutes
No MPAA rating...
Mill Valley Film Festival
MILL VALLEY, Calif. -- Nathaniel Kahn, illegitimate son of the architect Louis I. Kahn, has created a beautiful, moving documentary about his father that should attract the same fervid audiences as Thomas Riedelsheimer's film on artist Andy Goldsworthy, "Rivers and Tides".
Like "Rivers and Tides" (or Agnes Varda's "The Gleaners and I"), "My Architect" examines an artist's aesthetic, but Nathaniel Kahn also is searching for the artist himself and trying to define a relationship with a father he little knew. Louis Kahn died ignobly in 1974 of a heart attack in a Penn Station bathroom, deep in debt. He left behind a wife and a daughter, a mistress and another daughter and a second mistress and a son, Nathaniel.
Louis Kahn was trained in the Beaux-Arts style at Yale, but it was ancient architecture that inspired his own vision. Kahn felt that architecture should be monumental, ceremonial, even holy. His Salk Institute for Biological Sciences overlooks the Pacific Ocean in La Jolla, Calif., like some ancient maritime temple. The arched corridors of the Kimbell Art Center in Fort Worth, Texas, unfold behind a tranquil reflecting pool like mystical berms.
His difficult personality and work style may have severely limited the number of commissions Kahn received. "Artists don't get jobs", the architect Philip Johnson explains to Nathaniel. Frank Gehry proclaims that Lou was "a mystic who couldn't speak the language of business." The genial I.M. Pei reassures Nathaniel that "three or four masterpieces are better than 50 or 60 buildings." The filmmaker later shows a gorgeous stop-motion sunset over the Salk Institute that reiterates these artists' praise.
To paraphrase what Pauline Kael wrote of the young Nicolas Cage, Louis Kahn was an architect before he was a human being. His son suffered for this, yet Nathaniel's picture isn't about anger. "My Architect" is tinged with sorrow, compassion, forgiveness and, ultimately, love. More than 25 years after his father's death, Nathaniel visits his father's architectural works and speaks to the people who knew him: cabbies, colleagues, lovers and relatives. Kahn possesses a gentle but firm interviewing style and a generosity with his subjects that lets them open up.
Nathaniel continually attempts to define family, meeting with his two half sisters and asking if they are a family. "Yes", they answer, "if we choose to care about each other, then we're a family." And when he interviews his own mother, Harriet Pattison, he learns something essential about love and the mysterious forms it takes.
The movie is a tad long at 116 minutes, and there are one or two questionable music choices (Beethoven's Ninth, playing over images of the Kimbell museum, is too bombastic for the tone of the film), but the film captures the immense importance of architecture to the people it serves. The Bangladeshi architect Shamsul Wares, who worked with Kahn on the phenomenal National Assembly Hall in Dhaka, Bangladesh, a serene and mighty citadel, proclaims that Louis "gave us democracy." Louis, Wares explains, "loved everybody, but to love everybody, sometimes you don't see the closest ones." Nathaniel Kahn tries his best to love one who should have been closer, and ends up loving everybody right along with his father.
MY ARCHITECT
New Yorker Films
Louis Kahn Project
Credits:
Director-writer: Nathaniel Kahn
Producers: Nathaniel Kahn, Susan Rose Behr, Yael Melamede, John Hochroth, Judy Moon, Phyllis Kaufman
Executive producers: Susan Rose Behr, Andrew Clayman, Darrell Friedman
Director of photography: Bob Richman
Music: Joseph Vitarelli: Editor: Sabine Krayenbuhl
Narrator: Nathaniel Kahn
Running time -- 116 minutes
No MPAA rating...
Screened
Mill Valley Film Festival
MILL VALLEY, Calif. -- Nathaniel Kahn, illegitimate son of the architect Louis I. Kahn, has created a beautiful, moving documentary about his father that should attract the same fervid audiences as Thomas Riedelsheimer's film on artist Andy Goldsworthy, "Rivers and Tides".
Like "Rivers and Tides" (or Agnes Varda's "The Gleaners and I"), "My Architect" examines an artist's aesthetic, but Nathaniel Kahn also is searching for the artist himself and trying to define a relationship with a father he little knew. Louis Kahn died ignobly in 1974 of a heart attack in a Penn Station bathroom, deep in debt. He left behind a wife and a daughter, a mistress and another daughter and a second mistress and a son, Nathaniel.
Louis Kahn was trained in the Beaux-Arts style at Yale, but it was ancient architecture that inspired his own vision. Kahn felt that architecture should be monumental, ceremonial, even holy. His Salk Institute for Biological Sciences overlooks the Pacific Ocean in La Jolla, Calif., like some ancient maritime temple. The arched corridors of the Kimbell Art Center in Fort Worth, Texas, unfold behind a tranquil reflecting pool like mystical berms.
His difficult personality and work style may have severely limited the number of commissions Kahn received. "Artists don't get jobs", the architect Philip Johnson explains to Nathaniel. Frank Gehry proclaims that Lou was "a mystic who couldn't speak the language of business." The genial I.M. Pei reassures Nathaniel that "three or four masterpieces are better than 50 or 60 buildings." The filmmaker later shows a gorgeous stop-motion sunset over the Salk Institute that reiterates these artists' praise.
To paraphrase what Pauline Kael wrote of the young Nicolas Cage, Louis Kahn was an architect before he was a human being. His son suffered for this, yet Nathaniel's picture isn't about anger. "My Architect" is tinged with sorrow, compassion, forgiveness and, ultimately, love. More than 25 years after his father's death, Nathaniel visits his father's architectural works and speaks to the people who knew him: cabbies, colleagues, lovers and relatives. Kahn possesses a gentle but firm interviewing style and a generosity with his subjects that lets them open up.
Nathaniel continually attempts to define family, meeting with his two half sisters and asking if they are a family. "Yes", they answer, "if we choose to care about each other, then we're a family." And when he interviews his own mother, Harriet Pattison, he learns something essential about love and the mysterious forms it takes.
The movie is a tad long at 116 minutes, and there are one or two questionable music choices (Beethoven's Ninth, playing over images of the Kimbell museum, is too bombastic for the tone of the film), but the film captures the immense importance of architecture to the people it serves. The Bangladeshi architect Shamsul Wares, who worked with Kahn on the phenomenal National Assembly Hall in Dhaka, Bangladesh, a serene and mighty citadel, proclaims that Louis "gave us democracy." Louis, Wares explains, "loved everybody, but to love everybody, sometimes you don't see the closest ones." Nathaniel Kahn tries his best to love one who should have been closer, and ends up loving everybody right along with his father.
MY ARCHITECT
New Yorker Films
Louis Kahn Project
Credits:
Director-writer: Nathaniel Kahn
Producers: Nathaniel Kahn, Susan Rose Behr, Yael Melamede, John Hochroth, Judy Moon, Phyllis Kaufman
Executive producers: Susan Rose Behr, Andrew Clayman, Darrell Friedman
Director of photography: Bob Richman
Music: Joseph Vitarelli: Editor: Sabine Krayenbuhl
Narrator: Nathaniel Kahn
Running time -- 116 minutes
No MPAA rating...
Mill Valley Film Festival
MILL VALLEY, Calif. -- Nathaniel Kahn, illegitimate son of the architect Louis I. Kahn, has created a beautiful, moving documentary about his father that should attract the same fervid audiences as Thomas Riedelsheimer's film on artist Andy Goldsworthy, "Rivers and Tides".
Like "Rivers and Tides" (or Agnes Varda's "The Gleaners and I"), "My Architect" examines an artist's aesthetic, but Nathaniel Kahn also is searching for the artist himself and trying to define a relationship with a father he little knew. Louis Kahn died ignobly in 1974 of a heart attack in a Penn Station bathroom, deep in debt. He left behind a wife and a daughter, a mistress and another daughter and a second mistress and a son, Nathaniel.
Louis Kahn was trained in the Beaux-Arts style at Yale, but it was ancient architecture that inspired his own vision. Kahn felt that architecture should be monumental, ceremonial, even holy. His Salk Institute for Biological Sciences overlooks the Pacific Ocean in La Jolla, Calif., like some ancient maritime temple. The arched corridors of the Kimbell Art Center in Fort Worth, Texas, unfold behind a tranquil reflecting pool like mystical berms.
His difficult personality and work style may have severely limited the number of commissions Kahn received. "Artists don't get jobs", the architect Philip Johnson explains to Nathaniel. Frank Gehry proclaims that Lou was "a mystic who couldn't speak the language of business." The genial I.M. Pei reassures Nathaniel that "three or four masterpieces are better than 50 or 60 buildings." The filmmaker later shows a gorgeous stop-motion sunset over the Salk Institute that reiterates these artists' praise.
To paraphrase what Pauline Kael wrote of the young Nicolas Cage, Louis Kahn was an architect before he was a human being. His son suffered for this, yet Nathaniel's picture isn't about anger. "My Architect" is tinged with sorrow, compassion, forgiveness and, ultimately, love. More than 25 years after his father's death, Nathaniel visits his father's architectural works and speaks to the people who knew him: cabbies, colleagues, lovers and relatives. Kahn possesses a gentle but firm interviewing style and a generosity with his subjects that lets them open up.
Nathaniel continually attempts to define family, meeting with his two half sisters and asking if they are a family. "Yes", they answer, "if we choose to care about each other, then we're a family." And when he interviews his own mother, Harriet Pattison, he learns something essential about love and the mysterious forms it takes.
The movie is a tad long at 116 minutes, and there are one or two questionable music choices (Beethoven's Ninth, playing over images of the Kimbell museum, is too bombastic for the tone of the film), but the film captures the immense importance of architecture to the people it serves. The Bangladeshi architect Shamsul Wares, who worked with Kahn on the phenomenal National Assembly Hall in Dhaka, Bangladesh, a serene and mighty citadel, proclaims that Louis "gave us democracy." Louis, Wares explains, "loved everybody, but to love everybody, sometimes you don't see the closest ones." Nathaniel Kahn tries his best to love one who should have been closer, and ends up loving everybody right along with his father.
MY ARCHITECT
New Yorker Films
Louis Kahn Project
Credits:
Director-writer: Nathaniel Kahn
Producers: Nathaniel Kahn, Susan Rose Behr, Yael Melamede, John Hochroth, Judy Moon, Phyllis Kaufman
Executive producers: Susan Rose Behr, Andrew Clayman, Darrell Friedman
Director of photography: Bob Richman
Music: Joseph Vitarelli: Editor: Sabine Krayenbuhl
Narrator: Nathaniel Kahn
Running time -- 116 minutes
No MPAA rating...
- 10/13/2003
- The Hollywood Reporter - Movie News
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