The streaming pool just keeps getting deeper. Joining fellow boutique distributors like Kino Lorber, Film Movement, and Cinema Tropical, Grasshopper Film is now making the jump into the streaming world, armed with the brand-new Projectr, a deeply curated platform that already boasts films from auteurs like Bong Joon Ho, Claire Denis, Hong Sangsoo, and Pedro Costa.
“So many of the acclaimed international and American Independent films that cinephiles hunger to see have fallen through the cracks of current Tvod providers,” Grasshopper Film founder Ryan Krivoshey told IndieWire. “With Projectr, we are seeking to remedy that oversight and create an accessible treasure trove for movie lovers. We’ve long contemplated a curated streaming platform — where viewers could immerse themselves in some of the most adventurous, exciting and important independent cinema. During these past months, we’ve realized this is more urgent than ever.”
Available today, Projectr will function as both a...
“So many of the acclaimed international and American Independent films that cinephiles hunger to see have fallen through the cracks of current Tvod providers,” Grasshopper Film founder Ryan Krivoshey told IndieWire. “With Projectr, we are seeking to remedy that oversight and create an accessible treasure trove for movie lovers. We’ve long contemplated a curated streaming platform — where viewers could immerse themselves in some of the most adventurous, exciting and important independent cinema. During these past months, we’ve realized this is more urgent than ever.”
Available today, Projectr will function as both a...
- 6/18/2020
- by Kate Erbland
- Thompson on Hollywood
The streaming pool just keeps getting deeper. Joining fellow boutique distributors like Kino Lorber, Film Movement, and Cinema Tropical, Grasshopper Film is now making the jump into the streaming world, armed with the brand-new Projectr, a deeply curated platform that already boasts films from auteurs like Bong Joon Ho, Claire Denis, Hong Sangsoo, and Pedro Costa.
“So many of the acclaimed international and American Independent films that cinephiles hunger to see have fallen through the cracks of current Tvod providers,” Grasshopper Film founder Ryan Krivoshey told IndieWire. “With Projectr, we are seeking to remedy that oversight and create an accessible treasure trove for movie lovers. We’ve long contemplated a curated streaming platform — where viewers could immerse themselves in some of the most adventurous, exciting and important independent cinema. During these past months, we’ve realized this is more urgent than ever.”
Available today, Projectr will function as both a...
“So many of the acclaimed international and American Independent films that cinephiles hunger to see have fallen through the cracks of current Tvod providers,” Grasshopper Film founder Ryan Krivoshey told IndieWire. “With Projectr, we are seeking to remedy that oversight and create an accessible treasure trove for movie lovers. We’ve long contemplated a curated streaming platform — where viewers could immerse themselves in some of the most adventurous, exciting and important independent cinema. During these past months, we’ve realized this is more urgent than ever.”
Available today, Projectr will function as both a...
- 6/18/2020
- by Kate Erbland
- Indiewire
At the 56th New York Film Festival there were titles that have intrigued, beguiled, and challenged viewers, perhaps none more so than Mariano Llinás’ fourteen-hour grand experiment La Flor and Orson Welles’ posthumously released The Other Side of The Wind. The former will be lucky to achieve any life after the festival; the latter will be widely available through Netflix next month. These are both films of grand ambition, creativity, and reflexivity. Quite coincidentally, both feature films within films that underscore this reflexivity, center the process of filmmaking for viewers, and show Llinás and Welles unlocking a kind of creative freedom that very few are privileged to make and be seen in such a way.
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
- 10/17/2018
- by The Film Stage
- The Film Stage
What is one to do with a 14-hour film? That’s what Mariano Llinás's La Flor, his first feature since 2008’s brilliant Extraordinary Stories, boasts as its runtime, and since virtually the moment it was announced, the answer seems to be “talk about its length.” There are a handful of films of legendary duration scattered throughout the annals of film history—Jacques Rivette’s 11-hour Out 1 (1971), Claude Lanzmann’s 10-hour Shoah (1985), Wang Bing’s 9-hour West of the Tracks (2002)—plus the odd miniseries or two, but evidently not enough for the collective film community to greet another with anything other than shock and awe. So, again, what is one to do? We might begin by describing it. As its director informs us in the first scene, La Flor consists of six separate stories, which we might be tempted to even call six separate films, all made with the same four actresses.
- 10/1/2018
- MUBI
We interrupt your regularly scheduled New York Fashion Week coverage to alert you to some equally important, star-filled fashion news. Kendall Jenner has an edgy new ad campaign you’ll want to check out. The Weeknd has another clothing collection coming. And Karlie Kloss and Christy Turlington Burns joined forces again for a very fun new project. Get all the details below!
Kendall Jenner for Ippolita
Jenner’s schedule is always jam-packed, even when she’s not walking runways across the globe. The model was recently named as a creative collaborator for jewelry brand Ippolita. In the moody campaign photos,...
Kendall Jenner for Ippolita
Jenner’s schedule is always jam-packed, even when she’s not walking runways across the globe. The model was recently named as a creative collaborator for jewelry brand Ippolita. In the moody campaign photos,...
- 9/7/2017
- by Colleen Kratofil
- PEOPLE.com
Mubi's retrospective New Argentine Cinema is playing from August 7 - September 28, 2017 in most countries around the world. La CiénagaBeginning in the mid-1990s, young directors, the majority of whom had graduated from one of many film schools in Argentina, began producing low-budget, independent films in a style that earned this group the classification of the New Independent Argentine Cinema.Part of this upsurge had to do with a small grants program that was initiated by the National Film Institute (Incaa) in the mid-1990s. These recent graduates have made short films (cortometrajes), and then have gone on to raise funds through co-production funding (Hubert Bals Fund at the Rotterdam film festival, the Visions Sud Est program from Switzerland, among others). They have relied on their own networks of like-minded young people rather than depend on the traditional film sector structure (the film union, established director’s associations, and the few...
- 9/6/2017
- MUBI
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
After the Storm (Hirokazu Kore-eda)
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being meditated on in After the Storm, a sobering, transcendent tale of a divorced man’s efforts to nudge back into his son’s life. Beautifully shot by regular cinematographer Yutaka Yamasaki, it marks a welcome and quite brilliant...
After the Storm (Hirokazu Kore-eda)
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being meditated on in After the Storm, a sobering, transcendent tale of a divorced man’s efforts to nudge back into his son’s life. Beautifully shot by regular cinematographer Yutaka Yamasaki, it marks a welcome and quite brilliant...
- 8/11/2017
- by Jordan Raup
- The Film Stage
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Balikbayan #1 Memories of Overdevelopment Redux III
Dear Danny,
How silly is it that, as cinephiles, our happiness is so bound up with the films we watch? My mood fluctuates at festivals, often based on what film I watched last. One recent morning exemplified this. You and I went to see the press screening of Chilean director Pablo Larraín’s new film, The Club. I was keen on this one as his last film, No (2012), was superb (I recall the mysterious Celluloid Liberation Front wrote on it for us from Cannes). Unfortunately, this film was entirely different, not just in style, but in its relationship to its subject matter, its characters, the world. Where No was invested in people, The Club takes on a very heavy topic with a level of disdain that left me feeling cold. The film is about a group of priests,...
Balikbayan #1 Memories of Overdevelopment Redux III
Dear Danny,
How silly is it that, as cinephiles, our happiness is so bound up with the films we watch? My mood fluctuates at festivals, often based on what film I watched last. One recent morning exemplified this. You and I went to see the press screening of Chilean director Pablo Larraín’s new film, The Club. I was keen on this one as his last film, No (2012), was superb (I recall the mysterious Celluloid Liberation Front wrote on it for us from Cannes). Unfortunately, this film was entirely different, not just in style, but in its relationship to its subject matter, its characters, the world. Where No was invested in people, The Club takes on a very heavy topic with a level of disdain that left me feeling cold. The film is about a group of priests,...
- 2/11/2015
- by Adam Cook
- MUBI
★★★★☆ Clocking in at a whopping 245 minutes, Mariano Llinás' Extraordinary Stories (Historias extraordinarias, 2008) is a film that not only demands your attention, but kindly requests a whole afternoon of your time. A compendium of far-fetched, yet compelling tales, this audacious experiment into the art of storytelling is a narratively dense affair that succeeds in holding your attention through its charmingly carefree, flippant manner. Llinás' oddity focuses primarily on three characters whose alternating plot strands spin off in countless directions (yet never once intersect one another) - known simply as X, Z and H.
Using an incredibly informal style of narration, Llinás describes both what we're seeing and what each of our protagonists are thinking. Through this voiceover we witness a world of desperate criminals, murder, missing persons and the peculiar discover of a lion known only as 'The Colonel'. Immersing us in a maze of narratives - cut, sliced and...
Using an incredibly informal style of narration, Llinás describes both what we're seeing and what each of our protagonists are thinking. Through this voiceover we witness a world of desperate criminals, murder, missing persons and the peculiar discover of a lion known only as 'The Colonel'. Immersing us in a maze of narratives - cut, sliced and...
- 7/7/2013
- by CineVue UK
- CineVue
Currently touring the international film festival circuit is director/poducer Selena Blake's feature documentary titled Taboo Yardies. Here's how it's described: It’s not illegal to be gay in Jamaica but legal sanction is the least of your worries. Jamaican society is profoundly and murderously homophobic. This utterly compelling account of how ordinary Lgbt people exist under these conditions was filmed on the island itself. Extraordinary stories of violence and the constant living in fear make for sometimes uncomfortable viewing. Interview subjects tell of the casual and relentless attacks; their faces are digitally obscured because there is nowhere...
- 2/20/2013
- by Courtney
- ShadowAndAct
After last year’s kerfuffle in the Media Lions at Cannes, when agency bosses complained that the judging process set up complex entries for failure, Australian agencies find themselves with just 17 finalists having entered 138 submissions.
Creative agencies outnumber media agencies on the list, with just four finalists from media agencies – Omd got three, Starcom one.
Australian and New Zealand agencies on Media Lions shortlist:
Australia
Mobile Medic for Australian Defence Force by Gpy&R Melbourne 5X Mutant Gum for Wrigley by Omd Sydney Share a coke by Ogilvy Sydney Wi-Fiction for Melbourne Writers Festival by Jwt Melbourne Back by popular demand for McDonald’s by Omd Sydney Share a coke by Ogilvy Sydney Harpic Toilet confessions for Harpic White by Euro Rscg Sydney Twix Digital Pause button for Mars by Starcom Melbourne Mobile Medic for Austarlian Defence Force Share a Coke by Ogilvy Sydney Grazed on greatness for M.J.
Creative agencies outnumber media agencies on the list, with just four finalists from media agencies – Omd got three, Starcom one.
Australian and New Zealand agencies on Media Lions shortlist:
Australia
Mobile Medic for Australian Defence Force by Gpy&R Melbourne 5X Mutant Gum for Wrigley by Omd Sydney Share a coke by Ogilvy Sydney Wi-Fiction for Melbourne Writers Festival by Jwt Melbourne Back by popular demand for McDonald’s by Omd Sydney Share a coke by Ogilvy Sydney Harpic Toilet confessions for Harpic White by Euro Rscg Sydney Twix Digital Pause button for Mars by Starcom Melbourne Mobile Medic for Austarlian Defence Force Share a Coke by Ogilvy Sydney Grazed on greatness for M.J.
- 6/18/2012
- by Robin Hicks
- Encore Magazine
Appropriately for the last day of the year, we've got some major additions to the Awards and Lists 2011 Index, beginning with "Moments of 2011." Moving Image Source has asked around 50 "regular contributors and colleagues, as well as a few writers and artists, to select their moving image moment or event of 2011 — anything from an entire movie or TV series to an individual scene or shot, from a retrospective or exhibition to a news story or viral video." Quite a varied roster of filmmakers, critics, programmers, museum directors, editors and so on reflect on an even wider range of moving images, from animated gifs to news footage to exhibitions and, of course, films projected in darkened theaters. Parts 1 and 2.
Editors Michael Koresky and Jeff Reichert: "We can't remember a year since we kicked off Reverse Shot back in 2002 that delivered so many contenders for our final ten spots (and, we should mention,...
Editors Michael Koresky and Jeff Reichert: "We can't remember a year since we kicked off Reverse Shot back in 2002 that delivered so many contenders for our final ten spots (and, we should mention,...
- 1/1/2012
- MUBI
I’ve finally made it to the grand master of the bravura sequence, or, more specifically, of the ending bravura sequence, King Vidor.
It isn’t surprising that a producer as knowledgeable as Selznick often ran to the services of the two major champions of “slice of cake” cinema and strong sequences, Hitchcock (Rebecca, Spellbound, Notorious, The Paradine Case) and Vidor (Bird of Paradise, Duel in the Sun, Light’s Diamond Jubilee, even Ruby Gentry), who, without a doubt, made the best films for Selznick.
Love Never Dies, Wild Oranges, Hallelujah, Our Daily Bread, Comrade X, Duel in the Sun, The Fountainhead, Ruby Gentry and their terrific denouements once made me write that Vidor was a director of film endings. No doubt I was exaggerating, but it isn’t for nothing that he hesitated for a long time between several different endings for The Crowd. I was also exaggerating because...
It isn’t surprising that a producer as knowledgeable as Selznick often ran to the services of the two major champions of “slice of cake” cinema and strong sequences, Hitchcock (Rebecca, Spellbound, Notorious, The Paradine Case) and Vidor (Bird of Paradise, Duel in the Sun, Light’s Diamond Jubilee, even Ruby Gentry), who, without a doubt, made the best films for Selznick.
Love Never Dies, Wild Oranges, Hallelujah, Our Daily Bread, Comrade X, Duel in the Sun, The Fountainhead, Ruby Gentry and their terrific denouements once made me write that Vidor was a director of film endings. No doubt I was exaggerating, but it isn’t for nothing that he hesitated for a long time between several different endings for The Crowd. I was also exaggerating because...
- 12/12/2011
- MUBI
Updated through 5/5.
A new 35mm print of Kon Ichikawa's The Makioka Sisters opens today at New York's Film Forum, playing through May 12. Nick Pinkerton in the Voice: "The setting is the wartime precipice of 1938; the synthesizer score is distinctly 1983. When he finally succeeded in filming Junichiro Tanizaki's novel, Kon Ichikawa was 68 years old — a living link to Japan's cinematic Golden Age, taking on a self-consciously throwback prestige production. The Makioka Sisters details the interlocked emotional lives of four Osakan siblings, orphaned young and left as caretakers of the once-prestigious Makioka name. Observing each woman meeting this duty, The Makioka Sisters is a Whartonian work of compassionate nostalgia tinctured with irony."
"Make no mistake," adds David Fear in Time Out New York, "The Makioka Sisters is a melodrama, complete with public scandals, petulant ingenues, interclan power struggles, unrequited love and consummated love affairs. But Ichikawa plays everything cool without seeming cold,...
A new 35mm print of Kon Ichikawa's The Makioka Sisters opens today at New York's Film Forum, playing through May 12. Nick Pinkerton in the Voice: "The setting is the wartime precipice of 1938; the synthesizer score is distinctly 1983. When he finally succeeded in filming Junichiro Tanizaki's novel, Kon Ichikawa was 68 years old — a living link to Japan's cinematic Golden Age, taking on a self-consciously throwback prestige production. The Makioka Sisters details the interlocked emotional lives of four Osakan siblings, orphaned young and left as caretakers of the once-prestigious Makioka name. Observing each woman meeting this duty, The Makioka Sisters is a Whartonian work of compassionate nostalgia tinctured with irony."
"Make no mistake," adds David Fear in Time Out New York, "The Makioka Sisters is a melodrama, complete with public scandals, petulant ingenues, interclan power struggles, unrequited love and consummated love affairs. But Ichikawa plays everything cool without seeming cold,...
- 5/5/2011
- MUBI
With 2010 only a week over, it already feels like best-of and top-ten lists have been pouring in for months, and we’re already tired of them: the ranking, the exclusions (and inclusions), the rules and the qualifiers. Some people got to see films at festivals, others only catch movies on video; and the ability for us, or any publication, to come up with a system to fairly determine who saw what when and what they thought was the best seems an impossible feat. That doesn’t stop most people from doing it, but we liked the fantasy double features we did last year and for our 3rd Writers Poll we thought we'd do it again.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
- 1/10/2011
- MUBI
Those compiling their best of the year lists would do well to consult the roll-call of gong-winners handed out by an august band of international critics
Any perspicacious film festival-goer or festival-watcher will have noticed that one of the prizes awarded at most festivals, in addition to the Golden Palms, Golden Lions or Golden Leopards etc, is the Fipresci (Federation International de la Presse Cinematographic) – aka the international film critics' award. In principle, this should be the most prestigious and sought-after prize of all, because the juries are made up of professional film critics (usually five, each from a different country) who are paid to tell the public what is good or bad and why.
Unfortunately, the Fipresci prize does not carry with it any money but, in theory, it does help the film gain a distributor. However, on one occasion, I remember that a director, who had just won the Fipresci prize,...
Any perspicacious film festival-goer or festival-watcher will have noticed that one of the prizes awarded at most festivals, in addition to the Golden Palms, Golden Lions or Golden Leopards etc, is the Fipresci (Federation International de la Presse Cinematographic) – aka the international film critics' award. In principle, this should be the most prestigious and sought-after prize of all, because the juries are made up of professional film critics (usually five, each from a different country) who are paid to tell the public what is good or bad and why.
Unfortunately, the Fipresci prize does not carry with it any money but, in theory, it does help the film gain a distributor. However, on one occasion, I remember that a director, who had just won the Fipresci prize,...
- 12/24/2009
- by Ronald Bergan
- The Guardian - Film News
“An open mind is advised,” claim the (typically, very funny) trailers for this year’s Vancouver International Film Festival, but I will admit that I brought my preconceptions – and a nasty case of jet-lag – to the screening of Adrien Biniez’s Argentine-Uruguayan co-production Gigante. This Silver Bear winner, which centers on an overweight, heavy-metal enthusiast working the night shift as a mall security guard in Montevideo, is already quite well-traveled, and while its popularity with festival audiences is understandable, I couldn’t get past the essential contradiction at its core.
This is an outsider narrative that itself longs only to be loved.It’s not that hulking star Horacio Camandule is unappealing as the Montevidean Paul Blart, or that Biniez’ multimedia conceit, wherein our hero monitors his wage-slave beloved via security cameras, is un-clever (the running surveillance motif suggests a rom-com by Michael Haneke). Gigante feels tweaked for maximum viewer safety,...
This is an outsider narrative that itself longs only to be loved.It’s not that hulking star Horacio Camandule is unappealing as the Montevidean Paul Blart, or that Biniez’ multimedia conceit, wherein our hero monitors his wage-slave beloved via security cameras, is un-clever (the running surveillance motif suggests a rom-com by Michael Haneke). Gigante feels tweaked for maximum viewer safety,...
- 10/13/2009
- MUBI
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