Indie News

Louis C.K. Accuser Rebecca Corry Responds to Sarah Silverman: ‘He’s a Predator Who Victimized Women for Decades’

Louis C.K. Accuser Rebecca Corry Responds to Sarah Silverman: ‘He’s a Predator Who Victimized Women for Decades’
Following Sarah Silverman’s admission that Louis C.K. used to masturbate in front of her with her consent, Rebecca Corry — who, along with several other women, has accused C.K. of doing so against her will — has responded with a tweet calling the comedian “a predator who victimized women for decades and lied about it.”

Silverman quickly responded to Corry with an apology: “Rebecca I’m sorry. Ugh this is why I don’t like weighing in,” she wrote. “I can’t seem to do press 4 my show w/out being asked about it. But you’re right- you were equals and he fucked with you and it’s not ok. I’m sorry, friend. You are so talented and so kind.”

“I know I’m going to regret saying this,” Silverman said this morning on Howard Stern’s SiriusXM show. “I’ve known Louis forever, I’m not making excuses for him,
See full article at Indiewire »

Academy Picks Producer Donna Gigliotti in Hopes of Reviving Viewership for 2019 Oscar Show

Academy Picks Producer Donna Gigliotti in Hopes of Reviving Viewership for 2019 Oscar Show
For the upcoming 91st Oscar telecast, after all the noise about the worst ratings in history, the Academy had to replace producers Michael DeLuca and Jennifer Todd. The duo did well enough their first time around (the Best Picture snafu was not their fault) to warrant returning their second, and put on a decent show within the usual constraints of a ceremony that must showcase 24 award winners.

For Oscars 2019, new producer Donna Gigliotti, who won an Oscar for Miramax’s surprise winner “Shakespeare in Love” in 1999, will pioneer new Academy rules allowing several of the tech Oscars to be handed out during the commercial break and then edited into the live show. (No one will miss their time in the spotlight; there will be a lot less walking.)

New Yorker Gigliotti will work closely with co-producer Glenn Weiss, who will also direct. If he looks familiar, he’s the unflappable
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‘Inventing Tomorrow’ Director Laura Nix Wishes Her Documentary About Brilliant Teenagers Were Four Hours Long — Watch

‘Inventing Tomorrow’ Director Laura Nix Wishes Her Documentary About Brilliant Teenagers Were Four Hours Long — Watch
The people profiled in Laura Nix’s documentary “Inventing Tomorrow” are trying to change the world by coming up with solutions to threats facing the environment. They’re also teenagers.

They might be accomplished scientists and innovators who are addressing problems facing their local communities, but they’re also kids. That was just one of many difficulties Nix said she faced while filming the competitors from various countries at the International Science and Engineering Fair.

“When you’re filming with young people, ethically you’re in a different territory” than when you’re working with adults, Nix told the crowd after a showing of her film at the International Documentary Association’s annual screening series in Los Angeles. While working with children, you ask permission before filming everything.

“You’re always negotiating access when you’re filming,” she said — whether the scene in question is a fight between mother and
See full article at Indiewire »

‘Stolen Daughters’: How HBO Gained Access to the Nigerian Girls Rescued From Boko Haram

In 2014, violent Islamic insurgent movement Boko Haram kidnapped 276 girls from a school in Chibok, a town in northern Nigeria, and hidden in the vast Sambisa forest. Following a global social media campaign with the hashtag #BringBackOurGirls that featured world leaders and celebrities like Michelle Obama, the Nigerian Government faced massive pressure to retrieve the girls. Facing international embarrassment, then-President Goodluck Jonathan’s administration sought to reclaim the narrative. And that’s where the making of HBO’s documentary “Stolen Daughters: Kidnapped by Boko Haram” began its long journey.

To date, more than 100 of the girls have been freed, while others escaped. The kidnapped girls, known as “The Chibok Girls,” are required to live in a secret government safe house in the capitol of Abuja, where contact with the outside world is severely limited. Granted exclusive access to 82 of the girls who are being rehabilitated and educated, “Stolen Daughters” chronicles how
See full article at Indiewire »

‘Halloween’ to ‘Hereditary’: Successful Female-Driven Horror Isn’t Just About the Final Girl Anymore

‘Halloween’ to ‘Hereditary’: Successful Female-Driven Horror Isn’t Just About the Final Girl Anymore
David Gordon Green’s “Halloween” broke several records this past weekend — including biggest “Halloween” franchise opening, biggest horror movie opening with a female lead, and second biggest horror opening ever, to name just a few. But the most exciting one is that the Jamie Lee Curtis-starring franchise entry can also celebrate being the biggest opening for a film starring a woman over 55 ever, regardless of genre.

Curtis, who reprised her iconic role as Laurie Strode in the franchise reboot, celebrated the news on her social media accounts, complete with the hashtag #womengettingthingsdone. And she’s not the only trailblazer in the horror genre.

This year alone, horror films centered on female stars that don’t fall into traditional tropes —like the plucky teenager or the nutty older lady — have proven their worth at the box office, from “Halloween” to “Hereditary.” Other classic horror films have hinged on their female leads,
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Dolly Parton Sings From ‘Dumplin’ As ‘Star Is Born’ Sets Its Original Songs

Beverly Hills – It’s not every day you get to sit in the presence of a legend let alone a legend performing live and in front of you. Today, Netflix made that magic come to life as Dolly Parton appeared before a select number of film and music journalists to sing “Girl in the Movies,” a new song from Anne Fletcher‘s upcoming film, “Dumplin’.”

Read More: Jennifer Aniston and Tig Notaro to star in Netflix’s “First Ladies

Based on the novel by Julie Murphy, “Dumplin'” centers on Willowdean “Dumplin'” Dickson (“Patti Cake$’s” Danielle Macdonald), a high school senior who decides to enter the teen pageant her mother (Jennifer Aniston) runs.

Continue reading Dolly Parton Sings From ‘Dumplin’ As ‘Star Is Born’ Sets Its Original Songs at The Playlist.
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‘Mirai’ Could Mark GKids’ 11th Feature Oscar Nomination: Animation Is Film Festival

‘Mirai’ Could Mark GKids’ 11th Feature Oscar Nomination: Animation Is Film Festival
One of the popular hits at the second annual Animation Is Film Festival, “Mirai,” from famed Japanese director Mamoru Hosoda (who was admitted into the Academy this year), could deliver GKids’ 11th feature nomination.

Mirai” marks Hosoda’s most personal movie yet about family. The enchanting, time-traveling fantasy about a four-year-old boy jealous of his baby sister is also unique for animation. “The story is about a secret garden showing the secrets of their family, and that was inspired by western children’s literature,” said Hosoda.

“We learn about the family tree through different methods,” he added. “On the other hand, unlike children’s stories, it’s not a fable with a lesson to be learned, other than children understanding the importance of experiencing family.”

Mirai” (named for the sister) was inspired by personal experience. When Hosoda and his wife first brought home their newborn, the three-year-old son gave his sister a suspicious look.
See full article at Indiewire »

“Our Entire Moon Was Lit by One Single Lamp”: Dp Linus Sandgren on First Man

In La La Land, cinematographer Linus Sandgren imbued the love story of two showbiz strivers with the opulent grandeur of the Golden Age Hollywood musical. First Man, which reteams Sandgren and La La Land director Damien Chazelle, presents the opposite challenge — reducing the mythic nature of mankind’s first voyage to the moon to something intimate, personal, and human. To do so, Sandgren eschewed the intricate, elegant long takes of La La Land (https://filmmakermagazine.com/101296-pink-skies-and-poetic-artifacts-dp-linus-sandgren-on-la-la-land/) in favor of an immersive cinéma vérité aesthetic inspired more by Pennebaker, Maysles and Wiseman than the sterile cosmic wonder of Kubrick. With First Man now out […]
See full article at Filmmaker Magazine »

“Our Entire Moon Was Lit by One Single Lamp”: Dp Linus Sandgren on First Man

In La La Land, cinematographer Linus Sandgren imbued the love story of two showbiz strivers with the opulent grandeur of the Golden Age Hollywood musical. First Man, which reteams Sandgren and La La Land director Damien Chazelle, presents the opposite challenge — reducing the mythic nature of mankind’s first voyage to the moon to something intimate, personal, and human. To do so, Sandgren eschewed the intricate, elegant long takes of La La Land (https://filmmakermagazine.com/101296-pink-skies-and-poetic-artifacts-dp-linus-sandgren-on-la-la-land/) in favor of an immersive cinéma vérité aesthetic inspired more by Pennebaker, Maysles and Wiseman than the sterile cosmic wonder of Kubrick. With First Man now out […]
See full article at Filmmaker Magazine_Director Interviews »

‘Bohemian Rhapsody’ Actress Lucy Boynton Fires Back At Critics Who Say the Film Ignores Freddie Mercury’s Sexuality

As soon as news of a Freddie Mercury biopic began circulating, fans of the larger-than-life Queen frontman have been wondering how a Hollywood film about the bisexual singer would handle his sexuality. When 20th Century Fox released a one-minute teaser trailer for “Bohemian Rhapsody” back in May, users were quick to point out that the film seemed to ignore Mercury’s bisexuality. Most notable among the detractors was “Pushing Daisies” and “Hannibal” creator Bryan Fuller, who tweeted his frustration with the apparent “straight-washing” of Mercury’s queerness and AIDS diagnosis.

“Anyone else mildly annoyed that the ‘Bohemian Rhapsody’ trailer features gay/bi superstar Freddie Mercury flirting with and twirling with a woman but no indication of his love of men?,” Fuller tweeted.

Lucy Boynton (“Sing Street”), the actress who plays Mercury’s lifelong friend and fiancée Mary Austin, took umbrage with Fuller’s characterization. In an interview with Digital Spy,
See full article at Indiewire »

Donna Gigliotti Set As Producer & Glenn Weiss As Co-Producer For 2019 Oscars

The Academy of Motion Picture Arts and Sciences has found its producing team for the 2019 Academy Awards and it’s a mix of a little something new and a little something familiar. Donna Gigliotti will be the primary producer and Glenn Weiss, who won an Emmy for directing the 90th Oscars in September (and then proposed to his girlfriend on stage), will co-produce and direct.

Jennifer Todd and Michael De Luca produced the last two Academy Awards telecasts and were not expected to return.

Continue reading Donna Gigliotti Set As Producer & Glenn Weiss As Co-Producer For 2019 Oscars at The Playlist.
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Review: Tamara Jenkins's "Private Life"

Director and writer Tamara Jenkins is a chronicler of what one might call the familial claustrophobia. Characters in close quarters suffer allergies to one another, though apart they don’t fare much better. Her films concern dysfunctional families, its separate units and the whole, and the makeshift homes that they create. For the motherless, rudderless family in her debut, The Slums of Beverly Hills (1998), home is wherever they are, traipsing by the carload from one road-side motel to the next. In The Savages (2007), two disgruntled, unfulfilled siblings try find a home for their father, both unwilling to let him into theirs. Arriving after nearly a decade, her third film, Private Life, probes a married couple exhausting everything in their power to have a child and complete their family. That the film is being released by Netflix seems like both rebuff and blessing; on the one hand, affirmation of the industry
See full article at MUBI »

Derren Brown Has Upended So Many Lives on TV, He Has an Alumni Support Group

Derren Brown Has Upended So Many Lives on TV, He Has an Alumni Support Group
Derren Brown’s first venture into Netflix programming, “The Push,” was built on finding out whether circumstances could convince one person to commit murder. For his latest special, his next move was to see if the opposite could be true.

“This one actually came out of walking around New York. We were just talking about what would be a nice thing to follow from ‘The Push.’ Essentially, one is trying to kill someone and the other is saving a life. There’s a nice counterpoint there,” Brown told IndieWire.

“Derren Brown: Sacrifice” is another of the title entertainer’s foray into immersive hypothetical experiences geared toward a single person. The 50-minute long special follows Phil, an American and self-described immigration opponent. The idea of an elaborate months-long process is to see if Phil can be convinced to give up his life for a man he thinks to be an undocumented immigrant.
See full article at Indiewire »

Supernatural Thriller ‘Don’t Go’ Plays Creatively With Genre Tropes and Lives to Tell the Tale [Review]

A supernatural-flavored thriller with slow-burn sensibilities and decent character work, “Don’t Go” is a lot better than it has any right to be. Steeped in Hitchcockian tones with just a dash of supernatural sci-fi, the film moves well and is buttressed by consistent performances across the board. Though a bit shaky in the transition from its second to third act, to be sure, this doesn’t muddle what is an otherwise serviceable thriller.

Continue reading Supernatural Thriller ‘Don’t Go’ Plays Creatively With Genre Tropes and Lives to Tell the Tale [Review] at The Playlist.
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Are Movies Too Long These Days? — IndieWire Critics Survey

Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday.

Last week, Uproxx published an article called “Attack of the Two Hour and 20 Minute Movies!,” in which writer Vince Mancini bemoaned a rash of supposedly overlong films at a time when many indies run 80-something minutes, and streaming services allow viewers to binge more extended content in the comfort of their own homes. This Friday, Lee Chang-dong’s 148-minute “Burning” and the even longer “Suspiria” will open in limited release, continuing what Mancini believes to be a nefarious trend.

This week’s question: Are movies too long these days?

Carlos Aguilar (@Carlos_Film), The Wrap, MovieMaker Magazine, Remezcla



Conventional notions regarding running times or attention spans don’t apply to the works of Filipino master Lav Diaz, who continues to tell expansive stories that make zero promises of mass appeal. He has
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The Essentials: The Films Of John Carpenter [Full Retrospective]

After the slasher-heavy aughts and the found-footage saturation of the early-2010s, it seems we have finally entered a new era of prestige horror. Between “It Follows,” “The Witch,” “Get Out,” “It,” “Hereditary,” and dozens of others, it’s been proven time and again over the past few years that being a great horror movie and a great movie period are not mutually exclusive.

Continue reading The Essentials: The Films Of John Carpenter [Full Retrospective] at The Playlist.
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‘A Star Is Born’: Lady Gaga Could Become a Triple Oscar Nominee as Warner Bros. Selects Best Original Song Contenders

‘A Star Is Born’: Lady Gaga Could Become a Triple Oscar Nominee as Warner Bros. Selects Best Original Song Contenders
A Star Is Born” is looking to dominate this year’s Oscar race for best original song by campaigning three tracks for the prize. According to its Fyc page, Warner Bros. is submitting “Shallow,” “I’ll Never Love Again,” and “Always Remember Us This Way” into the original song race for the 91st Academy Awards. Oscar rules state there can only be two nominated songs from one film, so Warner Bros. is hoping to maximize their chances by submitting three songs for consideration.

The Oscar for best original song is presented to the songwriters behind each track, which boasts well for Lady Gaga. The musician is a credited songwriter on all three “A Star Is Born” songs being submitted for the Oscar. Should Warner Bros. manage to get two songs nominated, Gaga could earn a total of three Oscar nominations next year since she’s also a frontrunner for a best actress nomination.
See full article at Indiewire »

‘Wonder Woman 1984’ Pushed Back 7 Months To Summer 2020

‘Wonder Woman 1984’ Pushed Back 7 Months To Summer 2020
Sorry DC fans, but you’re going to have to wait until 2020 to get your next dose of Gal Gadot’s Wonder Woman.

In a surprise move, it was announced today that “Wonder Woman 1984,” the highly-anticipated sequel to 2017’s breakout superhero film, has been pushed from its original release date of November 1, 2019 to June 5, 2020. And according to WB and the film’s star, the move has nothing to do with any behind-the-scenes issues and is all due to an opening that was created in the release schedule.

Continue reading ‘Wonder Woman 1984’ Pushed Back 7 Months To Summer 2020 at The Playlist.
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‘Wonder Woman 1984’ Release Date Delayed Seven Months, Will Now Hit Theaters Summer 2020

‘Wonder Woman 1984’ Release Date Delayed Seven Months, Will Now Hit Theaters Summer 2020
Wonder Woman 1984” will now be released even further from the actual year 1984 than originally announced. In an Instagram post, star Gal Gadot broke the news that the sequel to her acclaimed superhero drama will now arrive in theaters at the height of summer 2020 rather than November of next year: “Super excited to announce that, thanks to the changing landscape, we are able to put Wonder Woman back to its rightful home,” she wrote. “June 5, 2020. Be there or be square!!!”

“We had tremendous success releasing the first ‘Wonder Woman’ film during the summer so when we saw an opportunity to take advantage of the changing competitive landscape, we did,” Jeff Goldstein of Warner Brothers said in a statement released shortly after Gadot’s social-media declaration. “This move lands the film exactly where it belongs.”

Released in May of 2017, the first “Wonder Woman” earned widespread acclaim and more than $820 million in
See full article at Indiewire »

Director Jim Hosking On Working With Aubrey Plaza & Why A Trump Supporter Couldn’t Make ‘Beverly Luff Linn’ [Interview]

Writer-director Jim Hosking doesn’t think like a regular filmmaker, or, at least, in the narratively conventional sense. What is most important to Hosking, who first gained attention for his film “The Greasy Strangler,” is to create a world only he can conceive. His films are filled with the kind of unique characters that you have never seen before in cinema. And because of this, the filmmaker has his fair share of detractors, but the fact that Hosking has managed to find a way to break out of the mold with such a unique brand of filmmaking is something to celebrate.

Continue reading Director Jim Hosking On Working With Aubrey Plaza & Why A Trump Supporter Couldn’t Make ‘Beverly Luff Linn’ [Interview] at The Playlist.
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