ANNUAL REPORT — 2016 a GREAT LEAP FORWARD Austin Film Society 1901 East 51St Street Austin, TX 78723 512.322.0145 Austinfilm.Org to OUR STAKEHOLDERS

Total Page:16

File Type:pdf, Size:1020Kb

ANNUAL REPORT — 2016 a GREAT LEAP FORWARD Austin Film Society 1901 East 51St Street Austin, TX 78723 512.322.0145 Austinfilm.Org to OUR STAKEHOLDERS ANNUAL REPORT — 2016 A GREAT LEAP FORWARD Austin Film Society 1901 East 51st Street Austin, TX 78723 512.322.0145 austinfilm.org TO OUR STAKEHOLDERS The Austin Film Society has long held the dream of our own full-time cinema, a local place where people can assemble to communally explore all that international film culture has to offer. This was the year we took action on that dream and signed a long-term lease with The Linc to create the AFS Cinema. Two full-time screens will support interesting, challenging and entertaining cinematic events, lovingly curated by our brilliant team of programmers. A kitchen, lobby bar and event hall will support community gatherings and provide extra income to supplement ticket sales. The AFS Cinema was not AFS’s only program expansion in fiscal 2016. We also opened Austin Public, a 7,000-square-foot television studio in East Austin open to anyone in Austin who wants to explore filmmaking. By virtue of a contract with the City of Austin, AFS is able to offer classes, studio space and equipment at an incredibly low barrier to entry, and distribute locally made work on our channels and website. Additionally, we are making progress on plans for building out the former National Guard Armory into a creative media hub with the help of the 2012 bonds. Our facilities team expects to have schematic designs to show in 2017 as well as a plan for obtaining the $3.5 million-plus needed to create a fully functioning building. Meanwhile at AFS, it’s business as usual, with our instructors delivering youth media programs at under-resourced schools in Austin and our programmers planning screenings at various beloved Austin theaters while the AFS Cinema is dark for renovations (November 2016 –Spring 2017). We have compiled the stories and statistics presented in this annual report to inspire our members and donors and make you proud. We look forward to connecting in 2017 at one of our three locations — Austin Studios, Austin Public, and the AFS Cinema — as well as around town. We appreciate our members, donors and customers for participating in all of these programs and supporting these initiatives, helping realize the vision that Austin will be synonymous with great film. With gratitude, Richard Linklater Rebecca Campbell AFS Artistic Director CEO 1 2016 IN REVIEW EXHIBITION ARTIST SERVICES 245 194 19,781 42 $105k 17 SCREENINgs FILMS SCREENED ATTENDEES AFS GRANTS DISTRIBUTED CasH FUNDS AWARDED FILMMAKERS AWARDED THROUGH THE AFS GRANT TRAVEL GRANTS TO ATTEND FILM FESTIVALS COMMUNITY MEDIA ECONOMIC DEVELOPMENT 19,488 448 781 85 2,547 $70.8m HOURS OF FREE INSTRUCTION YOUTH PARTICIPANTS IN RECIPIENTS OF TOURS AT PRODUCTIONS AT JOBS CREATED THROUGH USE ECONOMIC IMPACT OFFERED TO afs FILM CLUB OUR FILM CLUB AND AUSTIN PUBLIC AND AUSTIN STUDIOS OF AUSTIN STUDIOS STUDENTS IN UNDER- SUMMER CAMPS AUSTIN STUDIOS RESOURCED AISD SCHOOLS 2 TABLE OF CONTENTS 4 THE BEST LITTLE ART HOUSE IN TEXAS 5 AUSTIN’S HOME FOR GLOBAL CINEMA 9 NURTURING ARTISTS TOWARDS CAREER LEAPS 11 TEXAS FILMMAKERS IN ACTION 12 AUSTIN: A CREATIVE & CULTURAL CAPITAL 14 YOUNG VOICES, FUTURE ARTISTS 17 MEDIAMAKERS FIND THEIR VOICE 18 CELEBRATING TEXAS FILM 20 OPERATIONS & FINANCES 3 THE BEST LITTLE ART HOUSE IN TEXAS EARLY DAYS Richard Linklater and his cinephile friends started the Austin Film Society 31 years ago with the simple desire to show great films from around the world, important films that wouldn’t otherwise be shown in Austin. Their nomadic film series became a staple of Austin’s DIY creative culture and strengthened the local film community by fostering a love of global cinema. AFS AT THE MARCHESA In 2013, after years of nomadic programming, AFS made a decisive move to invest in a single-screen space as a partnership with the Marchesa Hall and Theater, located at the Linc complex in the Highland neighborhood. Through this move, the Film Society was able to double our offerings and grow our community. Today’s Film Society screenings bring together a community of filmmakers and film lovers and have become an essential element of Austin’s unique culture, a place where we honor and celebrate our city’s deep appreciation of film. THE AFS CINEMA In 2016, it looked like AFS might lose the space that had allowed our programs to flourish, until two of our most dedicated supporters stepped up to make the largest gift ever in our organization’s history. Their donation allowed AFS to establish our permanent future home for film screenings and take over the lease to the theater at the Linc this past spring. In November, we begin construction, and in the spring of 2017 the space reopens as a full-time repertory and art house cinema complete with a second screen, renovated lobby, and updated special event space. 4 AUSTIN’S HOME FOR GLOBAL CINEMA ↑ Founding AFS board member, professor and author Charles Ramírez Berg presented three works of Classical Mexican Cinema, including DISTINTO AMANECER, Mexico’s first film noir. ↑ World-class retrospectives graced the silver screen at the AFS Cinema, including series featuring the work of Chantal Akerman, Roberto Rossellini, Maurice Pialat, Wim Wenders and Blake Edwards. → 5 SCIENCE ON SCREEN AFS HOSTS NEW EUROPEAN FILMMAKERS AFS participated in the national Science on Screen program, In June, AFS welcomed four new European directors to Austin as in which we presented science-themed films and hosted post- part of our annual partnership with the Premiers Plans Festival screening discussions with practicing scientists and science of Angers, France. The filmmakers, who visited from France and professionals. Professors from UT’s physics department Belgium, shared the US premieres of their films to an enthusiastic explained how particle physics help us understand the origins of and welcoming audience. At a member mixer and moviemaker the universe after a screening of PARTICLE FEVER; two doctors dialogue, Austin filmmakers made connections with the visitors. discussed mystery illnesses and chemical sensitivity along with Todd Haynes’ SAFE; and the doctors of KUT’s “Two Guys on Your Head” debunked some of Hitchcock’s suggestions about memory loss after a screening of SPELLBOUND. AFS celebrated the release of Richard Linklater’s ‘80s college comedy, EVERYBODY WANTS SOME! with the director and cast in person. The after-party recreated scenes from the film, including an epic ping pong tournament. ↓ 6 “I can earnestly say that the AFS LEARN program has been one of the very best things about moving to Austin.” - James McNulty, Graduate Student THE LEARN PROGRAM PROVIDES FREE FILM TICKETS TO STUDENTS AFS’s LEARN program became a fundamental resource for STUDENTS ENROLLED IN students to get their film education on the big screen. The 638 LEARN PROGRAM program — established in 2014 when Sony Pictures Classics Co- President Michael Barker made a gift in honor of his fellow UT classmate and good friend Ed Lowry — provides free tickets to students at every regular AFS screening. TICKETS ISSUED THROUGH 1239 THE LEARN PROGRAM ARTIST SPOTLIGHT: ETHAN HAWKE Ethan Hawke was the subject of the Austin Film Society’s 2016 Artist Spotlight, which included an insightful Q&A with Hawke after a special screening of Sidney Lumet’s BEFORE THE DEVIL KNOWS YOU’RE DEAD. The following evening, Hawke returned to the AFS Cinema for an unforgettable conversation with frequent collaborator Richard Linklater. 7 AFS GRANT RECIPIENT DIRECTS PETE’S DRAGON FOR DISNEY “I owe my career David Lowery, a five-time AFS Grant recipient, returned to Austin in August with his biggest film yet, Disney’s summer hit PETE’S DRAGON. AFS presented a special preview screening to the Austin Film of the film with David and co-screenwriter Toby Halbrooks in attendance. To come full circle, the screening benefited the Society.” Austin Film Society’s grant program. “I owe my career to the AFS, so it’s great to be able to give back in this way and to help support the next wave of Texas filmmakers,” said Lowery. - David Lowery 8 NURTURING ARTISTS TOWARDS CAREER LEAPS WHERE SOLDIERS COME FROM PIT STOP STUMPED Heather Courtney Yen Tan Robin Berghaus EVOLUTION OF A CRIMINAL NAKOM ST. NICK Darius Clark Monroe T.W. Pittman and Kelly Daniela Norris David Lowery THE SENSITIVES SLASH HELLION Drew Xanthopoulos Clay Liford Kat Candler IN THE SHADOWS COMPUTER CHESS KUMIKO, THE TREASURE HUNTER Alvaro Torres-Crespo Andrew Bujalski David Zellner 20 YEARS OF THE AFS GRANT AFS GRANTS Through the AFS Grant, we awarded $105,000 in cash in addition to $64,000 in goods DISTRIBUTED 42 IN 2016 and services to 42 projects and 36 filmmakers from across the state of Texas in 2016. Among this year’s AFS Grant recipients there were many newcomers, with two-thirds being first-time Grant recipients. AFS Artistic Director Richard Linklater led the CasH FUNDS establishment of the AFS Grant 20 years ago to address the lack of public funding for GRANTED IN THE emerging Texas artists. Since then, the Austin Film Society has awarded a total of $1.6 $105k 2016 CYCLE million in cash and $268,345 in goods and services to 503 projects. Past recipients include David Lowery, who went on to direct this year’s summer blockbuster, Disney’s PETE’S DRAGON, and Jeff Nichols, who went on to make the internationally celebrated AFS GRANTS DISTRIBUTED films MUD, MIDNIGHT SPECIAL and the much-anticipated LOVING. Additionally, other 503 SINCE 1996 previous recipients include Guggenheim Fellows, Gotham Award and Independent Spirit Award nominees and winners, and filmmakers whose AFS Grant-supported works have been in selection at Cannes, Berlin and Sundance. CasH FUNDS GRANTED $1.6m SINCE 1996 9 “There’s no more important moment in the life of a finished film than its premiere.
Recommended publications
  • Music from Peter Gunn
    “The Music from ‘Peter Gunn’”--Henry Mancini (1958) Added to the National Registry: 2010 Essay by Mark A. Robinson (guest post)* Henry Mancini Henry Mancini (1924-1994) was the celebrated composer of a parade of song standards, particularly remembered for his work in television and film composition. Among his sparkling array of memorable melodies are the music for “The Pink Panther” films, the “Love Theme from ‘Romeo and Juliet’,” and his two Academy Award-winning collaborations with lyricist Johnny Mercer, “Moon River” for the 1961 film “Breakfast at Tiffany’s,” and the title song for the 1962 feature “Days of Wine and Roses.” Born Enrico Nicola Mancini in the Little Italy neighborhood of Cleveland, Ohio, Henry Mancini was raised in West Aliquippa, Pennsylvania, near Pittsburgh. Though his father wished his son to become a teacher, Mancini was inspired by the music of Hollywood, particularly that of the 1935 Cecil B. DeMille film “The Crusades.” This fascination saw him embark on a lifelong journey into composition. His first instrument of choice was the piccolo, but soon he drifted toward the piano, studying under Pittsburgh concert pianist and Stanley Theatre conductor Max Adkins. Upon graduating high school, Mancini matriculated at the Carnegie Institute of Technology, but quickly transferred to the Julliard School of Music, concentrating his studies in piano, orchestration, and composition. When America entered World War II, Mancini enlisted in the United States Army in 1943. Assigned to the 28th Air Force Band, he made many connections in the music industry that would serve him well in the post-war years.
    [Show full text]
  • Dance Design & Production Drama Filmmaking Music
    Dance Design & Production Drama Filmmaking Music Powering Creativity Filmmaking CONCENTRATIONS Bachelor of Master of Fine Arts Fine Arts The School of Filmmaking is top ranked in the nation. Animation Cinematography Creative Producing Directing Film Music Composition Picture Editing & Sound Design No.6 of Top 50 Film Schools by TheWrap Producing BECOME A SKILLED STORYTELLER Production Design & Visual Effects Undergraduates take courses in every aspect of the moving image arts, from movies, series and documentaries to augmented and virtual reality. Screenwriting You’ll immediately work on sets and experience firsthand the full arc of film production, including marketing and distribution. You’ll understand the many different creative leadership roles that contribute to the process and discover your strengths and interests. After learning the fundamentals, you’ll work with faculty and focus on a concentration — animation, cinematography, directing, picture editing No.10 of Top 25 American and sound design, producing, production design and visual effects, or Film Schools by The screenwriting. Then you’ll pursue an advanced curriculum focused on your Hollywood Reporter craft’s intricacies as you hone your leadership skills and collaborate with artists in the other concentrations to earn your degree. No.16 of Top 25 Schools for Composing for Film and TV by The Hollywood Reporter Filmmaking Ranked among the best film schools in the country, the School of Filmmaking produces GRADUATE PROGRAM experienced storytellers skilled in all aspects of the cinematic arts and new media. Students Top 50 Best Film Schools direct and shoot numerous projects alongside hands-on courses in every aspect of modern film Graduate students earn their M.F.A.
    [Show full text]
  • Glenn Close to Receive Sundance Institute Vanguard Leadership Award, Presented by Jeremy Irons
    FOR IMMEDIATE RELEASE Media Contact: May 13, 2014 Casey De La Rosa 310.360.1981 [email protected] Glenn Close to Receive Sundance Institute Vanguard Leadership Award, Presented by Jeremy Irons Filmmaker Damien Chazelle to Receive Sundance Institute Vanguard Award, Presented with The Lincoln Motor Company Sundance Institute Celebration Takes Place June 4 in New York Los Angeles, CA — Glenn Close will be honored at the Sundance Institute Celebration benefit on June 4, 2014 in New York for her distinguished career in entertainment and continuing advocacy of, and participation in, independent films. The Sundance Institute Vanguard Leadership Award will be presented to her by her longtime friend Jeremy Irons, with whom she has worked in film and on stage, in projects including The Real Thing, Reversal of Fortune and House of the Spirits. Also at the event filmmaker Damien Chazelle (Whiplash) will receive the Sundance Institute Vanguard Award, presented by The Lincoln Motor Company. The benefit will support the Institute’s programs for independent film and theatre artists and is chaired by Trustees Jeanne Donovan Fisher and Pat Mitchell. The Host Committee includes: Michael Barker; Tom Bernard; Maria Cuomo Cole and Kenneth Cole; Sally Field; Agnes Gund; Ruth Ann and Bill Harnisch; Cindy Harrell Horn and Alan Horn; Joan and George Hornig; Nancy and Andrew Jarecki; Karen Lauder; Kate Lear; Lyn Davis Lear and Norman Lear; Maggie Lear; Rebecca Lichtenfeld; Lori and Janusz Ordover; Abbe Raven; Shari Sant Plummer; Nadine Schiff-Rosen and Fred Rosen; Elena and Geoffrey Sands; Regina Kulik Scully and John Scully; Sheila and Wally Weisman; and Jacki and Gregory Zehner.
    [Show full text]
  • Citizen Kane
    A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M CC II TT II ZZ EE NN KK AA NN EE Directed by Orson Welles Produced by Orson Welles Distributed by RKO Radio Pictures Released in 1941 n any year, the film that wins the Academy Award for Best Picture reflects the Academy ' s I preferences for that year. Even if its members look back and suffer anxious regret at their choice of How Green Was My Valley , that doesn ' t mean they were wrong. They can ' t be wrong . It ' s not everyone else ' s opinion that matters, but the Academy ' s. Mulling over the movies of 1941, the Acade my rejected Citizen Kane . Perhaps they resented Orson Welles ' s arrogant ways and unprecedented creative power. Maybe they thought the film too experimental. Maybe the vote was split between Citizen Kane and The Maltese Falcon , both pioneering in their F ilm Noir flavor. Or they may not have seen the film at all since it was granted such limited release as a result of newspaper baron William Randolph Hearst ' s threats to RKO. Nobody knows, and it doesn ' t matter. Academy members can ' t be forced to vote for the film they like best. Their biases and political calculations can ' t be dissected. To subject the Academy to such scrutiny would be impossible and unfair. It ' s the Academy ' s awards, not ours.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • A Film by David Gordon Green
    PRESENTS JOE A FILM BY DAVID GORDON GREEN 2013 Venice Film Festival 2013 Deauville American Film Festival 2013 Toronto International Film Festival 2013 Zurich Film Festival RUNNING TIME: 117 Minutes INTERNATIONAL SALES WestEnd Films - [email protected] U.S. SALES CAA - [email protected] PRESS CONTACT DDA Public Relations - [email protected] 02 Synopsis A gripping mix of friendship, violence and redemption erupts in the contemporary South in this adaptation of Larry Brown’s novel, celebrated at once for its grit and its deeply moving core. Directed by David Gordon Green (PRINCE AVALANCHE, PINEAPPLE EXPRESS, UNDERTOW, ALL THE REAL GIRLS), the film brings Academy Award® winner Nicolas Cage back to his indie roots in the title role as the hard-living, hot-tempered, ex-con Joe Ransom, who is just trying to dodge his instincts for trouble – until he meets a hard-luck kid, (Tye Sheridan) (MUD, TREE OF LIFE) who awakens in him a fierce and tender-hearted protector. The story begins as Joe hires teenaged Gary Jones and his destitute father onto his “tree- poisoning” crew for a lumber company. Joe might be notoriously reckless with his pick-up, his dog and especially with women, but he sees something in Gary that gets to him: a determination, a raw decency and a sense of resilience he can barely believe in anymore. Gary has truly had nothing in life – he’s never spent a day at school – yet something drives him to take care of his family, to keep his sister safe when his father turns monstrous, to hang onto hope of a better future.
    [Show full text]
  • Film & Literature
    Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et.
    [Show full text]
  • MELHOR FILME 127 HOURS Christian Colson, Danny Boyle
    MELHOR FILME 127 HOURS Christian Colson, Danny Boyle, John Smithson BLACK SWAN Mike Medavoy, Arnold Messer, Brian Oliver, Scott Franklin GREENBERG Scott Rudin, Jennifer Jason Leigh THE KIDS ARE ALL RIGHT Gary Gilbert, Jeffrey Levy-Hinte, Celine Rattray, Jordan Horowitz, Daniela Taplin Lundberg, Philippe Hellmann WINTER´S BONE Alix Madigan-Yorkin, Anne Rosellini MELHOR DIRETOR DARREN ARONOFSKY Black Swan DANNY BOYLE 127 Hours LISA CHODOLENKO The Kids are all right DEBRA GRANIK Winter´s Bone JOHN CAMERON MITCHELL Rabbit Hole MELHOR PRIMEIRO FILME EVERYTHING STRANGE AND NEW Frazer Bradshaw, Laura Techera Francia, A.D Liano GET LOW Aaron Schneider, Dean Zanuck, David Gundlach THE LAST EXORCISM Daniel Stamm, Eric Newman, Eli Roth, Marc Abraham, Thomas A. Bliss NIGHT CATCHES US Tanya Hamilton, Ronald Simons, Sean Costello, Jason Orans TINY FURNITURE Lena Dunham, Kyle Martin, Alicia Van Couvering PREMIO JOHN CASSAVETES DADDY LONGLEGS Josh Safdie, Benny Safdie, Casey Neistat, Tom Scott THE EXPLODING GIRL Bradley Rust Gray, So Yong Kim, Karin Chien, Ben Howe LBS Matthew Bonifacio, Carmine Famiglietti LOVERS OF HATE Bryan Poyser, Megan Gilbride OBSELIDIA Diane Bell, Chris Byrne, Matthew Medlin MELHOR ROTEIRO LISA CHOLODENKO, STUART BLUMBERG The Kids are all right DEBRA GRANIK, ANNE ROSELLINI Winter´s Bone NICOLE HOLOFCENER Please Give DAVID LINDSAY-ABAIRE Rabbit Hole TODD SOLONDZ Life during wartime MELHOR PRIMEIRO ROTEIRO DIANE BELL Obselidia LENA DUNHAM Tiny Furniture NIK FACKLER Lovely, Still ROBERT GLAUDINI Jack goes boating DANA ADAM SHAPIRO, EVAN M. WIENER Monogamy MELHOR ATRIZ ANNETTE BENING The Kids are all right GRETA GERWIG Greenberg NICOLE KIDMAN Rabbit Hole JENNIFER LAWERENCE Winter´s Bone NATALIE PORTMAN Black Swan MICHELLE WILLIAMS Blue Valentine MELHOR ATOR RONALD BRONSTEIN Daddy Longlegs AARON ECKHART Rabbit Hole JAMES FRANCO 127 Hours JOHN C.
    [Show full text]
  • The Art of David Lynch
    The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität.
    [Show full text]
  • MEJOR PELICULA 127 HOURS Christian Colson, Danny Boyle
    MEJOR PELICULA 127 HOURS Christian Colson, Danny Boyle, John Smithson BLACK SWAN Mike Medavoy, Arnold Messer, Brian Oliver, Scott Franklin GREENBERG Scott Rudin, Jennifer Jason Leigh THE KIDS ARE ALL RIGHT Gary Gilbert, Jeffrey Levy-Hinte, Celine Rattray, Jordan Horowitz, Daniela Taplin Lundberg, Philippe Hellmann WINTER´S BONE Alix Madigan-Yorkin, Anne Rosellini MEJOR DIRECTOR DARREN ARONOFSKY Black Swan DANNY BOYLE 127 Hours LISA CHODOLENKO The Kids are all right DEBRA GRANIK Winter´s Bone JOHN CAMERON MITCHELL Rabbit Hole MEJOR ÓPERA PRIMA EVERYTHING STRANGE AND NEW Frazer Bradshaw, Laura Techera Francia, A.D Liano GET LOW Aaron Schneider, Dean Zanuck, David Gundlach THE LAST EXORCISM Daniel Stamm, Eric Newman, Eli Roth, Marc Abraham, Thomas A. Bliss NIGHT CATCHES US Tanya Hamilton, Ronald Simons, Sean Costello, Jason Orans TINY FURNITURE Lena Dunham, Kyle Martin, Alicia Van Couvering PREMIO JOHN CASSAVETES DADDY LONGLEGS Josh Safdie, Benny Safdie, Casey Neistat, Tom Scott THE EXPLODING GIRL Bradley Rust Gray, So Yong Kim, Karin Chien, Ben Howe LBS Matthew Bonifacio, Carmine Famiglietti LOVERS OF HATE Bryan Poyser, Megan Gilbride OBSELIDIA Diane Bell, Chris Byrne, Matthew Medlin MEJOR GUIÓN LISA CHOLODENKO, STUART BLUMBERG The Kids are all right DEBRA GRANIK, ANNE ROSELLINI Winter´s Bone NICOLE HOLOFCENER Please Give DAVID LINDSAY-ABAIRE Rabbit Hole TODD SOLONDZ Life during wartime MEJOR GUIÓN DEBUTANTE DIANE BELL Obselidia LENA DUNHAM Tiny Furniture NIK FACKLER Lovely, Still ROBERT GLAUDINI Jack goes boating DANA ADAM SHAPIRO, EVAN M. WIENER Monogamy MEJOR ACTRIZ PROTAGÓNICA ANNETTE BENING The Kids are all right GRETA GERWIG Greenberg NICOLE KIDMAN Rabbit Hole JENNIFER LAWERENCE Winter´s Bone NATALIE PORTMAN Black Swan MICHELLE WILLIAMS Blue Valentine MEJOR ACTOR PROTAGÓNICO RONALD BRONSTEIN Daddy Longlegs AARON ECKHART Rabbit Hole JAMES FRANCO 127 Hours JOHN C.
    [Show full text]
  • Movie Museum JANUARY 2012 COMING ATTRACTIONS
    Movie Museum JANUARY 2012 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY 2 Hawaii Premieres! WATERBOYS PENGUINS IN THE SKY– CRADLE SONG 2 Hawaii Premieres! LATE BLOOMERS (2001-Japan) ASAHIYAMA ZOO aka Canción de cuna NOT WITHOUT YOU (2006-Switzerland) in Japanese with English (2008-Japan) (1994-Spain) aka Bu Neng Mei You Ni in Swiss German with English subtitles & in widescreen in Japanese with English in Spanish with English (2009-Taiwan) subtitles & in widescreen with Satoshi Tsumabuki, subtitles & in widescreen subtitles & in widescreen in Hakka/Mandarin w/English with Stephanie Glaser. Hiroshi Tamaki, Akifumi with Toshiyuki Nishida, 12:00 & 7:30pm only subtitles & in widescreen 12:00, 3:15 & 6:30pm only Miura, Naoto Takenaka, Yasuhi Nakamura, Ai Maeda, ---------------------------------- 12:00, 3:15 & 6:30pm only ---------------------------------- Koen Kondo, Kaori Manabe. Keiko Horiuchi, Zen Kajihara. I KNOW WHERE I'M ---------------------------------- NOT WITHOUT YOU GOING! (1945-British) LATE BLOOMERS aka Bu Neng Mei You Ni Directed and Co-written by Directed by with Wendy Hiller, Roger (2006-Switzerland) (2009-Taiwan) Shinobu Yaguchi. Masahiko Tsugawa. Livesey, Finlay Currie. in Swiss German with English in Hakka/Mandarin w/English Directed by Michael Powell subtitles & in widescreen subtitles & in widescreen 12:00, 1:45, 3:30, 5:15, 12:30, 2:30, 4:30, 6:30 and Emeric Pressburger. with Stephanie Glaser. 1:30, 4:45 & 8:00pm only 2:00, 3:45 & 5:30pm only 5 7:00 & 8:45pm 6 & 8:30pm 7 8 1:45, 5:00 & 8:15pm only 9 2 Hawaii Premieres! Martin Luther King Jr. Day Hawaii Premiere! Hawaii Premiere! MONEYBALL DISPATCH MONSIEUR BATIGNOLE THE LAST LIONS 2 Hawaii Premieres! (2011) THE FIRST GRADER (2011) (2002-France) in widescreen (2011-US/Botswana) in widescreen in French/German w/English in widescreen (2010-UK/US/Kenya) with Michael Bershad.
    [Show full text]
  • Omtale Af SAMTLIGE FILM DET NÆSTE ÅR Samt Hightlights 2018-2021 1 2017
    Nr. 136 - Pr. 1. januar 2017 – 47 sider – Udarbejdet af Brancheforeningen Danske Biografer Fuldstændig premiereliste på side 39 I DETTE NUMMER: Omtale af SAMTLIGE FILM DET NÆSTE ÅR samt hightlights 2018-2021 1 2017: Omtaler af samtlige kommende film det næste år: ASSASSIN’S CREED (2:20) (SF Studios/Fox) DK-premiere: 5/1-2017. (Action/sci-fi) 11 år Hjemmeside: http://www.imdb.com/title/tt2094766/ Trailer: http://dk.filmtrailer.com/cinema/51338/assassins-creed Med Michael Fassbender og Marion Cotillard. Instr.: Justin Kurzel (”Macbeth”) En bartender ved navn Desmond Miles, bliver bortført at firmaet Abstergo Industries for at udforske sin forfaders, Altaïr Ibn La'Ahad, sjæl i håbet om at finde en hellig artefakt. Baseret på videospillet af samme navn. Budget: $150 mio. (Udsendes også i 3-D) (Indspilning i USA: $28,4 mio. - de første 8 dage) Rotten tomatoes: 17% NATDYR (”Nocturnal Animals”) (1:55) (UIP/Universal) DK-premiere: 5/1-2017. (Drama/thriller) 15 år Hjemmeside: http://www.imdb.com/title/tt4550098/ Trailer: - Med Amy Adams, Jake Gyllenhaal og Michael Shannon. Instr.: Tom Ford (”A Single Man” (49.535)). Baseret på bogen “Tony and Susan” af Austin Wright. I filmen bliver Susan Morrow hjemsøgt af sin eksmands roman. Bogen er en voldsom thriller, men den fortvivlede kvinde opfatter fortællingen som en symbolsk hævn-historie med skjulte trusler. ”Dette er en fantastisk film. En film som er dømt til at vinde priser og bekræfte Fords position som værende lige så vigtig en figur i filmindustrien som i modeverdenen.” – Geoffrey Macnab, Independent. Budget: $22,5 mio. (Indspilning i USA: $9,9 mio.
    [Show full text]