Hedge fund billionaire John Paulson, 66, is reportedly considering marriage with his girlfriend, Alina de Almeida, 34. The couple has recently moved in together at Paulson’s Fifth Avenue apartment while his divorce from his wife continues.
De Almeida reportedly told friends that Paulson wants to have a child with her and that marriage is definitely in their future. The couple has publicly appeared at glamorous events since Paulson filed for divorce in November. Recently, de Almeida, a nutrition influencer with an online following of 138,000, attended an event with New York City Mayor Eric Adams.
Paulson’s soon-to-be ex-wife, Jenny Paulson, rejected Paulson’s multi-billion dollar divorce settlement and learned about his relationship with de Almeida through a 2021 article. The couple, who are parents to two daughters named Giselle and Danielle, reportedly did not have a prenuptial agreement.
Last week, Paulson hosted a fundraiser for former President Donald Trump at his Palm Beach,...
De Almeida reportedly told friends that Paulson wants to have a child with her and that marriage is definitely in their future. The couple has publicly appeared at glamorous events since Paulson filed for divorce in November. Recently, de Almeida, a nutrition influencer with an online following of 138,000, attended an event with New York City Mayor Eric Adams.
Paulson’s soon-to-be ex-wife, Jenny Paulson, rejected Paulson’s multi-billion dollar divorce settlement and learned about his relationship with de Almeida through a 2021 article. The couple, who are parents to two daughters named Giselle and Danielle, reportedly did not have a prenuptial agreement.
Last week, Paulson hosted a fundraiser for former President Donald Trump at his Palm Beach,...
- 4/12/2024
- by Baila Eve Zisman
- Uinterview
The Hollywood Reporter‘s Lovia Gyarkye will be honored with a National Magazine Award by the American Society of Magazine Editors.
Gyarkye, who is THR’s arts and culture critic, will receive one of this year’s Asme Next Awards for Journalists Under 30, which honor “outstanding achievement by early-career print and digital journalists.” In addition to Gyarkye, the recipients of the ninth annual awards are Vulture’s Rebecca Alter; Variety’s Haley Kluge; New York Magazine’s Isabela Quintero; and MIT Technology Review’s Zeyi Yang.
The National Magazine Awards — also known as the “Ellies,” a nickname derived from the Alexander Calder stabile elephant given to each winner — are considered among the most prestigious in digital and print journalism. The finalists were announced Thursday.
Gyarkye will be honored at an April 2 ceremony taking place at Terminal 5 in Manhattan. The other winners of the 59th annual National Magazine Awards will be honored then as well.
Gyarkye, who is THR’s arts and culture critic, will receive one of this year’s Asme Next Awards for Journalists Under 30, which honor “outstanding achievement by early-career print and digital journalists.” In addition to Gyarkye, the recipients of the ninth annual awards are Vulture’s Rebecca Alter; Variety’s Haley Kluge; New York Magazine’s Isabela Quintero; and MIT Technology Review’s Zeyi Yang.
The National Magazine Awards — also known as the “Ellies,” a nickname derived from the Alexander Calder stabile elephant given to each winner — are considered among the most prestigious in digital and print journalism. The finalists were announced Thursday.
Gyarkye will be honored at an April 2 ceremony taking place at Terminal 5 in Manhattan. The other winners of the 59th annual National Magazine Awards will be honored then as well.
- 2/15/2024
- by THR Staff
- The Hollywood Reporter - Movie News
With haute couture week in Paris concluded, the spotlight of the fashion world shifted en masse to Saint-Paul-de-Vence, the village perched on the Maritime Alps in southern France. Simon Porte Jacquemus chose it as the location to present his new collection for 2024 in the Maeght Foundation, a few kilometers from Nice, calling together his high-profile friends Gigi Hadid, Emily Ratajkowski, model (and girlfriend, reportedly, of Leonardo DiCaprio) Vittoria Ceretti and Deva Cassel (daughter of Monica Bellucci and Vincent Cassel) who paraded on a platform set up among the works of Joan Miró, Marc Chagall, Alexander Calder and Alberto Giacometti.
Not surprisingly, the collection of 47 looks, both women’s and men’s, was given the name “Les Sculptures” by the French designer (who himself grew up in the south of France, in the town of Mallemort, not far from Marseille). The presentation showcased leather dresses with rounded shoulders and sleeves curving...
Not surprisingly, the collection of 47 looks, both women’s and men’s, was given the name “Les Sculptures” by the French designer (who himself grew up in the south of France, in the town of Mallemort, not far from Marseille). The presentation showcased leather dresses with rounded shoulders and sleeves curving...
- 1/30/2024
- by Pino Gagliardi
- The Hollywood Reporter - Movie News
San Francisco, Dec 10 (Ians) Japanese billionaire Yusaku Maezawa has announced an eight-person private mission around the Moon, carrying artists and creative professionals on a SpaceX flight.
The crew will have DJ Steve Aoki, musician Choi Seung Hyun, choreographer and performer Yemi A.D., photographer Rhiannon Adam, YouTuber Tim Dodd, photographer Karim Iliya, filmmaker Brendan Hall, and actor Dev D. Joshi, with snowboarder Kaitlyn Farrington and dancer Miyu as backup crew members.
“I hope each and every one will recognise the responsibility that comes with leaving the Earth, traveling to the moon and back,” Maezawa said in a video making the announcement.
In 2018, SpaceX CEO Elon Musk revealed that Maezawa, Founder of Japan’s largest online clothing retailer Zozotown will be the first private customer to ride around the Moon on the company’s future rocket, the Big Falcon Rocket (Bfr).
According to The Verge, Maezawa plans to fly on the trip...
The crew will have DJ Steve Aoki, musician Choi Seung Hyun, choreographer and performer Yemi A.D., photographer Rhiannon Adam, YouTuber Tim Dodd, photographer Karim Iliya, filmmaker Brendan Hall, and actor Dev D. Joshi, with snowboarder Kaitlyn Farrington and dancer Miyu as backup crew members.
“I hope each and every one will recognise the responsibility that comes with leaving the Earth, traveling to the moon and back,” Maezawa said in a video making the announcement.
In 2018, SpaceX CEO Elon Musk revealed that Maezawa, Founder of Japan’s largest online clothing retailer Zozotown will be the first private customer to ride around the Moon on the company’s future rocket, the Big Falcon Rocket (Bfr).
According to The Verge, Maezawa plans to fly on the trip...
- 12/10/2022
- by Glamsham Bureau
- GlamSham
Lizzy Carr (Michelle Williams), the central character of Kelly Reichardt’s “Showing Up,” is a sculptor who is finishing up a series of ceramic figures she’ll be presenting in a gallery show. We see her working, throughout the movie, on the small clay statues — all women, each one about a foot tall, some mounted on rods, all with an intentionally rough, patchy surface that may look awkward and unpolished if you’re close up to it, but when you stand back a bit you see the aesthetic elegance of her style. (Giacometti would understand.) She’s making sculptures of female characters who look a bit ghostly in their lack of perfect line, but that’s part of their design (they all appear a little tormented), and that quality is balanced by the delicate surprise colors they’re painted with, which express their inner life. There’s no question: Lizzy has talent.
- 5/27/2022
- by Owen Gleiberman
- Variety Film + TV
A version of this story about “Soul” first appeared in the Oscar Nominations Preview issue of TheWrap’s awards magazine.
The first Pixar movies had simple, easy premises: What if your toys came to life when you left the room? What if there really are monsters in your closet? But Pete Docter, who is now Pixar’s chief creative officer as well as a director for the company, seems determined to change that.
“CG (animation) in general was shocking when ‘Toy Story’ came out,” Docter said. “We’re constantly trying to provide that perfect balance of things that are relatable and identifiable, so that people recognize themselves in what we’re doing, but also hopefully surprising them as well. So that you feel, ‘Oh, this is an aspect of my life I’ve not really seen before, at least in this way.’ All of the stuff that I’ve done so far,...
The first Pixar movies had simple, easy premises: What if your toys came to life when you left the room? What if there really are monsters in your closet? But Pete Docter, who is now Pixar’s chief creative officer as well as a director for the company, seems determined to change that.
“CG (animation) in general was shocking when ‘Toy Story’ came out,” Docter said. “We’re constantly trying to provide that perfect balance of things that are relatable and identifiable, so that people recognize themselves in what we’re doing, but also hopefully surprising them as well. So that you feel, ‘Oh, this is an aspect of my life I’ve not really seen before, at least in this way.’ All of the stuff that I’ve done so far,...
- 3/4/2021
- by Steve Pond
- The Wrap
Update, 3:48 Pm: Jane Fonda will spend the night in a Washington, D.C. jail after her arrest for the fourth week in a row during a climate protest.
“She is spending the night in jail,” said Ira Arlook, spokesman for Fire Drill Fridays, a weekly protest that has been taking place at the Capitol.
Fonda was among the 46 people arrested on Friday after staging a protest in the atrium of the Hart Senate Office building and refusing to get off the ground to leave, Arlook said. Catherine Keener, Rosanna Arquette and other demonstrators were processed and released, but Fonda was held because of her arrests in the past three Fridays. Fonda is expected to appear in court at a hearing sometime Saturday morning or early afternoon, Arlook said.
In the protest’s first week, 16 people were arrested. That same number was arrested in the second week, when Fonda was joined by actor Sam Waterston.
“She is spending the night in jail,” said Ira Arlook, spokesman for Fire Drill Fridays, a weekly protest that has been taking place at the Capitol.
Fonda was among the 46 people arrested on Friday after staging a protest in the atrium of the Hart Senate Office building and refusing to get off the ground to leave, Arlook said. Catherine Keener, Rosanna Arquette and other demonstrators were processed and released, but Fonda was held because of her arrests in the past three Fridays. Fonda is expected to appear in court at a hearing sometime Saturday morning or early afternoon, Arlook said.
In the protest’s first week, 16 people were arrested. That same number was arrested in the second week, when Fonda was joined by actor Sam Waterston.
- 11/1/2019
- by Ted Johnson
- Deadline Film + TV
The last chapter in an ongoing project that began in 2013, provocateur conceptual artist Jill Magid is making her feature film debut with an experimental art documentary. Becoming a character in the film herself, Magid shares her efforts to photograph the work of Mexican architect Luis Barragán — the bulk of whose archives are owned and controlled by a powerful private corporation. “The Proposal” played at Hot Docs and the Tribeca Film Festival to positive reviews in 2018, and is executive produced by Laura Poitras.
The official synopsis reads: “Known as ‘the artist among architects,’ Luis Barragán is among the world’s most celebrated architects of the 20th century. Upon his death in 1988, much of his work was locked away in a Swiss bunker, hidden from the world’s view. In an attempt to resurrect Barragan’s life and art, boundary redefining artist Jill Magid creates a daring proposition that becomes a fascinating...
The official synopsis reads: “Known as ‘the artist among architects,’ Luis Barragán is among the world’s most celebrated architects of the 20th century. Upon his death in 1988, much of his work was locked away in a Swiss bunker, hidden from the world’s view. In an attempt to resurrect Barragan’s life and art, boundary redefining artist Jill Magid creates a daring proposition that becomes a fascinating...
- 4/24/2019
- by Jude Dry
- Indiewire
Washington — You heard them before you saw them.
“We believe Anita Hill! We believe Christine!” the protesters chanted. “Stop Kavanaugh!”
They came to Capitol Hill hours before the Senate Judiciary Committee began hearing testimony from Supreme Court nominee Brett Kavanaugh and Dr. Christine Blasey Ford, the research psychologist who alleges that Kavanaugh sexually assaulted her when she was 15 and he was 17.
The hallways outside the small hearing room in the Dirksen Senate building where Ford and Kavanaugh will speak were quiet and heavily policed, no lingering allowed, with members of...
“We believe Anita Hill! We believe Christine!” the protesters chanted. “Stop Kavanaugh!”
They came to Capitol Hill hours before the Senate Judiciary Committee began hearing testimony from Supreme Court nominee Brett Kavanaugh and Dr. Christine Blasey Ford, the research psychologist who alleges that Kavanaugh sexually assaulted her when she was 15 and he was 17.
The hallways outside the small hearing room in the Dirksen Senate building where Ford and Kavanaugh will speak were quiet and heavily policed, no lingering allowed, with members of...
- 9/27/2018
- by Andy Kroll
- Rollingstone.com
Totally and tragically unconventional, Peggy Guggenheim moved through the cultural upheaval of the 20th century collecting not only not only art, but artists. Her sexual life was -- and still today is -- more discussed than the art itself which she collected, not for her own consumption but for the world to enjoy.
Her colorful personal history included such figures as Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp and countless others. Guggenheim helped introduce the world to Pollock, Motherwell, Rothko and scores of others now recognized as key masters of modernism.
In 1921 she moved to Paris and mingled with Picasso, Dali, Joyce, Pound, Stein, Leger, Kandinsky. In 1938 she opened a gallery in London and began showing Cocteau, Tanguy, Magritte, Miro, Brancusi, etc., and then back to Paris and New York after the Nazi invasion, followed by the opening of her NYC gallery Art of This Century, which became one of the premiere avant-garde spaces in the U.S. While fighting through personal tragedy, she maintained her vision to build one of the most important collections of modern art, now enshrined in her Venetian palazzo where she moved in 1947. Since 1951, her collection has become one of the world’s most visited art spaces.
Featuring: Jean Dubuffet, Marcel Duchamp, Max Ernst, Alberto Giacometti, Arshile Gorky, Vasil Kandinsky, Paul Klee, Willem de Kooning, Fernand Leger, Rene Magritte, Man Ray, Jean Miro, Piet Mondrian, Henry Moore, Robert Motherwell, Pablo Picasso, Jackson Pollock, Mark Rothko, Kurt Schwitters, Gino Severini, Clyfford Still and Yves Tanguy.
Lisa Immordino Vreeland (Director and Producer)
Lisa Immordino Vreeland has been immersed in the world of fashion and art for the past 25 years. She started her career in fashion as the Director of Public Relations for Polo Ralph Lauren in Italy and quickly moved on to launch two fashion companies, Pratico, a sportswear line for women, and Mago, a cashmere knitwear collection of her own design. Her first book was accompanied by her directorial debut of the documentary of the same name, "Diana Vreeland: The Eye Has To Travel" (2012). The film about the editor of Harper's Bazaar had its European premiere at the Venice Film Festival and its North American premiere at the Telluride Film Festival, going on to win the Silver Hugo at the Chicago Film Festival and the fashion category for the Design of the Year awards, otherwise known as “The Oscars” of design—at the Design Museum in London.
"Peggy Guggenheim: Art Addict" is Lisa Immordino Vreeland's followup to her acclaimed debut, "Diana Vreeland: The Eye Has to Travel". She is now working on her third doc on Cecil Beaton who Lisa says, "has been circling around all these stories. What's great about him is the creativity: fashion photography, war photography, "My Fair Lady" winning an Oscar."
Sydney Levine: I have read numerous accounts and interviews with you about this film and rather than repeat all that has been said, I refer my readers to Indiewire's Women and Hollywood interview at Tribeca this year, and your Indiewire interview with Aubrey Page, November 6, 2015 .
Let's try to cover new territory here.
First of all, what about you? What is your relationship to Diana Vreeland?
Liv: I am married to her grandson, Alexander Vreeland. (I'm also proud of my name Immordino) I never met Diana but hearing so many family stories about her made me start to wonder about all the talk about her. I worked in fashion and lived in New York like she did.
Sl: In one of your interviews you said that Peggy was not only ahead of her time but she helped to define it. Can you tell me how?
Liv: Peggy grew up in a very traditional family of German Bavarian Jews who had moved to New York City in the 19th century. Already at a young age Peggy felt like there were too many rules around her and she wanted to break out. That alone was something attractive to me — the notion that she knew that she didn't fit in to her family or her times. She lived on her own terms, a very modern approach to life. She decided to abandon her family in New York. Though she always stayed connected to them, she rarely visited New York. Instead she lived in a world without borders. She did not live by "the rules". She believed in creating art and created herself, living on her own terms and not on those of her family.
Sl: Is there a link between her and your previous doc on Diana Vreeland?
Liv: The link between Vreeland and Guggenheim is their mutual sense of reinvention and transformation. That made something click inside of me as I too reinvented myself when I began writing the book on Diana Vreeland .
Can you talk about the process of putting this one together and how it differed from its predecessor?
Liv: The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through — instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage. I'm still new to this, but it's the storytelling aspect that I loved in both projects. One thing about Peggy that Mrs. Vreeland didn't have was a very tragic personal life. There was so much that happened in Peggy's life before you even got to what she actually accomplished. And so we had to tell a very dense story about her childhood, her father dying on the Titanic, her beloved sister dying — the tragic events that fundamentally shaped her in a way. It was about making sure we had enough of the personal story to go along with her later accomplishments.
World War II alone was such a huge part of her story, opening an important art gallery in London, where she showed Kandinsky and other important artists for the first time. The amount of material to distill was a tremendous challenge and I hope we made the right choices.
Sl: How did you learn make a documentary?
Liv: I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.
Research is fundamental; finding as much as you can and never giving up. I love the research. It is my "precise time". Not just for interviews but of footage, photographs never seen before. It is a painstaking process that satisfies me. The research never ends. I was still researching while I was promoting the Diana Vreeland book. I love reading books and going to original sources.
The archives in film museums in the last ten years has changed and given museums a new role. I found unique footage at Moma with the Elizabeth Chapman Films. Chapman went to Paris in the 30s and 40s with a handheld camera and took moving pictures of Brancusi and Duchamps joking around in a studio, Gertrude Stein, Leger walking down the street. This footage is owned by Robert Storr, Dean of Yale School of Art. In fact he is taking a sabbatical this year to go through the boxes and boxes of Chapman's films. We also used " Entre'acte" by René Clair cowritten with Dadaist Francis Picabia, "Le Sang du poet" of Cocteau, Hans Richter "8x8","Gagascope" and " Dreams That Money Can Buy" produced by Peggy Guggenheim, written by Man Ray in 1947.
Sl: How long did it take to research and make the film?
Liv: It took three years for both the Vreeland and the Guggenheim documentary.
It was more difficult with the Guggenheim story because there was so much material and so much to tell of her life. And she was not so giving of her own self. Diana could inspire you about a bandaid; she was so giving. But Peggy didn't talk much about why she loved an artist or a painting. She acted more. And using historical material could become "over-teaching" though it was fascinating.
So much had to be eliminated. It was hard to eliminate the Degenerate Art Show, a subject which is newly discussed. Stephanie Barron of Lacma is an expert on Degenerate Art and was so generous.
Once we decided upon which aspects to focus on, then we could give focus to the interviews.
There were so many of her important shows we could not include. For instance there was a show on collages featuring William Baziotes , Jackson Pollack and Robert Motherwell which started a more modern collage trend in art. The 31 Women Art Show which we did include pushed forward another message which I think is important.
And so many different things have been written about Peggy — there were hundreds of articles written about her during her lifetime. She also kept beautiful scrapbooks of articles written about her, which are now in the archives of the Guggenheim Museum.
The Guggenheim foundation did not commission this documentary but they were very supportive and the film premiered there in New York in a wonderful celebration. They wanted to represent Peggy and her paintings properly. The paintings were secondary characters and all were carefully placed historically in a correct fashion.
Sl: You said in one interview Guggenheim became a central figure in the modern art movement?
Liv: Yes and she did it without ego. Sharing was always her purpose in collecting art. She was not out for herself. Before Peggy, the art world was very different. And today it is part of wealth management.
Other collectors had a different way with art. Isabelle Stewart Gardner bought art for her own personal consumption. The Gardner Museum came later. Gertrude Stein was sharing the vision of her brother when she began collecting art. The Coen sisters were not sharing.
Her benevolence ranged from giving Berenice Abbott the money to buy her first camera to keeping Pollock afloat during lean times.
Djuana Barnes, who had a 'Love Love Love Hate Hate Hate' relationship with Peggy wrote Nightwood in Peggy's country house in England.
She was in Paris to the last minute. She planned how to safeguard artwork from the Nazis during World War II. She was storing gasoline so she could escape. She lived on the Ile St. Louis with her art and moved the paintings out first to a children's boarding school and then to Marseilles where it was shipped out to New York City.
Her role in art was not taken seriously because of her very public love life which was described in very derogatory terms. There was more talk about her love life than about her collection of art.
Her autobiography, Out of This Century: Confessions of an Art Addict (1960) , was scandalous when it came out — and she didn't even use real names, she used pseudonyms for her numerous partners. Only after publication did she reveal the names of the men she slept with.
The fact that she spoke about her sexual life at all was the most outrageous aspect. She was opening herself up to ridicule, but she didn't care. Peggy was her own person and she felt good in her own skin. But it was definitely unconventional behavior. I think her sexual appetites revealed a lot about finding her own identity.
A lot of it was tied to the loss of her father, I think, in addition to her wanting to feel accepted. She was also very adventurous — look at the men she slept with. I mean, come on, they are amazing! Samuel Beckett, Yves Tanguy, Marcel Duchamp, and she married Max Ernst. I think it was really ballsy of her to have been so open about her sexuality; this was not something people did back then. So many people are bound by conventional rules but Peggy said no. She grabbed hold of life and she lived it on her own terms.
Sl: You also give Peggy credit for changing the way art was exhibited. Can you explain that?
Liv: One of her greatest achievements was her gallery space in New York City, Art of This Century, which was unlike anything the art world has seen before or since in the way that it shattered the boundaries of the gallery space that we've come to know today — the sterile white cube. She came to be a genius at displaying her collections...
She was smart with Art of the Century because she hired Frederick Kiesler as a designer of the gallery and once again surrounded herself with the right people, including Howard Putzler, who was already involved with her at Guggenheim Jeune in London. And she was hanging out with all the exiled Surrealists who were living in New York at the time, including her future husband, Max Ernst, who was the real star of that group of artists. With the help of these people, she started showing art in a completely different way that was both informal and approachable. In conventional museums and galleries, art was untouchable on the wall and inside frames. In Peggy's gallery, art stuck out from the walls; works weren't confined to frames. Kiesler designed special chairs you could sit in and browse canvases as you would texts in a library. Nothing like this had ever existed in New York before — even today there is nothing like it.
She made the gallery into an exciting place where the whole concept of space was transformed. In Venice, the gallery space was also her home. Today, for a variety of reasons, the home aspect of the collection is less emphasized, though you still get a strong sense of Peggy's home life there. She was bringing art to the public in a bold new way, which I think is a great idea. It's art for everybody, which is very much a part of today's dialogue except that fewer people can afford the outlandish museum entry fees.
Sl: What do you think made her so prescient and attuned ?
Liv: She was smart enough to ask Marcel Duchamp to be her advisor — so she was in tune, and very well connected. She was on the cutting edge of what was going on and I think a lot of this had to do with Peggy being open to the idea of what was new and outrageous. You have to have a certain personality for this; what her childhood had dictated was totally opposite from what she became in life, and being in the right place at the right time helped her maintain a cutting edge throughout her life.
Sl: The movie is framed around a lost interview with Peggy conducted late in her life. How did you acquire these tapes?
Liv: We optioned Jacqueline Bogard Weld’s book, Peggy : The Wayward Guggenheim, the only authorized biography of Peggy, which was published after she died. Jackie had spent two summers interviewing Peggy but at a certain point lost the tapes somewhere in her Park Avenue apartment. Jackie had so much access to Peggy, which was incredible, but it was also the access that she had to other people who had known Peggy — she interviewed over 200 people for her book. Jackie was incredibly generous, letting me go through all her original research except for the lost tapes.
We'd walk into different rooms in her apartment and I'd suggestively open a closet door and ask “Where do you think those tapes might be?" Then one day I asked if she had a basement, and she did. So I went through all these boxes down there, organizing her affairs. Then bingo, the tapes showed up in this shoebox.
It was the longest interview Peggy had ever done and it became the framework for our movie. There's nothing more powerful than when you have someone's real voice telling the story, and Jackie was especially good at asking provoking questions. You can tell it was hard for Peggy to answer a lot of them, because she wasn't someone who was especially expressive; she didn't have a lot of emotion. And this comes across in the movie, in the tone of her voice.
Sl: Larry Gagosian has one of the best descriptions of Peggy in the movie — "she was her own creation." Would you agree, and if so why?
Liv: She was very much her own creation. When he said that in the interview I had a huge smile on my face. In Peggy's case it stemmed from a real need to identify and understand herself. I'm not sure she achieved it but she completely recreated herself — she knew that she did not want to be what she was brought up to be. She tried being a mother, but that was not one of her strengths, so art became that place where she could find herself, and then transform herself.
Nobody believed in the artists she cultivated and supported — they were outsiders and she was an outsider in the world she was brought up in. So it's in this way that she became her own great invention. I hope that her humor comes across in the film because she was extremely amusing — this aspect really comes across in her autobiography.
Sl: Finally, what do you think is Peggy Guggenheim's most lasting legacy, beyond her incredible art collection?
Liv: Her courage, and the way she used it to find herself. She had this ballsiness that not many people had, especially women. In her own way she was a feminist and it's good for women and young girls today to see women who stepped outside the confines of a very traditional family and made something of her life. Peggy's life did not seem that dreamy until she attached herself to these artists. It was her ability to redefine herself in the end that truly summed her up.
About the Filmmakers
Stanley Buchtal is a producer and entrepreneur. His movies credits include "Hairspray", "Spanking the Monkey", "Up at the Villa", "Lou Reed Berlin", "Love Marilyn", "LennoNYC", "Bobby Fischer Against the World", "Herb & Dorothy", "Marina Abramovic: The Artist is Present"," Jean-Michel Basquiat: The Radiant Child", "Sketches of Frank Gehry", "Black White + Gray: a Portrait of Sam Wagstaff and Robert Mapplethorpe", among numerous others.
David Koh is an independent producer, distributor, sales agent, programmer and curator. He has been involved in the distribution, sale, production, and financing of over 200 films. He is currently a partner in the boutique label Submarine Entertainment with Josh and Dan Braun and is also partners with Stanley Buchthal and his Dakota Group Ltd where he co-manages a portfolio of over 50 projects a year (75% docs and 25% fiction). Previously he was a partner and founder of Arthouse Films a boutique distribution imprint and ran Chris Blackwell's (founder of Island Records & Island Pictures) film label, Palm Pictures. He has worked as a Producer for artist Nam June Paik and worked in the curatorial departments of Anthology Film Archives, MoMA, Mfa Boston, and the Guggenheim Museum. David has recently served as a Curator for Microsoft and has curated an ongoing film series and salon with Andre Balazs Properties and serves as a Curator for the exclusive Core Club in NYC.
David recently launched with his partners Submarine Deluxe, a distribution imprint; Torpedo Pictures, a low budget high concept label; and Nfp Submarine Doks, a German distribution imprint with Nfp Films. Recently and upcoming projects include "Yayoi Kusama: a Life in Polka Dots", "Burden: a Portrait of Artist Chris Burden", "Dior and I", "20 Feet From Stardom", "Muscle Shoals", "Marina Abramovic the Artist is Present", "Rats NYC", "Nas: Time Is Illmatic", "Blackfish", "Love Marilyn", "Chasing Ice", "Searching for Sugar Man", "Cutie and the Boxer"," Jean-Michel Basquiat: the Radiant Child", "Finding Vivian Maier", "The Wolfpack, "Meru", and "Station to Station".
Dan Braun is a producer, writer, art director and musician/composer based in NYC. He is the Co-President of and Co-Founder of Submarine, a NYC film sales and production company specializing in independent feature and documentary films. Titles include "Blackfish", "Finding Vivian Maier", "Muscle Shoals", "The Case Against 8", "Keep On Keepin’ On", "Winter’s Bone", "Nas: Time is Illmatic", "Dior and I" and Oscar winning docs "Man on Wire", "Searching for Sugarman", "20 Ft From Stardom" and "Citizenfour". He was Executive Producer on documentaries "Kill Your Idols", (which won Best NY Documentary at the Tribeca Film Festival 2004), "Blank City", "Sunshine Superman", the upcoming feature adaptations of "Batkid Begins" and "The Battered Bastards of Baseball" and the upcoming horror TV anthology "Creepy" to be directed by Chris Columbus.
He is a producer of the free jazz documentary "Fire Music", and the upcoming documentaries, "Burden" on artist Chris Burden and "Kusama: a Life in Polka Dots" on artist Yayoi Kusama. He is also a writer and consulting editor on Dark Horse Comic’s "Creepy" and "Eerie 9" comic book and archival series for which he won an Eisner Award for best archival comic book series in 2009.
He is a musician/composer whose compositions were featured in the films "I Melt With You" and "Jean-Michel Basquiat, The Radiant Child and is an award winning art director/creative director when he worked at Tbwa/Chiat/Day on the famous Absolut Vodka campaign.
John Northrup (Co-Producer) began his career in documentaries as a French translator for National Geographic: Explorer. He quickly moved into editing and producing, serving as the Associate Producer on "Diana Vreeland: The Eye Has To Travel" (2012), and editing and co-producing "Wilson In Situ" (2014), which tells the story of theatre legend Robert Wilson and his Watermill Center. Most recently, he oversaw the post-production of Jim Chambers’ "Onward Christian Soldier", a documentary about Olympic Bomber Eric Rudolph, and is shooting on Susanne Rostock’s "Another Night in the Free World", the follow-up to her award-winning "Sing Your Song" (2011).
Submarine Entertainment (Production Company) Submarine Entertainment is a hybrid sales, production, and distribution company based in N.Y. Recent and upcoming titles include "Citizenfour", "Finding Vivian Maier", "The Dog", "Visitors", "20 Feet from Stardom", "Searching for Sugar Man", "Muscle Shoals", "Blackfish", "Cutie and the Boxer", "The Summit", "The Unknown Known", "Love Marilyn", "Marina Abramovic the Artist is Present", "Chasing Ice", "Downtown 81 30th Anniversary Remastered", "Wild Style 30th Anniversary Remastered", "Good Ol Freda", "Some Velvet Morning", among numerous others. Submarine principals also represent Creepy and Eerie comic book library and are developing properties across film & TV platforms.
Submarine has also recently launched a domestic distribution imprint and label called Submarine Deluxe; a genre label called Torpedo Pictures; and a German imprint and label called Nfp Submarine Doks.
Bernadine Colish has edited a number of award-winning documentaries. "Herb and Dorothy" (2008), won Audience Awards at Silverdocs, Philadelphia and Hamptons Film Festivals, and "Body of War" (2007), was named Best Documentary by the National Board of Review. "A Touch of Greatness" (2004) aired on PBS Independent Lens and was nominated for an Emmy Award. Her career began at Maysles Films, where she worked with Charlotte Zwerin on such projects as "Thelonious Monk: Straight No Chaser", "Toru Takemitsu: Music for the Movies" and the PBS American Masters documentary, "Ella Fitzgerald: Something To Live For". Additional credits include "Bringing Tibet Home", "Band of Sisters", "Rise and Dream", "The Tiger Next Door", "The Buffalo War" and "Absolute Wilson".
Jed Parker (Editor) Jed Parker began his career in feature films before moving into documentaries through his work with the award-winning American Masters series. Credits include "Lou Reed: Rock and Roll Heart", "Annie Liebovitz: Life Through a Lens", and most recently "Jeff Bridges: The Dude Abides".
Other work includes two episodes of the PBS series "Make ‘Em Laugh", hosted by Billy Crystal, as well as a documentary on Met Curator Henry Geldzahler entitled "Who Gets to Call it Art"?
Credits
Director, Writer, Producer: Lisa Immordino Vreeland
Produced by Stanley Buchthal, David Koh and Dan Braun Stanley Buchthal (producer)
Maja Hoffmann (executive producer)
Josh Braun (executive producer)
Bob Benton (executive producer)
John Northrup (co-producer)
Bernadine Colish (editor)
Jed Parker (editor)
Peter Trilling (director of photography)
Bonnie Greenberg (executive music producer)
Music by J. Ralph
Original Song "Once Again" Written and Performed By J. Ralph
Interviews Featuring Artist Marina Abramović Jean Arp Dore Ashton Samuel Beckett Stephanie Barron Constantin Brâncuși Diego Cortez Alexander Calder Susan Davidson Joseph Cornell Robert De Niro Salvador Dalí Simon de Pury Willem de Kooning Jeffrey Deitch Marcel Duchamp Polly Devlin Max Ernst Larry Gagosian Alberto Giacometti Arne Glimcher Vasily Kandinsky Michael Govan Fernand Léger Nicky Haslam Joan Miró Pepe Karmel Piet Mondrian Donald Kuspit Robert Motherwell Dominique Lévy Jackson Pollock Carlo McCormick Mark Rothko Hans Ulrich Obrist Yves Tanguy Lisa Phillips Lindsay Pollock Francine Prose John Richardson Sandy Rower Mercedes Ruehl Jane Rylands Philip Rylands Calvin Tomkins Karole Vail Jacqueline Bograd Weld Edmund White
Running time: 97 minutes
U.S. distribution by Submarine Deluxe
International sales by Hanway...
Her colorful personal history included such figures as Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp and countless others. Guggenheim helped introduce the world to Pollock, Motherwell, Rothko and scores of others now recognized as key masters of modernism.
In 1921 she moved to Paris and mingled with Picasso, Dali, Joyce, Pound, Stein, Leger, Kandinsky. In 1938 she opened a gallery in London and began showing Cocteau, Tanguy, Magritte, Miro, Brancusi, etc., and then back to Paris and New York after the Nazi invasion, followed by the opening of her NYC gallery Art of This Century, which became one of the premiere avant-garde spaces in the U.S. While fighting through personal tragedy, she maintained her vision to build one of the most important collections of modern art, now enshrined in her Venetian palazzo where she moved in 1947. Since 1951, her collection has become one of the world’s most visited art spaces.
Featuring: Jean Dubuffet, Marcel Duchamp, Max Ernst, Alberto Giacometti, Arshile Gorky, Vasil Kandinsky, Paul Klee, Willem de Kooning, Fernand Leger, Rene Magritte, Man Ray, Jean Miro, Piet Mondrian, Henry Moore, Robert Motherwell, Pablo Picasso, Jackson Pollock, Mark Rothko, Kurt Schwitters, Gino Severini, Clyfford Still and Yves Tanguy.
Lisa Immordino Vreeland (Director and Producer)
Lisa Immordino Vreeland has been immersed in the world of fashion and art for the past 25 years. She started her career in fashion as the Director of Public Relations for Polo Ralph Lauren in Italy and quickly moved on to launch two fashion companies, Pratico, a sportswear line for women, and Mago, a cashmere knitwear collection of her own design. Her first book was accompanied by her directorial debut of the documentary of the same name, "Diana Vreeland: The Eye Has To Travel" (2012). The film about the editor of Harper's Bazaar had its European premiere at the Venice Film Festival and its North American premiere at the Telluride Film Festival, going on to win the Silver Hugo at the Chicago Film Festival and the fashion category for the Design of the Year awards, otherwise known as “The Oscars” of design—at the Design Museum in London.
"Peggy Guggenheim: Art Addict" is Lisa Immordino Vreeland's followup to her acclaimed debut, "Diana Vreeland: The Eye Has to Travel". She is now working on her third doc on Cecil Beaton who Lisa says, "has been circling around all these stories. What's great about him is the creativity: fashion photography, war photography, "My Fair Lady" winning an Oscar."
Sydney Levine: I have read numerous accounts and interviews with you about this film and rather than repeat all that has been said, I refer my readers to Indiewire's Women and Hollywood interview at Tribeca this year, and your Indiewire interview with Aubrey Page, November 6, 2015 .
Let's try to cover new territory here.
First of all, what about you? What is your relationship to Diana Vreeland?
Liv: I am married to her grandson, Alexander Vreeland. (I'm also proud of my name Immordino) I never met Diana but hearing so many family stories about her made me start to wonder about all the talk about her. I worked in fashion and lived in New York like she did.
Sl: In one of your interviews you said that Peggy was not only ahead of her time but she helped to define it. Can you tell me how?
Liv: Peggy grew up in a very traditional family of German Bavarian Jews who had moved to New York City in the 19th century. Already at a young age Peggy felt like there were too many rules around her and she wanted to break out. That alone was something attractive to me — the notion that she knew that she didn't fit in to her family or her times. She lived on her own terms, a very modern approach to life. She decided to abandon her family in New York. Though she always stayed connected to them, she rarely visited New York. Instead she lived in a world without borders. She did not live by "the rules". She believed in creating art and created herself, living on her own terms and not on those of her family.
Sl: Is there a link between her and your previous doc on Diana Vreeland?
Liv: The link between Vreeland and Guggenheim is their mutual sense of reinvention and transformation. That made something click inside of me as I too reinvented myself when I began writing the book on Diana Vreeland .
Can you talk about the process of putting this one together and how it differed from its predecessor?
Liv: The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through — instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage. I'm still new to this, but it's the storytelling aspect that I loved in both projects. One thing about Peggy that Mrs. Vreeland didn't have was a very tragic personal life. There was so much that happened in Peggy's life before you even got to what she actually accomplished. And so we had to tell a very dense story about her childhood, her father dying on the Titanic, her beloved sister dying — the tragic events that fundamentally shaped her in a way. It was about making sure we had enough of the personal story to go along with her later accomplishments.
World War II alone was such a huge part of her story, opening an important art gallery in London, where she showed Kandinsky and other important artists for the first time. The amount of material to distill was a tremendous challenge and I hope we made the right choices.
Sl: How did you learn make a documentary?
Liv: I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.
Research is fundamental; finding as much as you can and never giving up. I love the research. It is my "precise time". Not just for interviews but of footage, photographs never seen before. It is a painstaking process that satisfies me. The research never ends. I was still researching while I was promoting the Diana Vreeland book. I love reading books and going to original sources.
The archives in film museums in the last ten years has changed and given museums a new role. I found unique footage at Moma with the Elizabeth Chapman Films. Chapman went to Paris in the 30s and 40s with a handheld camera and took moving pictures of Brancusi and Duchamps joking around in a studio, Gertrude Stein, Leger walking down the street. This footage is owned by Robert Storr, Dean of Yale School of Art. In fact he is taking a sabbatical this year to go through the boxes and boxes of Chapman's films. We also used " Entre'acte" by René Clair cowritten with Dadaist Francis Picabia, "Le Sang du poet" of Cocteau, Hans Richter "8x8","Gagascope" and " Dreams That Money Can Buy" produced by Peggy Guggenheim, written by Man Ray in 1947.
Sl: How long did it take to research and make the film?
Liv: It took three years for both the Vreeland and the Guggenheim documentary.
It was more difficult with the Guggenheim story because there was so much material and so much to tell of her life. And she was not so giving of her own self. Diana could inspire you about a bandaid; she was so giving. But Peggy didn't talk much about why she loved an artist or a painting. She acted more. And using historical material could become "over-teaching" though it was fascinating.
So much had to be eliminated. It was hard to eliminate the Degenerate Art Show, a subject which is newly discussed. Stephanie Barron of Lacma is an expert on Degenerate Art and was so generous.
Once we decided upon which aspects to focus on, then we could give focus to the interviews.
There were so many of her important shows we could not include. For instance there was a show on collages featuring William Baziotes , Jackson Pollack and Robert Motherwell which started a more modern collage trend in art. The 31 Women Art Show which we did include pushed forward another message which I think is important.
And so many different things have been written about Peggy — there were hundreds of articles written about her during her lifetime. She also kept beautiful scrapbooks of articles written about her, which are now in the archives of the Guggenheim Museum.
The Guggenheim foundation did not commission this documentary but they were very supportive and the film premiered there in New York in a wonderful celebration. They wanted to represent Peggy and her paintings properly. The paintings were secondary characters and all were carefully placed historically in a correct fashion.
Sl: You said in one interview Guggenheim became a central figure in the modern art movement?
Liv: Yes and she did it without ego. Sharing was always her purpose in collecting art. She was not out for herself. Before Peggy, the art world was very different. And today it is part of wealth management.
Other collectors had a different way with art. Isabelle Stewart Gardner bought art for her own personal consumption. The Gardner Museum came later. Gertrude Stein was sharing the vision of her brother when she began collecting art. The Coen sisters were not sharing.
Her benevolence ranged from giving Berenice Abbott the money to buy her first camera to keeping Pollock afloat during lean times.
Djuana Barnes, who had a 'Love Love Love Hate Hate Hate' relationship with Peggy wrote Nightwood in Peggy's country house in England.
She was in Paris to the last minute. She planned how to safeguard artwork from the Nazis during World War II. She was storing gasoline so she could escape. She lived on the Ile St. Louis with her art and moved the paintings out first to a children's boarding school and then to Marseilles where it was shipped out to New York City.
Her role in art was not taken seriously because of her very public love life which was described in very derogatory terms. There was more talk about her love life than about her collection of art.
Her autobiography, Out of This Century: Confessions of an Art Addict (1960) , was scandalous when it came out — and she didn't even use real names, she used pseudonyms for her numerous partners. Only after publication did she reveal the names of the men she slept with.
The fact that she spoke about her sexual life at all was the most outrageous aspect. She was opening herself up to ridicule, but she didn't care. Peggy was her own person and she felt good in her own skin. But it was definitely unconventional behavior. I think her sexual appetites revealed a lot about finding her own identity.
A lot of it was tied to the loss of her father, I think, in addition to her wanting to feel accepted. She was also very adventurous — look at the men she slept with. I mean, come on, they are amazing! Samuel Beckett, Yves Tanguy, Marcel Duchamp, and she married Max Ernst. I think it was really ballsy of her to have been so open about her sexuality; this was not something people did back then. So many people are bound by conventional rules but Peggy said no. She grabbed hold of life and she lived it on her own terms.
Sl: You also give Peggy credit for changing the way art was exhibited. Can you explain that?
Liv: One of her greatest achievements was her gallery space in New York City, Art of This Century, which was unlike anything the art world has seen before or since in the way that it shattered the boundaries of the gallery space that we've come to know today — the sterile white cube. She came to be a genius at displaying her collections...
She was smart with Art of the Century because she hired Frederick Kiesler as a designer of the gallery and once again surrounded herself with the right people, including Howard Putzler, who was already involved with her at Guggenheim Jeune in London. And she was hanging out with all the exiled Surrealists who were living in New York at the time, including her future husband, Max Ernst, who was the real star of that group of artists. With the help of these people, she started showing art in a completely different way that was both informal and approachable. In conventional museums and galleries, art was untouchable on the wall and inside frames. In Peggy's gallery, art stuck out from the walls; works weren't confined to frames. Kiesler designed special chairs you could sit in and browse canvases as you would texts in a library. Nothing like this had ever existed in New York before — even today there is nothing like it.
She made the gallery into an exciting place where the whole concept of space was transformed. In Venice, the gallery space was also her home. Today, for a variety of reasons, the home aspect of the collection is less emphasized, though you still get a strong sense of Peggy's home life there. She was bringing art to the public in a bold new way, which I think is a great idea. It's art for everybody, which is very much a part of today's dialogue except that fewer people can afford the outlandish museum entry fees.
Sl: What do you think made her so prescient and attuned ?
Liv: She was smart enough to ask Marcel Duchamp to be her advisor — so she was in tune, and very well connected. She was on the cutting edge of what was going on and I think a lot of this had to do with Peggy being open to the idea of what was new and outrageous. You have to have a certain personality for this; what her childhood had dictated was totally opposite from what she became in life, and being in the right place at the right time helped her maintain a cutting edge throughout her life.
Sl: The movie is framed around a lost interview with Peggy conducted late in her life. How did you acquire these tapes?
Liv: We optioned Jacqueline Bogard Weld’s book, Peggy : The Wayward Guggenheim, the only authorized biography of Peggy, which was published after she died. Jackie had spent two summers interviewing Peggy but at a certain point lost the tapes somewhere in her Park Avenue apartment. Jackie had so much access to Peggy, which was incredible, but it was also the access that she had to other people who had known Peggy — she interviewed over 200 people for her book. Jackie was incredibly generous, letting me go through all her original research except for the lost tapes.
We'd walk into different rooms in her apartment and I'd suggestively open a closet door and ask “Where do you think those tapes might be?" Then one day I asked if she had a basement, and she did. So I went through all these boxes down there, organizing her affairs. Then bingo, the tapes showed up in this shoebox.
It was the longest interview Peggy had ever done and it became the framework for our movie. There's nothing more powerful than when you have someone's real voice telling the story, and Jackie was especially good at asking provoking questions. You can tell it was hard for Peggy to answer a lot of them, because she wasn't someone who was especially expressive; she didn't have a lot of emotion. And this comes across in the movie, in the tone of her voice.
Sl: Larry Gagosian has one of the best descriptions of Peggy in the movie — "she was her own creation." Would you agree, and if so why?
Liv: She was very much her own creation. When he said that in the interview I had a huge smile on my face. In Peggy's case it stemmed from a real need to identify and understand herself. I'm not sure she achieved it but she completely recreated herself — she knew that she did not want to be what she was brought up to be. She tried being a mother, but that was not one of her strengths, so art became that place where she could find herself, and then transform herself.
Nobody believed in the artists she cultivated and supported — they were outsiders and she was an outsider in the world she was brought up in. So it's in this way that she became her own great invention. I hope that her humor comes across in the film because she was extremely amusing — this aspect really comes across in her autobiography.
Sl: Finally, what do you think is Peggy Guggenheim's most lasting legacy, beyond her incredible art collection?
Liv: Her courage, and the way she used it to find herself. She had this ballsiness that not many people had, especially women. In her own way she was a feminist and it's good for women and young girls today to see women who stepped outside the confines of a very traditional family and made something of her life. Peggy's life did not seem that dreamy until she attached herself to these artists. It was her ability to redefine herself in the end that truly summed her up.
About the Filmmakers
Stanley Buchtal is a producer and entrepreneur. His movies credits include "Hairspray", "Spanking the Monkey", "Up at the Villa", "Lou Reed Berlin", "Love Marilyn", "LennoNYC", "Bobby Fischer Against the World", "Herb & Dorothy", "Marina Abramovic: The Artist is Present"," Jean-Michel Basquiat: The Radiant Child", "Sketches of Frank Gehry", "Black White + Gray: a Portrait of Sam Wagstaff and Robert Mapplethorpe", among numerous others.
David Koh is an independent producer, distributor, sales agent, programmer and curator. He has been involved in the distribution, sale, production, and financing of over 200 films. He is currently a partner in the boutique label Submarine Entertainment with Josh and Dan Braun and is also partners with Stanley Buchthal and his Dakota Group Ltd where he co-manages a portfolio of over 50 projects a year (75% docs and 25% fiction). Previously he was a partner and founder of Arthouse Films a boutique distribution imprint and ran Chris Blackwell's (founder of Island Records & Island Pictures) film label, Palm Pictures. He has worked as a Producer for artist Nam June Paik and worked in the curatorial departments of Anthology Film Archives, MoMA, Mfa Boston, and the Guggenheim Museum. David has recently served as a Curator for Microsoft and has curated an ongoing film series and salon with Andre Balazs Properties and serves as a Curator for the exclusive Core Club in NYC.
David recently launched with his partners Submarine Deluxe, a distribution imprint; Torpedo Pictures, a low budget high concept label; and Nfp Submarine Doks, a German distribution imprint with Nfp Films. Recently and upcoming projects include "Yayoi Kusama: a Life in Polka Dots", "Burden: a Portrait of Artist Chris Burden", "Dior and I", "20 Feet From Stardom", "Muscle Shoals", "Marina Abramovic the Artist is Present", "Rats NYC", "Nas: Time Is Illmatic", "Blackfish", "Love Marilyn", "Chasing Ice", "Searching for Sugar Man", "Cutie and the Boxer"," Jean-Michel Basquiat: the Radiant Child", "Finding Vivian Maier", "The Wolfpack, "Meru", and "Station to Station".
Dan Braun is a producer, writer, art director and musician/composer based in NYC. He is the Co-President of and Co-Founder of Submarine, a NYC film sales and production company specializing in independent feature and documentary films. Titles include "Blackfish", "Finding Vivian Maier", "Muscle Shoals", "The Case Against 8", "Keep On Keepin’ On", "Winter’s Bone", "Nas: Time is Illmatic", "Dior and I" and Oscar winning docs "Man on Wire", "Searching for Sugarman", "20 Ft From Stardom" and "Citizenfour". He was Executive Producer on documentaries "Kill Your Idols", (which won Best NY Documentary at the Tribeca Film Festival 2004), "Blank City", "Sunshine Superman", the upcoming feature adaptations of "Batkid Begins" and "The Battered Bastards of Baseball" and the upcoming horror TV anthology "Creepy" to be directed by Chris Columbus.
He is a producer of the free jazz documentary "Fire Music", and the upcoming documentaries, "Burden" on artist Chris Burden and "Kusama: a Life in Polka Dots" on artist Yayoi Kusama. He is also a writer and consulting editor on Dark Horse Comic’s "Creepy" and "Eerie 9" comic book and archival series for which he won an Eisner Award for best archival comic book series in 2009.
He is a musician/composer whose compositions were featured in the films "I Melt With You" and "Jean-Michel Basquiat, The Radiant Child and is an award winning art director/creative director when he worked at Tbwa/Chiat/Day on the famous Absolut Vodka campaign.
John Northrup (Co-Producer) began his career in documentaries as a French translator for National Geographic: Explorer. He quickly moved into editing and producing, serving as the Associate Producer on "Diana Vreeland: The Eye Has To Travel" (2012), and editing and co-producing "Wilson In Situ" (2014), which tells the story of theatre legend Robert Wilson and his Watermill Center. Most recently, he oversaw the post-production of Jim Chambers’ "Onward Christian Soldier", a documentary about Olympic Bomber Eric Rudolph, and is shooting on Susanne Rostock’s "Another Night in the Free World", the follow-up to her award-winning "Sing Your Song" (2011).
Submarine Entertainment (Production Company) Submarine Entertainment is a hybrid sales, production, and distribution company based in N.Y. Recent and upcoming titles include "Citizenfour", "Finding Vivian Maier", "The Dog", "Visitors", "20 Feet from Stardom", "Searching for Sugar Man", "Muscle Shoals", "Blackfish", "Cutie and the Boxer", "The Summit", "The Unknown Known", "Love Marilyn", "Marina Abramovic the Artist is Present", "Chasing Ice", "Downtown 81 30th Anniversary Remastered", "Wild Style 30th Anniversary Remastered", "Good Ol Freda", "Some Velvet Morning", among numerous others. Submarine principals also represent Creepy and Eerie comic book library and are developing properties across film & TV platforms.
Submarine has also recently launched a domestic distribution imprint and label called Submarine Deluxe; a genre label called Torpedo Pictures; and a German imprint and label called Nfp Submarine Doks.
Bernadine Colish has edited a number of award-winning documentaries. "Herb and Dorothy" (2008), won Audience Awards at Silverdocs, Philadelphia and Hamptons Film Festivals, and "Body of War" (2007), was named Best Documentary by the National Board of Review. "A Touch of Greatness" (2004) aired on PBS Independent Lens and was nominated for an Emmy Award. Her career began at Maysles Films, where she worked with Charlotte Zwerin on such projects as "Thelonious Monk: Straight No Chaser", "Toru Takemitsu: Music for the Movies" and the PBS American Masters documentary, "Ella Fitzgerald: Something To Live For". Additional credits include "Bringing Tibet Home", "Band of Sisters", "Rise and Dream", "The Tiger Next Door", "The Buffalo War" and "Absolute Wilson".
Jed Parker (Editor) Jed Parker began his career in feature films before moving into documentaries through his work with the award-winning American Masters series. Credits include "Lou Reed: Rock and Roll Heart", "Annie Liebovitz: Life Through a Lens", and most recently "Jeff Bridges: The Dude Abides".
Other work includes two episodes of the PBS series "Make ‘Em Laugh", hosted by Billy Crystal, as well as a documentary on Met Curator Henry Geldzahler entitled "Who Gets to Call it Art"?
Credits
Director, Writer, Producer: Lisa Immordino Vreeland
Produced by Stanley Buchthal, David Koh and Dan Braun Stanley Buchthal (producer)
Maja Hoffmann (executive producer)
Josh Braun (executive producer)
Bob Benton (executive producer)
John Northrup (co-producer)
Bernadine Colish (editor)
Jed Parker (editor)
Peter Trilling (director of photography)
Bonnie Greenberg (executive music producer)
Music by J. Ralph
Original Song "Once Again" Written and Performed By J. Ralph
Interviews Featuring Artist Marina Abramović Jean Arp Dore Ashton Samuel Beckett Stephanie Barron Constantin Brâncuși Diego Cortez Alexander Calder Susan Davidson Joseph Cornell Robert De Niro Salvador Dalí Simon de Pury Willem de Kooning Jeffrey Deitch Marcel Duchamp Polly Devlin Max Ernst Larry Gagosian Alberto Giacometti Arne Glimcher Vasily Kandinsky Michael Govan Fernand Léger Nicky Haslam Joan Miró Pepe Karmel Piet Mondrian Donald Kuspit Robert Motherwell Dominique Lévy Jackson Pollock Carlo McCormick Mark Rothko Hans Ulrich Obrist Yves Tanguy Lisa Phillips Lindsay Pollock Francine Prose John Richardson Sandy Rower Mercedes Ruehl Jane Rylands Philip Rylands Calvin Tomkins Karole Vail Jacqueline Bograd Weld Edmund White
Running time: 97 minutes
U.S. distribution by Submarine Deluxe
International sales by Hanway...
- 11/18/2015
- by Sydney Levine
- Sydney's Buzz
Miami Art Basel is finally winding down, and Seen takes one last look — from an Alexander Calder to the photographs of Jack Pierson. Click on the slideshow below to see Tim Barber's photographs from the convention center, as well as his late-night escape to the rooftop of an abandoned building. Follow Tim on Instagram at @timobarber, or see his website for more.
- 12/6/2014
- by Tim Barber
- Vulture
The Austin Film Society has teamed up with Dan Halstead of Portland's Kung Fu Theater to host the 2nd annual "Old School Kung Fu Weekend" at the Marchesa. Three films will screen tonight and three more tomorrow, all directly from rare 35mm prints. The lineup is top secret and most of the movies have never before played in town. Passes are available for the entire series or individual tickets will be sold at the door, capacity permitting.
The Afs Screening Room hosts an Avant Cinema screening on Wednesday night of the 1947 film Dreams That Money Can Buy, created by avant-garde masters Hans Richter, Marcel Duchamp, Man Ray, Max Ernst, Fernand Leger, Alexander Calder and John Cage. Thursday night's Essential Cinema selection is Abel Gance's J'Accuse. Presented in a Dcp of a recent restoration, this 1919 silent classic presents a love triangle between a soldier, his wife and her lover during World War I.
The Afs Screening Room hosts an Avant Cinema screening on Wednesday night of the 1947 film Dreams That Money Can Buy, created by avant-garde masters Hans Richter, Marcel Duchamp, Man Ray, Max Ernst, Fernand Leger, Alexander Calder and John Cage. Thursday night's Essential Cinema selection is Abel Gance's J'Accuse. Presented in a Dcp of a recent restoration, this 1919 silent classic presents a love triangle between a soldier, his wife and her lover during World War I.
- 6/20/2014
- by Matt Shiverdecker
- Slackerwood
Palace, Manchester
The Manchester International festival is nothing if not daring. As proof, it kicks off its theatrical programme with Robert Wilson's visualisation of a surreal novella written in 1939 by the Russian absurdist Daniil Kharms. It is performed by Mikhail Baryshnikov and Willem Dafoe with superb finesse, and looks astonishing – yet, nearing the end of its 90 minutes, I found myself glancing furtively at my watch.
Kharms's story, adapted by Darryl Pinckney, takes us into the imagination of a writer who is haunted by the figure of an old woman, fantasises about killing her yet can never escape her presence. It's a startling fragment with echoes of Dostoyevsky, intimations of Ionesco and subversive hints that the old woman may symbolise the all-powerful Soviet state. But what we get in Wilson's production is a series of tableaux vivants framed by madcap vaudeville routines. Baryshnikov and Dafoe, with clown-white faces and skewiff hair,...
The Manchester International festival is nothing if not daring. As proof, it kicks off its theatrical programme with Robert Wilson's visualisation of a surreal novella written in 1939 by the Russian absurdist Daniil Kharms. It is performed by Mikhail Baryshnikov and Willem Dafoe with superb finesse, and looks astonishing – yet, nearing the end of its 90 minutes, I found myself glancing furtively at my watch.
Kharms's story, adapted by Darryl Pinckney, takes us into the imagination of a writer who is haunted by the figure of an old woman, fantasises about killing her yet can never escape her presence. It's a startling fragment with echoes of Dostoyevsky, intimations of Ionesco and subversive hints that the old woman may symbolise the all-powerful Soviet state. But what we get in Wilson's production is a series of tableaux vivants framed by madcap vaudeville routines. Baryshnikov and Dafoe, with clown-white faces and skewiff hair,...
- 7/5/2013
- by Michael Billington
- The Guardian - Film News
This American artist's photographs of spindly assemblages, destitute factories and dancers from her hometown seem frozen in time and elusive like memories
Sara VanDerBeek's photos capture things that weren't meant to last. She first made her mark as an artist a few years ago, building spindly assemblages strung with images from art books or magazines as well as beads, twigs and feathers. Once she'd captured the precarious little sculptures with her camera, she broke them up again. Her airy constructions may recall Alexander Calder's mobiles, but they were also inspired by the makeshift roadside memorials that dotted New York in the wake of 9/11. Photographed in her studio against a dark backdrop, her images seem like memories, floating through our heads.
These early works create a surreal art-history pick'n'mix, from illustrations of classical sculpture to old black-and-white photography, and similar forms are echoed from work to work. VanDerBeek's instinct for...
Sara VanDerBeek's photos capture things that weren't meant to last. She first made her mark as an artist a few years ago, building spindly assemblages strung with images from art books or magazines as well as beads, twigs and feathers. Once she'd captured the precarious little sculptures with her camera, she broke them up again. Her airy constructions may recall Alexander Calder's mobiles, but they were also inspired by the makeshift roadside memorials that dotted New York in the wake of 9/11. Photographed in her studio against a dark backdrop, her images seem like memories, floating through our heads.
These early works create a surreal art-history pick'n'mix, from illustrations of classical sculpture to old black-and-white photography, and similar forms are echoed from work to work. VanDerBeek's instinct for...
- 6/7/2012
- by Skye Sherwin
- The Guardian - Film News
I want to start out by saying this was one of the most difficult pieces I've had to write for this site. That's because I love, love writer/director Mike Mills' new film Beginners and I really hope I do it justice with this article.
I'm not saying this because I was invited to the Focus Features junket and fed breakfast at the Four Seasons Hotel. I'm saying it because Beginners is the best film I've seen this year and maybe the best film-going experience I've had since I went gaga for Scott Pilgrim vs. The World last year. That doesn't mean everyone who reads this article will love Beginners as much as I did, but if you're a film lover I doubt you'll be disappointed by Mills' cinematic confection. It's that good.
If there is...
I'm not saying this because I was invited to the Focus Features junket and fed breakfast at the Four Seasons Hotel. I'm saying it because Beginners is the best film I've seen this year and maybe the best film-going experience I've had since I went gaga for Scott Pilgrim vs. The World last year. That doesn't mean everyone who reads this article will love Beginners as much as I did, but if you're a film lover I doubt you'll be disappointed by Mills' cinematic confection. It's that good.
If there is...
- 5/31/2011
- by Bill Cody
- Rope of Silicon
.The Restaurateur,.
The Definitive Documentary About Danny Meyer,
Now Available On DVD
Acclaimed documentarian Roger Sherman gains full, inside access
to the world of Danny Meyer as he launches Eleven Madison Park and Tabla
This intimate documentary follows Danny Meyer, one of America.s preeminent restaurant owners, over a 12 year span as he struggles to open not one but two ambitious restaurants next to New York.s Madison Square Park. Tabla and Eleven Madison Park, if successful, will join Union Square Café and Gramercy Tavern as the jewels in Meyer.s crown.
We follow the restaurateur and his team as they experience gut-wrenching construction delays, missed deadlines, and the firing of a chef. We visit Tabla.s chef Floyd Cardoz in his tiny home kitchen where he creates his now classic watermelon curry. We.re there as chef Kerry Heffernan takes over Eleven Madison Park just weeks before opening, and then later,...
The Definitive Documentary About Danny Meyer,
Now Available On DVD
Acclaimed documentarian Roger Sherman gains full, inside access
to the world of Danny Meyer as he launches Eleven Madison Park and Tabla
This intimate documentary follows Danny Meyer, one of America.s preeminent restaurant owners, over a 12 year span as he struggles to open not one but two ambitious restaurants next to New York.s Madison Square Park. Tabla and Eleven Madison Park, if successful, will join Union Square Café and Gramercy Tavern as the jewels in Meyer.s crown.
We follow the restaurateur and his team as they experience gut-wrenching construction delays, missed deadlines, and the firing of a chef. We visit Tabla.s chef Floyd Cardoz in his tiny home kitchen where he creates his now classic watermelon curry. We.re there as chef Kerry Heffernan takes over Eleven Madison Park just weeks before opening, and then later,...
- 5/11/2011
- by Melissa Howland
- WeAreMovieGeeks.com
Christopher Hitchens at home in Washington, D.C. Photograph by Jonas Fredwall Karlsson.Vanity Fair’s parent company, Condé Nast, was well represented at last night’s National Magazine Awards, held in New York and hosted by Katie Couric. Our sister titles GQ, W, and The New Yorker all came away with one “Ellie” each (the name comes from the Alexander Calder–designed trophy’s elephant shape), as did Vanity Fair, for a trio of brave, bitingly honest columns by Christopher Hitchens concerning his ongoing cancer treatment. V.F. editor Graydon Carter began the evening with a heartfelt tribute to Tim Hetherington, a contributing photographer at this magazine, and Chris Hondros, who were killed last month in Misrata, Libya. “Their sacrifices ennoble our work,” he said. “Let us make sure they are not forgotten.”...
- 5/10/2011
- Vanity Fair
The New Yorker led with nine nominations in the National Magazine Award finalists announced Tuesday, while Los Angeles scored a publication-record three nominations. The New Yorker and Los Angeles were among several magazines to score mulitple nominations in the Ellies, named for the reproductions of the Alexander Calder stabile "Elephant" that go to each winner. Magazines receiving multiple nominations include The Atlantic (4 nominations), Esquire (3), GQ (5), Harper’s Magazine (2), Los Angeles (3), Martha Stewart Living (2), Men’s Journal (2), National Geographic (4), New York (6), The New York Times Magazine...
- 4/5/2011
- The Wrap
On March 16, 2011, Fast Company was awarded a National Magazine Award for Digital Media for its breakout site, FastCoDesign.com, in the Online Department category, which honors a regularly updated, clearly branded department or channel. Fast Company received two nominations from the National Magazine Awards for Digital Media, the magazine industry's highest honor, from the American Society of Magazine Editors: "The Influence Project", a print story from the November 2010 issue, with a comprehensive online companion, in the Multimedia Package category, and Co.Design, a site dedicated to the intersection of business. Co.Design was awarded the Ellie for the Online Department category. "We are honored by this recognition from the top judges in our industry," said Bob Safian, editor of Fast Company. "To be chosen from a group of distinguished media including National Geographic and New York is extremely rewarding." Other finalists in the Online Department category included The Daily Beast and Foreign Policy.
- 3/22/2011
- by Jocelyn Hawkes
- Fast Company
The new car will be the 17th in BMW's fabled "Art Car" series.
Last month, we brought you news that BMW had tapped art star Jeff Koons to design its latest "Art Car." Today, Koons dropped the veil on his upcoming design. This one is meant to be driven, too: The car, after an unveiling on June 1st at Paris's Pompidou Center, will then be driven in the 24 Hours of Le Mans, from June 12 to 13. For BMW, those moves are calculated to highlight the history of the series. The first Art Car by sculptor Alexander Calder raced in Le Mans, in 1975. And Roy Lichtenstein signed his Art Car at the Pompidou Center in 1977.
At the press event, Koons stepped to the podium with his signature high-wattage smile and investment-banker suit, and explained that the design was inspired by the look of sonic booms, light explosions, and Christmas lights. "These cars have no outside purpose,...
Last month, we brought you news that BMW had tapped art star Jeff Koons to design its latest "Art Car." Today, Koons dropped the veil on his upcoming design. This one is meant to be driven, too: The car, after an unveiling on June 1st at Paris's Pompidou Center, will then be driven in the 24 Hours of Le Mans, from June 12 to 13. For BMW, those moves are calculated to highlight the history of the series. The first Art Car by sculptor Alexander Calder raced in Le Mans, in 1975. And Roy Lichtenstein signed his Art Car at the Pompidou Center in 1977.
At the press event, Koons stepped to the podium with his signature high-wattage smile and investment-banker suit, and explained that the design was inspired by the look of sonic booms, light explosions, and Christmas lights. "These cars have no outside purpose,...
- 4/6/2010
- by Cliff Kuang
- Fast Company
When world-class writers get to the last fifth or so of their career trajectory, after having put in four or more decades building their monuments, they often give themselves permission to write a memoir, a summing up, an attempt to gaze back and figure out how life and art have fought and entangled and rhymed over the lifetime. As they should.
Filmmakers rarely do this, and it's a pity -- what we wouldn't have done for an autumnal self-examination from Luis Buñuel (we got a book, but not a film) or Orson Welles, and consider how lucky we'd be today if Jacques Rivette or Werner Herzog decided to venture backwards this way, inspecting the weave of creativity, history, personal tumult and movie love.
Chris Marker, of course, has been doing this all along, albeit rather impersonally, and his distinct approach may've ultimately been what compelled his pal and compatriot Agnès Varda,...
Filmmakers rarely do this, and it's a pity -- what we wouldn't have done for an autumnal self-examination from Luis Buñuel (we got a book, but not a film) or Orson Welles, and consider how lucky we'd be today if Jacques Rivette or Werner Herzog decided to venture backwards this way, inspecting the weave of creativity, history, personal tumult and movie love.
Chris Marker, of course, has been doing this all along, albeit rather impersonally, and his distinct approach may've ultimately been what compelled his pal and compatriot Agnès Varda,...
- 3/16/2010
- by Michael Atkinson
- ifc.com
The Museum of Modern Art's show of the Alice in Wonderland film-maker's art overflows with his distinctive creations, but the organisers have wasted an opportunity to take him out of his rabbit hole
Gallery: Tim Burton at Moma
"That's the big deer from Edward Scissorhands," a woman in the sculpture garden of New York's Museum of Modern Art tells her friend, pointing at an outsized topiary stag based on the one in Tim Burton's 1990 film. "And I recognise this one from Beetlejuice, when the furniture tries to eat [the characters]," she adds, gesturing at a large, pointy, painted sheet-metal piece that bears a passing resemblance to something from Burton's 1988 movie but is in fact Alexander Calder's 1959 sculpture Black Widow.
The attribution might have been wide of the mark but at least a connection was made between Burton and a larger artworld. The peculiar thing about Moma's Tim Burton show, which...
Gallery: Tim Burton at Moma
"That's the big deer from Edward Scissorhands," a woman in the sculpture garden of New York's Museum of Modern Art tells her friend, pointing at an outsized topiary stag based on the one in Tim Burton's 1990 film. "And I recognise this one from Beetlejuice, when the furniture tries to eat [the characters]," she adds, gesturing at a large, pointy, painted sheet-metal piece that bears a passing resemblance to something from Burton's 1988 movie but is in fact Alexander Calder's 1959 sculpture Black Widow.
The attribution might have been wide of the mark but at least a connection was made between Burton and a larger artworld. The peculiar thing about Moma's Tim Burton show, which...
- 3/11/2010
- by Ben Walters
- The Guardian - Film News
Molly Ringwald made a glamorous return to the Oscar stage Sunday night to pay heartfelt tribute to the late director John Hughes. But it wasn't just a stylist's advice she consulted. It was her 6-year-old daughter, Mathilda's. "I was choosing between two dress colors, and she decided on this," Ringwald told People before the ceremony. "She said this was the way to go. I always listen to her, she's a 6-year-old fashionista." It wasn't just a good (looking) choice, it felt right, too. "It's comfortable," the actress said of her Todd Thomas dress and Alexander Calder-designer jewelry. "It's a...
- 3/8/2010
- by Brian Orloff
- PEOPLE.com
Left, sculptor and artist Alexander Calder. Photograph by George Hoyningen-Huene. Right, Apple Inc. CEO Steve Jobs demonstrates the iPad at Yerba Buena Center for the Arts on January 27, 2010 in San Francisco, California. Photograph by Justin Sullivan/Getty Images. This month New York City has two photo exhibitions devoted to flamenco dance (at the Aperture Gallery and at Amster Yard’s Instituto Cervantes), one about jazz (at Lincoln Center’s Library for the Performing Arts) and several that focus on fashion. Pianist Fred Hersch recently told the Times that he has completed “a song cycle about art and photographic images.” And literary scholar Peggy Samuels has just published Deep Skin (Cornell University Press), a probing examination of the way painters such as Klee and Calder helped shaped the form and substance of Elizabeth Bishop’s poetry.
- 2/22/2010
- Vanity Fair
War And Russian Cinema, London
This week marks the 66th anniversary of the end of the siege of Leningrad, one of the most destructive episodes of the second world war, and honouring the occasion is a trio of films at the Lumière on Russia's painful wartime experience. Leading the way is the premiere of Leningrad, an epic, beautifully acted tale from deep inside the 900-day Nazi siege of the city, in which two women (Mira Sorvino and Olga Sutulova) cope with the continual threat of death, starvation and violence. It's followed by a Q&A session with director Alexander Buravsky. The other entries are Mikhail Kalatozov's 1957 Palme D'Or winner, The Cranes Are Flying, which concentrates on the psychological damage the war inflicted on the Soviet psyche, and 2001's Stalingrad-based sniper movie Enemy At The Gates starring Jude Law, Joseph Fiennes and Ed Harris.
Ciné Lumière, SW7, Wed to 31 Jan,...
This week marks the 66th anniversary of the end of the siege of Leningrad, one of the most destructive episodes of the second world war, and honouring the occasion is a trio of films at the Lumière on Russia's painful wartime experience. Leading the way is the premiere of Leningrad, an epic, beautifully acted tale from deep inside the 900-day Nazi siege of the city, in which two women (Mira Sorvino and Olga Sutulova) cope with the continual threat of death, starvation and violence. It's followed by a Q&A session with director Alexander Buravsky. The other entries are Mikhail Kalatozov's 1957 Palme D'Or winner, The Cranes Are Flying, which concentrates on the psychological damage the war inflicted on the Soviet psyche, and 2001's Stalingrad-based sniper movie Enemy At The Gates starring Jude Law, Joseph Fiennes and Ed Harris.
Ciné Lumière, SW7, Wed to 31 Jan,...
- 1/23/2010
- by Andrea Hubert
- The Guardian - Film News
Dolce & Gabbana towing the poverty line. Or perhaps on strike. Photographs by Michael Roberts. The autumn-winter 2010-2011 men’s-wear fashion collections showed this week in Milan. Vanity Fair fashion and style director Michael Roberts reports from the front lines. War is hell, and so is other people. And there was no forgetting either sentiment during the first days of this week’s men’s-wear collections in Milan, where runway shows were determined to prove that war is not so much a dirty business as it is the stuff of a big, expensive fashion business. Khaki, epaulettes, eye-popping camouflage, combat boots, brass buttons, peacoats, parkas, battle-dress blousons, flying jackets, military greatcoats—even the long johns and skivvies traditionally worn under all of the above—were paraded up and down the catwalk as fashionable, über-masculine choices for next autumn. Dolce & Gabbana’s pleasant peasant. A Common Thread. The strong, outdoors, macho-with-a-twist aesthetic...
- 1/19/2010
- Vanity Fair
If a feathered "corpse" beneath Alexander Calder's Hello Girls sculpture isn't enough reason for a trip to the museum, what is? What if there were clues to whodunit sprinkled throughout the galleries? How about a reading room inside a Richard Serra? Performers singing songs about "do not touch"? Computer-generated responses to computer-generated art? A man strolling the artworks, wearing a musical suit made from metal pepper canisters?
You get the picture.
Last November, the non-profit Machine Project staged a "takeover" of the Los Angeles County Museum of Art, bringing their merry band of collaborators to creatively intervene on the museum's seven-acre campus for 10 hours. And this week, a book of the entire process was published.
Machine Project, located in the Echo Park neighborhood of Los Angeles, is pretty difficult to describe in and of itself: It's part gallery, part community center, part Diy workshop, part hipster hang-out. Case in...
You get the picture.
Last November, the non-profit Machine Project staged a "takeover" of the Los Angeles County Museum of Art, bringing their merry band of collaborators to creatively intervene on the museum's seven-acre campus for 10 hours. And this week, a book of the entire process was published.
Machine Project, located in the Echo Park neighborhood of Los Angeles, is pretty difficult to describe in and of itself: It's part gallery, part community center, part Diy workshop, part hipster hang-out. Case in...
- 12/9/2009
- by Alissa Walker
- Fast Company
12th Annual EU Film Festival Highlights, Week One: ‘I’m All Good,’ ‘Zift,’ ‘Kisses,’ ‘Shall We Kiss’
Chicago – The Annual European Union Film Festival at the Siskel Film Center has become a calendar-clearing event for foreign film and arthouse movie lovers in the city of Chicago, but working your way through what to see of the five dozen films can be overwhelming. Let us guide the way.
This year’s edition, running from March 6th to April 2nd, includes high profile films from world renowned filmmakers like Peter Greenaway, Francois Ozon, Agnes Varda, Nicholas Roeg, Shane Meadows, Olga Malea, and Olivier Assayas, along with some movies that probably won’t be seen outside of the EU in the Windy City.
The 12th Annual European Union Film Festival includes 59 feature films, all of which are making their Chicago premiere. If you’re interested in seeing something off the beaten path, the EU is the fest for you. Week by week, every Wednesday, come back to HollywoodChicago.com for...
This year’s edition, running from March 6th to April 2nd, includes high profile films from world renowned filmmakers like Peter Greenaway, Francois Ozon, Agnes Varda, Nicholas Roeg, Shane Meadows, Olga Malea, and Olivier Assayas, along with some movies that probably won’t be seen outside of the EU in the Windy City.
The 12th Annual European Union Film Festival includes 59 feature films, all of which are making their Chicago premiere. If you’re interested in seeing something off the beaten path, the EU is the fest for you. Week by week, every Wednesday, come back to HollywoodChicago.com for...
- 3/4/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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