On November 20, 1945, in Nuremberg, Germany, once prime real estate for torchlit Nazi pageantry, currently reduced to ruins by Allied bombing, the International Military Tribunal, an unprecedented experiment in transnational jurisprudence, convened in the city’s Palace of Justice, one of the few buildings left standing. The four victorious powers — the United States, Great Britain, France, and the Soviet Union — had hauled the loser, Nazi Germany, before four judges and a global jury to be held accountable for violating a series of recently devised additions to the criminal code — crimes against humanity, crimes against peace, criminal conspiracy, and war crimes.
Twenty-one Nazi leaders were in the dock, defendants whose names most Americans had become familiar with in the years since 1933. The accused included Reich Marshall Herman Göring, Hitler’s brutal second in command; Joachim von Ribbentrop, Minister of Foreign Affairs, who in August 1939 negotiated the pact with the Soviet Union that ignited the conflagration; Rudolf Hess,...
Twenty-one Nazi leaders were in the dock, defendants whose names most Americans had become familiar with in the years since 1933. The accused included Reich Marshall Herman Göring, Hitler’s brutal second in command; Joachim von Ribbentrop, Minister of Foreign Affairs, who in August 1939 negotiated the pact with the Soviet Union that ignited the conflagration; Rudolf Hess,...
- 2/4/2023
- by Thomas Doherty
- The Hollywood Reporter - Movie News
"The written word was absolutely inadequate to describe what had happened." Kino Lorber has revealed an official US trailer for a documentary film called Filmmakers for the Prosecution, made by French journalist / filmmaker Jean-Christophe Klotz. Originally made to air on Arte TV in France, the doc will be playing in NYC's Dctv Firehouse Cinema later this month - for "Holocaust Day of Remembrance". Adapted from Sandra Schulberg's monograph, the documentary retraces the thrilling hunt for film evidence used to convict the Nazis at the first Nuremberg Trial. In four months of high-risk investigation across devastated Europe, the Schulbergs manage to save hundreds of hours of footage, much of it taken by the Nazis, from destruction. Their editing team then worked tirelessly to complete a "film" before the opening of the trial on November 21, 1945. This was then presented during the trial to showcase actual footage from the Nazis themselves to convict them.
- 1/12/2023
- by Alex Billington
- firstshowing.net
If a picture speaks a thousand words, then the power of film to convey an idea or feeling is simply boundless. Filmmakers for the Prosecution, a new documentary directed by Jean-Christophe Klotz and produced by Sandra Schulberg, examines the search for celluloid to convict the Nazis at the Nuremberg trials. Ahead of the film’s opening on Holocaust Day of Remembrance, January 27, in New York at the Dctv Firehouse Cinema courtesy of Kino Lorber, we’re pleased to exclusively premiere the first trailer.
Adapted from Sandra Schulberg’s monograph, the documentary retraces the thrilling hunt for film evidence used to convict the Nazis at the first Nuremberg Trial. The searchers were two sons of Hollywood––brothers Budd and Stuart Schulberg––serving under the command of Oss film chief John Ford. The motion pictures they presented in the courtroom became part of the official record and shape our understanding of the Holocaust to this day.
Adapted from Sandra Schulberg’s monograph, the documentary retraces the thrilling hunt for film evidence used to convict the Nazis at the first Nuremberg Trial. The searchers were two sons of Hollywood––brothers Budd and Stuart Schulberg––serving under the command of Oss film chief John Ford. The motion pictures they presented in the courtroom became part of the official record and shape our understanding of the Holocaust to this day.
- 1/11/2023
- by Jordan Raup
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSTriangle of Sadness.The Cannes Film Festival wrapped its 75th edition on Saturday. Ruben Östlund won his second Palme d'Or for his yacht-shipwreck class farce Triangle of Sadness, while other major awards went to Claire Denis, Jerzy Skolimowski, and Park Chan-wook. Visit our coverage roundup to peruse the complete list of winners, our Top 10 poll from Notebook contributors, and our series of festival correspondences.In other festival news, Sabzian compiled an overview of the "restructuring" at the International Film Festival Rotterdam (IFFR) in the wake of significant programming layoffs.On October 25, Quentin Tarantino will publish a nonfiction book called Cinema Speculation, a critical memoir of his cinemagoing throughout the 1970s. This comes one year after his novelization of Once Upon a Time in... Hollywood.Erika Balsom and Genevieve Yue will be the co-editors of Cutaways,...
- 6/2/2022
- MUBI
In Cannes, Sandra Schulberg, producer, co-founder of IFP (now The Gotham) and head of IndieCollect, participated today in a Cnc Discussion on Film Restoration, sponsored by the Hollywood Foreign Press Association. In her prepared remarks, which she gave to Filmmaker, she is calling for a new Indie Filmmaker Bill of Rights in an attempt to save a generation of independent cinema. Read her remarks below. Forty-four years ago, in 1978, international critics here in Cannes gave the first Camera d’Or Award to an American indie film. The next year they did the same. I am here today to gratefully acknowledge […]
The post At Cannes: Sandra Schulberg and IndieCollect Call For an Indie Filmmaker Bill of Rights first appeared on Filmmaker Magazine.
The post At Cannes: Sandra Schulberg and IndieCollect Call For an Indie Filmmaker Bill of Rights first appeared on Filmmaker Magazine.
- 5/25/2022
- by Sandra Schulberg
- Filmmaker Magazine - Blog
In Cannes, Sandra Schulberg, producer, co-founder of IFP (now The Gotham) and head of IndieCollect, participated today in a Cnc Discussion on Film Restoration, sponsored by the Hollywood Foreign Press Association. In her prepared remarks, which she gave to Filmmaker, she is calling for a new Indie Filmmaker Bill of Rights in an attempt to save a generation of independent cinema. Read her remarks below. Forty-four years ago, in 1978, international critics here in Cannes gave the first Camera d’Or Award to an American indie film. The next year they did the same. I am here today to gratefully acknowledge […]
The post At Cannes: Sandra Schulberg and IndieCollect Call For an Indie Filmmaker Bill of Rights first appeared on Filmmaker Magazine.
The post At Cannes: Sandra Schulberg and IndieCollect Call For an Indie Filmmaker Bill of Rights first appeared on Filmmaker Magazine.
- 5/25/2022
- by Sandra Schulberg
- Filmmaker Magazine-Director Interviews
For cinephiles and fans of George A. Romero, you will not want to miss out on tonight's virtual premiere of The Amusement Park, and we have all the details on how and when to tune in for the live watch and panel:
To celebrate the premiere of the George A. Romero’s “lost” and restored film, The Amusement Park, Shudder is hosting a live watch followed by a virtual panel on the film and its place within the pioneering independent filmmaker’s influential body of work.
The screening will be available to Shudder members via the Shudder TV feed in the U.S. and Canada on Tuesday at 8:05pm Et, as well as on demand to Shudder members worldwide. Immediately following at 9pm Et on Shudder TV and on Shudder’s YouTube channel, the panel “Reviving Romero’s The Amusement Park” will feature a conversation between Suzanne Desrocher Romero,...
To celebrate the premiere of the George A. Romero’s “lost” and restored film, The Amusement Park, Shudder is hosting a live watch followed by a virtual panel on the film and its place within the pioneering independent filmmaker’s influential body of work.
The screening will be available to Shudder members via the Shudder TV feed in the U.S. and Canada on Tuesday at 8:05pm Et, as well as on demand to Shudder members worldwide. Immediately following at 9pm Et on Shudder TV and on Shudder’s YouTube channel, the panel “Reviving Romero’s The Amusement Park” will feature a conversation between Suzanne Desrocher Romero,...
- 6/8/2021
- by Jonathan James
- DailyDead
Arriving on Shudder on Tuesday, June 8th is a recently restored version of George A. Romero’s The Amusement Park, an industrial film that Romero directed on behalf of the Lutheran Society which showcased the horrors of how elderly people are treated by society 46 years ago (and still remains potently vital storytelling today). Daily Dead recently had the opportunity to speak with George’s wife, Suzanne Desrocher-Romero, about the restoration process that helped preserve The Amusement Park after all these years as well as her thoughts on the unsettlingly surreal film. Suzanne also discussed wanting to not only preserve George’s legacy through the efforts of the George A. Romero Foundation, but also supporting and showcasing the talents of other filmmakers out there as well.
So great to speak with you today, Suzanne. I'm a genre journalist and The Amusement Park is probably one of the most horrifying things I've watched all year thus far.
So great to speak with you today, Suzanne. I'm a genre journalist and The Amusement Park is probably one of the most horrifying things I've watched all year thus far.
- 6/3/2021
- by Heather Wixson
- DailyDead
Best known for his avant-garde meta-documentary “Symbiopsychotaxiplasm,” pioneering award-winning documentarian of Black history, culture, and politics, the late William Greaves directed over 100 films. However, his library of work still remains largely undiscovered in the mainstream, partly due to availability and access.
One such film is “Nationtime,” a documentary on the 1972 National Black Political Convention. The film was considered too radical for television broadcast at the time and has since only existed in an edited 60-minute version. But thanks to a new 4K restoration from IndieCollect, the film has been returned to its original 80-minute length, which Kino Lorber will release later this month. The film’s resurgence couldn’t be more timely, as the U.S. heads into a rather significant election against the backdrop of racial justice protests.
Unearthed in a Pittsburgh warehouse in 2018, and narrated by Sidney Poitier and Harry Belafonte, “Nationtime” presents a dynamic and powerful look at the three-day Gary,...
One such film is “Nationtime,” a documentary on the 1972 National Black Political Convention. The film was considered too radical for television broadcast at the time and has since only existed in an edited 60-minute version. But thanks to a new 4K restoration from IndieCollect, the film has been returned to its original 80-minute length, which Kino Lorber will release later this month. The film’s resurgence couldn’t be more timely, as the U.S. heads into a rather significant election against the backdrop of racial justice protests.
Unearthed in a Pittsburgh warehouse in 2018, and narrated by Sidney Poitier and Harry Belafonte, “Nationtime” presents a dynamic and powerful look at the three-day Gary,...
- 10/8/2020
- by Tambay Obenson
- Indiewire
Exclusive: Kino Lorber has acquired U.S. and Canadian distribution rights to documentary Nationtime by William Greaves, about the historic National Black Political Convention of 1972 which brought together major Black leaders and activists of the time.
The distributor is planning an October 23 release in virtual cinemas through its Kino Marquee label.
Narrated by Sidney Poitier, the film was originally considered too radical for TV broadcast, and has only circulated in a heavily edited 60-minute version. But the original full-length version was found in a Pittsburgh warehouse in 2018 and restored in 4K by IndieCollect, supervised by Louise Greaves and funded by Jane Fonda and the Hollywood Foreign Press Association Trust.
The documentary, which also includes poems recited by Harry Belafonte, focuses on the Gary Convention in Indiana, which gathered 10,000 Black politicians, activists, and artists from across the political spectrum, including more than 500 media representatives.
Delegates included Black Panther co-founder Bobby Seale,...
The distributor is planning an October 23 release in virtual cinemas through its Kino Marquee label.
Narrated by Sidney Poitier, the film was originally considered too radical for TV broadcast, and has only circulated in a heavily edited 60-minute version. But the original full-length version was found in a Pittsburgh warehouse in 2018 and restored in 4K by IndieCollect, supervised by Louise Greaves and funded by Jane Fonda and the Hollywood Foreign Press Association Trust.
The documentary, which also includes poems recited by Harry Belafonte, focuses on the Gary Convention in Indiana, which gathered 10,000 Black politicians, activists, and artists from across the political spectrum, including more than 500 media representatives.
Delegates included Black Panther co-founder Bobby Seale,...
- 9/28/2020
- by Andreas Wiseman
- Deadline Film + TV
Kate Winslet is the first honoree to be announced by Joana Vicente and Cameron Bailey, co-heads of the Toronto Film Festival, as recipient of this year’s TIFF Tribute Actor Award. It will be presented September 15 during a “virtual ceremony” as part of the 45th edition of the slimmed-down fest, which like everything else has been deeply impacted by the worldwide coronavirus pandemic.
Winslet’s film Ammonite was previously announced as a TIFF official selection where, after Telluride’s cancellation Tuesday, it is likely to be the first fest where the Neon Oscar-season hopeful will be seen. Last month, the Cannes Film Festival revealed the movie was a main competition selection for that fest, which of course did not take place. Nevertheless, the Cannes logo will appear on the film anyway.
“Kate’s brilliant and compelling onscreen presence continues to captivate, entertain, and inspire audiences and actors alike,” said Vicente.
Winslet’s film Ammonite was previously announced as a TIFF official selection where, after Telluride’s cancellation Tuesday, it is likely to be the first fest where the Neon Oscar-season hopeful will be seen. Last month, the Cannes Film Festival revealed the movie was a main competition selection for that fest, which of course did not take place. Nevertheless, the Cannes logo will appear on the film anyway.
“Kate’s brilliant and compelling onscreen presence continues to captivate, entertain, and inspire audiences and actors alike,” said Vicente.
- 7/16/2020
- by Pete Hammond
- Deadline Film + TV
One of the most interesting sections of Cannes Film Festival each year is their Classics section, which is made up of new restorations and filmmaking-related documentaries. The lineup often gives a look ahead at what classic and overlooked films may be getting new Blu-ray editions, as well as digital debuts, and theatrical re-releases. Following the reveal of Cannes-selected premieres this year, they’ve now unveiled their Classics lineup.
This year’s slate, made up of 25 features and 7 documentaries, will screen at the Lumière festival in Lyon and by the Rencontres Cinématographiques de Cannes. Leading the pack, and announced a few months ago, is the new 20th anniversary restoration of In the Mood for Love by Wong Kar-wai. Also in the lineup is 60th anniversary restorations of Jean-Luc Godard’s Breathless and Michelangelo Antonioni’s L’Avventura, while a selection of Federico Fellini classics have been restored for this 100th birthday.
Peter Wollen’s Friendship’s Death,...
This year’s slate, made up of 25 features and 7 documentaries, will screen at the Lumière festival in Lyon and by the Rencontres Cinématographiques de Cannes. Leading the pack, and announced a few months ago, is the new 20th anniversary restoration of In the Mood for Love by Wong Kar-wai. Also in the lineup is 60th anniversary restorations of Jean-Luc Godard’s Breathless and Michelangelo Antonioni’s L’Avventura, while a selection of Federico Fellini classics have been restored for this 100th birthday.
Peter Wollen’s Friendship’s Death,...
- 7/15/2020
- by Jordan Raup
- The Film Stage
This piece is one part loving obituary and one part urgent call-to-action around the undeniable need for our independent film industry to put some sort of safety nets in place for our beloved and aging indie film leadership. Ironically, when I wrote this piece just two months ago, who could have imagined that the topic of safety nets would become so important to All Of Us given the ways in which our industry has been so dramatically halted and upended by the #Coronavirus public health pandemic?By Marc Smolowitz
30 March
For context, I am currently developing a new film as a director on these topics, and I hope to gather steam among key indie film organizations in the coming months, so we can all come together (either online or in-person when safe to do so) to create new programs and initiatives that help build safety nets for the most vulnerable in our industry.
30 March
For context, I am currently developing a new film as a director on these topics, and I hope to gather steam among key indie film organizations in the coming months, so we can all come together (either online or in-person when safe to do so) to create new programs and initiatives that help build safety nets for the most vulnerable in our industry.
- 5/5/2020
- by Sydney Levine
- Sydney's Buzz
Editor’s note: Filmmaker Nancy Kelly made her feature directorial debut in 1990 with the Western drama “Thousand Pieces of Gold.” A new 4K restoration by IndieCollect can currently be seen in virtual theaters via Kino Marquee. On the occasion of its new release, Kelly (along with IndieCollect’s Sandra Schulberg) wanted to share her reflections on her career both before and after its release.
Three years before I discovered Ruthanne Lum McCunn’s novel “Thousand Pieces of Gold,” I was making my living as a ranch hand. What was it that impelled me — from a working class background in a Massachusetts textile town — to pack up and head West? I had never even ridden a horse before, but I wanted an adventure. It was an impromptu decision that changed my life forever.
The cowboys didn’t know what to make of me — not much. But I broke my own horse,...
Three years before I discovered Ruthanne Lum McCunn’s novel “Thousand Pieces of Gold,” I was making my living as a ranch hand. What was it that impelled me — from a working class background in a Massachusetts textile town — to pack up and head West? I had never even ridden a horse before, but I wanted an adventure. It was an impromptu decision that changed my life forever.
The cowboys didn’t know what to make of me — not much. But I broke my own horse,...
- 4/30/2020
- by Nancy Kelly
- Indiewire
IndieCollect oversaw 4K restoration. Film will open in 2020 theatrically and on new VOD platform.
Kino Lorber has acquired Us and all international rights to Bert Stern’s recent 57th New York Film Festival revival screening Jazz On A Summer’s Day, in collaboration with longtime partner Adopt Films.
The film will release the 1959 film – regarded as one of the first live concert films – theatrically in 2020 before making it available on the company’s new VOD platform KinoNow, and home video.
IndieCollect oversaw a 4K restoration on Jazz On A Summer’s Day, with colour correction by Oskar Miarka. The film...
Kino Lorber has acquired Us and all international rights to Bert Stern’s recent 57th New York Film Festival revival screening Jazz On A Summer’s Day, in collaboration with longtime partner Adopt Films.
The film will release the 1959 film – regarded as one of the first live concert films – theatrically in 2020 before making it available on the company’s new VOD platform KinoNow, and home video.
IndieCollect oversaw a 4K restoration on Jazz On A Summer’s Day, with colour correction by Oskar Miarka. The film...
- 10/21/2019
- ScreenDaily
My first time in Egypt was last year at El Gouna Film Festival and I feel honored by the privilege of being here for a second year.It’s a small enough festival that you feel you can actually see all the films (even if you can’t), and yet it is large enough to be internationally cosmopolitan. The international mix of filmmakers, executives, writers and journalists is unique.
Opening Night was thrilling in an open air atrium leading to a huge open air screen, an audience dressed in their most elegant clothes in a setting that went beyond anything I had ever seen at a festival before.
Deborah Young, Recipient of #ArabCinemaCenter’s “Achievement Award for Film Critics” at Opening Night, El Gouna Film Festival 2019
This year I met old friends and new, like Oualid Mouaness whose film 1982 was announced as Lebanon’s submission for Academy Award Nomination for Best International Feature,...
Opening Night was thrilling in an open air atrium leading to a huge open air screen, an audience dressed in their most elegant clothes in a setting that went beyond anything I had ever seen at a festival before.
Deborah Young, Recipient of #ArabCinemaCenter’s “Achievement Award for Film Critics” at Opening Night, El Gouna Film Festival 2019
This year I met old friends and new, like Oualid Mouaness whose film 1982 was announced as Lebanon’s submission for Academy Award Nomination for Best International Feature,...
- 10/5/2019
- by Sydney Levine
- Sydney's Buzz
by Peter BelsitoOn Saturday The Hollywood Foreign Press Association held a sold-out panel of film world dignitaries Saturday at the Ace Hotel’s incredibly gorgeous United Artists theater in downtown Los Angeles for the organization’s first Film Restoration Summit devoted to celebrating classic films and the urgent need to put more resources into saving them.
Introduced by HFPA president Meher Tatna, the panel was moderated by Sandra Schulberg, whose IndieCollect organization works to preserve independent films.
The panel was made up of
Jane FondaAlexander Payne, DirectorGrover Crisp, Evp, Sony Asset Management, Film Restoration & Digital MasteringThierry Frémaux, Director, Institut Lumière, Cannes Film FestivalJan-Christopher Horak, Director, UCLA Film and Television ArchiveSandra Schulberg, moderater and President of the film preservation organization IndieCollect, called this “a crisis that is engulfing us.”
To set the discussion and begin, HFPA president Meher Tatna introduced the panel by warning that “More than 50 percent of films made...
Introduced by HFPA president Meher Tatna, the panel was moderated by Sandra Schulberg, whose IndieCollect organization works to preserve independent films.
The panel was made up of
Jane FondaAlexander Payne, DirectorGrover Crisp, Evp, Sony Asset Management, Film Restoration & Digital MasteringThierry Frémaux, Director, Institut Lumière, Cannes Film FestivalJan-Christopher Horak, Director, UCLA Film and Television ArchiveSandra Schulberg, moderater and President of the film preservation organization IndieCollect, called this “a crisis that is engulfing us.”
To set the discussion and begin, HFPA president Meher Tatna introduced the panel by warning that “More than 50 percent of films made...
- 3/19/2019
- by Peter Belsito
- Sydney's Buzz
The Hollywood Foreign Press Association rallied a roster of film world heavy-hitters Saturday at the Ace Hotel’s United Artists theater in downtown Los Angeles for the organization’s first Film Restoration Summit devoted to celebrating classic films and the urgent need to put more resources into saving them.
Naturally, the importance of preserving the big-screen experience was a major theme, but the event was mainly dedicated to celebrating films that have been brought back to life through the efforts of organizations such as Martin Scorsese’s Film Foundation and the UCLA Film Archive.
The HFPA has donated $6.5 million to such efforts since 1996, going toward 125 restoration projects.
Panelists Jane Fonda, Thierry Fremaux, Alexander Payne, Sony’s Grover Crisp and UCLA’s Jan-Christopher Horak came together to discuss the necessity of stepping up preservation efforts, particularly for silent, independent and international films. A restored print of “A Fistful of Dollars” screened after the presentation.
Naturally, the importance of preserving the big-screen experience was a major theme, but the event was mainly dedicated to celebrating films that have been brought back to life through the efforts of organizations such as Martin Scorsese’s Film Foundation and the UCLA Film Archive.
The HFPA has donated $6.5 million to such efforts since 1996, going toward 125 restoration projects.
Panelists Jane Fonda, Thierry Fremaux, Alexander Payne, Sony’s Grover Crisp and UCLA’s Jan-Christopher Horak came together to discuss the necessity of stepping up preservation efforts, particularly for silent, independent and international films. A restored print of “A Fistful of Dollars” screened after the presentation.
- 3/10/2019
- by Pat Saperstein
- Variety Film + TV
Jane Fonda and Alexander Payne will appear at the Hollywood Foreign Press Association’s Film Restoration Summit.
The March 9 event at the Ace Hotel in Los Angeles is being held in partnership with the Film Foundation and Institut Lumière. It will begin with a presentation by Institut Lumiere director Thierry Frémaux on the Lumière brothers’ restoration project. The HFPA announced in October that it was supporting the effort, which is aimed at restoring 300 short films by Auguste and Louis Lumière, with a $200,000 donation.
Fonda and Payne will be part of a panel with UCLA Film & Television Archive director Jan-Christopher Horak and Grover Crisp, Sony Pictures Entertainment’s executive VP of film restoration and digital mastery. The panel will be moderated by IndieCollect president Sandra Schulberg, and focus on the cultural importance of preserving the art of cinema and what new generations of filmmakers can learn through the experience of watching restored classics.
The March 9 event at the Ace Hotel in Los Angeles is being held in partnership with the Film Foundation and Institut Lumière. It will begin with a presentation by Institut Lumiere director Thierry Frémaux on the Lumière brothers’ restoration project. The HFPA announced in October that it was supporting the effort, which is aimed at restoring 300 short films by Auguste and Louis Lumière, with a $200,000 donation.
Fonda and Payne will be part of a panel with UCLA Film & Television Archive director Jan-Christopher Horak and Grover Crisp, Sony Pictures Entertainment’s executive VP of film restoration and digital mastery. The panel will be moderated by IndieCollect president Sandra Schulberg, and focus on the cultural importance of preserving the art of cinema and what new generations of filmmakers can learn through the experience of watching restored classics.
- 2/26/2019
- by Dave McNary
- Variety Film + TV
The 69th Berlin International Film Festival has wrapped. On February 17 — “Berlinale Pubic Day” — movie-goers flocked to cinemas a last time to experience the highlights from the different sections of this year’s festival. With 335.000 tickets sold and its wide-ranging program, the Berlinale was again a smash with audiences. The Award Ceremony at the Berlinale Palast on February 16 brought the industry event to an end.
For all awards, click here.
At the Closing Gala, Nadav Lapid’s film Synonymes (Synonyms) was awarded the Golden Bear for Best Film. During the ten days of the festival, the Honorary Golden Bear was awarded to actor Charlotte Rampling, and Berlinale Cameras to director Agnès Varda, producer Sandra Schulberg, director Herrmann Zschoche, and long-time head of the Panorama Wieland Speck.
With the Berlinale 2019, Berlinale Director Dieter Kosslick bid farewell after 18 years as Festival Director. To summarize the accomplishments of his...
For all awards, click here.
At the Closing Gala, Nadav Lapid’s film Synonymes (Synonyms) was awarded the Golden Bear for Best Film. During the ten days of the festival, the Honorary Golden Bear was awarded to actor Charlotte Rampling, and Berlinale Cameras to director Agnès Varda, producer Sandra Schulberg, director Herrmann Zschoche, and long-time head of the Panorama Wieland Speck.
With the Berlinale 2019, Berlinale Director Dieter Kosslick bid farewell after 18 years as Festival Director. To summarize the accomplishments of his...
- 2/18/2019
- by Sydney Levine
- Sydney's Buzz
Since 1986 the Berlin International Film Festival has presented the Berlinale Camera to film personalities or institutions to which it feels particularly indebted and wishes to express its thanks.
U.S. producer and Ifp founder Sandra Schulberg was among four to receive the award at the 69th edition of the festival.
Sandra Schulberg, Founder of the Ifp (Independent Filmmaker Project) (USA)
Sandra Schulberg, a long-time activist on behalf of filmmakers working outside the Hollywood studios, is being recognised by the Berlinale for her 40 years of service to the field. Schulberg founded the Independent Filmmaker Project (Ifp) in 1979, and one year later co-founded the independent distribution company First Run Features. She also serves on the advisory committee of the Women’s Film Preservation Fund, established by New York Women in Film & Television.
In 2008 she launched IndieCollect, a national campaign to save indie films from extinction and this is her passionately felt mission today.
U.S. producer and Ifp founder Sandra Schulberg was among four to receive the award at the 69th edition of the festival.
Sandra Schulberg, Founder of the Ifp (Independent Filmmaker Project) (USA)
Sandra Schulberg, a long-time activist on behalf of filmmakers working outside the Hollywood studios, is being recognised by the Berlinale for her 40 years of service to the field. Schulberg founded the Independent Filmmaker Project (Ifp) in 1979, and one year later co-founded the independent distribution company First Run Features. She also serves on the advisory committee of the Women’s Film Preservation Fund, established by New York Women in Film & Television.
In 2008 she launched IndieCollect, a national campaign to save indie films from extinction and this is her passionately felt mission today.
- 2/15/2019
- by Sydney Levine
- Sydney's Buzz
In 2007, when Dieter Kosslick launched the Berlinale’s inventive Culinary Cinema section, it had been simmering in the back of his mind for decades.
A foodie since way before it became fashionable, Kosslick, who is a former film critic and journalist, in the early 1980s had a monthly column in German magazine Konkret in which he wrote about “the organic world” and “the terrible treatment of animals,” he recalls.
Kosslick is being honored at the Berlin festival with Variety‘s Achievement in International Film Award.
Kosslick says the two most formative experiences in his “food life” are being taken to Berkeley’s Chez Panisse by his then-girlfriend, Ifp founder Sandra Schulberg, who introduced him to eminent chef and activist Alice Waters, and going to restaurants with late great German food critic Wolfram Siebeck, whom met while at college in Munich.
Culinary Cinema, which tapped into the Slow Food movement zeitgeist,...
A foodie since way before it became fashionable, Kosslick, who is a former film critic and journalist, in the early 1980s had a monthly column in German magazine Konkret in which he wrote about “the organic world” and “the terrible treatment of animals,” he recalls.
Kosslick is being honored at the Berlin festival with Variety‘s Achievement in International Film Award.
Kosslick says the two most formative experiences in his “food life” are being taken to Berkeley’s Chez Panisse by his then-girlfriend, Ifp founder Sandra Schulberg, who introduced him to eminent chef and activist Alice Waters, and going to restaurants with late great German food critic Wolfram Siebeck, whom met while at college in Munich.
Culinary Cinema, which tapped into the Slow Food movement zeitgeist,...
- 2/4/2019
- by Nick Vivarelli
- Variety Film + TV
When curating the recent retrospective “NY Indie Guy: Ira Deutchman and the Rise of Independent Film” – a Columbia University exhibit honoring the 40-year career of a leading American independent film producer, marketer, and distributor – programmers Rob King and Jack Lechner made an upsetting discovery: Many of the films they picked to screen were unavailable in any form.
This sent Deutchman into detective mode, to discover what happened to many of the films he helped introduce to the world. He walked away from his initial examination shocked by the situation and with a grim assessment: We are in danger of losing many of the films that defined recent movements in American independent film.
“During the height of in the independent boom back in the ’80s and into the 90s, it was always considered the holy grail for independent filmmakers that to be truly independent they would eventually get back the rights or control the rights,...
This sent Deutchman into detective mode, to discover what happened to many of the films he helped introduce to the world. He walked away from his initial examination shocked by the situation and with a grim assessment: We are in danger of losing many of the films that defined recent movements in American independent film.
“During the height of in the independent boom back in the ’80s and into the 90s, it was always considered the holy grail for independent filmmakers that to be truly independent they would eventually get back the rights or control the rights,...
- 9/25/2018
- by Chris O'Falt
- Indiewire
On the occasion of the 40th anniversary of the Ifp and its Film Week, filmmaker Maxi Cohen contributes the following guest essay on that moment of inception. — Editor Sandra Schulberg and I were in the train station after the 1978 Rotterdam Film Festival. I had presented Joe and Maxi, a film about my relationship with my father1, and Sandra had presented two movies produced for the PBS Visions series, The Gardener’s Son by Richard Pearce and Over-Under-Sideways-Down by the Cine Manifest collective. Marc Weiss had helped to arrange U.S. Indie Films in Rotterdam which they dubbed “Hollywood without Make-Up.” […]...
- 9/18/2018
- by Scott Macaulay
- Filmmaker Magazine - Blog
On the occasion of the 40th anniversary of the Ifp and its Film Week, filmmaker Maxi Cohen contributes the following guest essay on that moment of inception. — Editor Sandra Schulberg and I were in the train station after the 1978 Rotterdam Film Festival. I had presented Joe and Maxi, a film about my relationship with my father1, and Sandra had presented two movies produced for the PBS Visions series, The Gardener’s Son by Richard Pearce and Over-Under-Sideways-Down by the Cine Manifest collective. Marc Weiss had helped to arrange U.S. Indie Films in Rotterdam which they dubbed “Hollywood without Make-Up.” […]...
- 9/18/2018
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Antoine Fuqua and “Sully” writer Todd Komarnicki are developing a film about the 2003 terrorist attack at Mike’s Place, a beachside blues bar in Israel.
Komarnicki will produce through his Guy Walks Into a Bar banner and also direct from a script by Tony Spiridakis. Fuqua’s production credits include “Southpaw” and “Olympus Has Fallen.”
The duo optioned the 2004 documentary “Blues by the Beach,” directed by Joshua Faudem, and the film rights to Jack Baxter’s 2015 graphic novel “Mike’s Place: A True Story of Love, Blues and Terror in Tel Aviv.” The filmmakers have also obtained Baxter’s life rights.
When the bombing took place, Baxter had been working on a documentary about Mike’s Place, a venue popular among young people, where discussion of politics and religion were not allowed. A suicide bomber attacked the bar, killing three people and injuring 50, including Baxter and security guard Avi Tabib,...
Komarnicki will produce through his Guy Walks Into a Bar banner and also direct from a script by Tony Spiridakis. Fuqua’s production credits include “Southpaw” and “Olympus Has Fallen.”
The duo optioned the 2004 documentary “Blues by the Beach,” directed by Joshua Faudem, and the film rights to Jack Baxter’s 2015 graphic novel “Mike’s Place: A True Story of Love, Blues and Terror in Tel Aviv.” The filmmakers have also obtained Baxter’s life rights.
When the bombing took place, Baxter had been working on a documentary about Mike’s Place, a venue popular among young people, where discussion of politics and religion were not allowed. A suicide bomber attacked the bar, killing three people and injuring 50, including Baxter and security guard Avi Tabib,...
- 5/10/2018
- by Dave McNary
- Variety Film + TV
Back in June, IndieCollect, an organization which advocates for conservation of, and access to, the entire field of independent cinema, created a Kickstarter campaign to restore early Christine Vachon and Todd Haynes films and find two “lost” movies from the duo.
Now, IndieCollect has announced the they have found Vachon’s 1984 picture “A Man In Your Room.”
“Inspired by our efforts and your enthusiasm, Killer Films scoured its deep archive and – lo and behold! – discovered the prints of three films directed by Christine: ‘Days are Numbered,’ ‘The Way of the Wicked’ and a film we all thought was lost, ‘A Man In Your Room,'” Sandra Schulberg of IndieCollect said in a statement. “This means every backer getting the complete collection will be getting 9 films!”
The second film they still need to find is Haynes’ “Assassins: A Film Concerning Rimbaud” (1985), which depicts the poet as a homosexual outlaw.
Read More:...
Now, IndieCollect has announced the they have found Vachon’s 1984 picture “A Man In Your Room.”
“Inspired by our efforts and your enthusiasm, Killer Films scoured its deep archive and – lo and behold! – discovered the prints of three films directed by Christine: ‘Days are Numbered,’ ‘The Way of the Wicked’ and a film we all thought was lost, ‘A Man In Your Room,'” Sandra Schulberg of IndieCollect said in a statement. “This means every backer getting the complete collection will be getting 9 films!”
The second film they still need to find is Haynes’ “Assassins: A Film Concerning Rimbaud” (1985), which depicts the poet as a homosexual outlaw.
Read More:...
- 7/2/2016
- by Liz Calvario
- Indiewire
Led by Ifp founder Sandra Schulberg, who serves as its president, the nonprofit IndieCollect is working to conserve independent cinema. In just two years, the company has rescued and archived more than 3,500 film negatives, according to Schulberg, the president of IndieCollect. IndieCollect recently located the master picture and sound elements for eight of the shorts Vachon and Haynes produced in the ’80s and ’90s with Barry Ellsworth under their non-profit Apparatus banner. Apparatus backed a number of other directors, including Suzan-Lori Parks, Mary Hestand, Susan Delson, Brooke Dammkoehler, Larry Carty, and Evan Dunsky. Now the company has launched a Kickstarter campaign with hopes of raising […]...
- 6/28/2016
- by Paula Bernstein
- Filmmaker Magazine - Blog
In our digital age, the preservation of older documentary footage is far from guaranteed. To highlight the importance of the issue, The International Documentary Association (Ida) and Doc NYC hosted the first-ever two-day Documentary Preservation Summit, which began March 31 and ended on April 1 at IFC Center. Filmmakers and preservation experts attended the event to speak about the issue of important documentaries being lost, and discussed strategies for preserving and archiving these wonderful films. If you missed the summit, you can view several of the panels below in their entirety: Read More: 5 Key Takeaways from the Documentary Film Preservation Summit Keynote: A call to action for documentary preservation speakers During this panel, Michael Donaldson (fair use attorney), Barbara Kopple (filmmaker), D.A. Pennebaker (filmmaker), Sandra Schulberg (IndieCollect) and moderator Thom Powers (Doc NYC) talked about the importance of preserving...
- 4/24/2015
- by Anya Jaremko-Greenwold
- Indiewire
Archiving documentary footage and films may not be a sexy issue, but in this digital age, it's an increasingly critical one. To help call attention to it, the Ida and Doc NYC are hosting a two-day Documentary Preservation Summit, which began March 31 and continues on April 1. The speakers at the summit include Academy Award winning directors D.A. Pennebaker ("Monterey Pop," "The War Room") and Barbara Kopple ("Harlan County USA," "American Dream"); producer-director Warrington Hudlin, the founder of the Black Filmmaker Foundation; Margaret Bodde, the executive director of The Film Foundation, and Sandra Schulberg, the head of the IndieCollect film documentation and preservation campaign. Award-winning independent filmmaker Eli Brown is live blogging every panel exclusively for The D-Word, the worldwide online community for documentary filmmakers. documentary industry web site. You can read the full coverage here, but you can find...
- 4/1/2015
- by Eli Brown
- Indiewire
After six years of hard work, Beth B and co-producer Sandra Schulberg are finally releasing their feature film, Exposed,which is currently showing at the Institute of Contemporary Art, London, and will be showing at the Museum of Modern Art on March 3rd, and will have a theatrical run at the IFC Center, NYC beginning March 13th.
Exposed is about liberation of the self, the body and the mind. The film focuses on performance artists who have been featured at the Whitney Biennale, Ps 122, and Deitch Projects. These performers are a new generation of artists who are declaring their freedom of expression as Robert Mapplethorpe and Karen Finley did.
The film had its world premiere at the Berlin Film Festival and was nominated Best Documentary Film, has shown in over 30 film festivals worldwide, and had its U.S. premiere at Doc NYC. It has received extraordinary international press (Top Ten Film in Time Magazine Lightbox and Filmmaker Magazine) and has been touring the world (Moscow, Taiwan, Norway, Australia...).
The filmmakers are coordinating the combination of live performances and film screenings that create a phenomenal event and great exposure for the venues, performers and the film. The audience they have seen at the screenings is very diverse including: art world, Lgbt, students, feminists, burlesque, disability, and human rights groups (it was shown at the Nuremberg Human Rights Festival!).
Below are quotes from several rave reviews
"One of the most revealing portraits yet of the marginal performance medium, the film is likely to blow the cobwebs off any preconceptions viewers might have about gender, sexuality, empowerment and the body."
Read more: Doc NYC 2013: Highlights From the Largest Documentary Festival in the U.S. - LightBox http://lightbox.time.com/2013/11/13/doc-nyc-2013-highlights-from-the-largest-documentary-festival-in-the-u-s/#ixzz2pqB77LEO
What the Critics Are Saying
"Beth B turns her all-embracing camera on the alternate burlesque scene in the intelligent and enjoyably outrageous 'Exposed." –Variety
There is a philosophy behind all of the performances in Exposed. Provocation is the weapon of choice against a society that seeks to limit what is considered to be outside the norms, “the other.” -- Die Tageszeitung
Exposed is a wonderful film that I think you will appreciate and enjoy!
Warm Regards,
Beth B
http://21stcenturyburlesque.com/exposed-beyond-burlesque-screening-at-the-ica-london/
http://www.close-upfilm.com/2014/01/exposed-burlesque-18-film-review/
http://www.littlewhitelies.co.uk/theatrical-reviews/exposed-beyond-burlesque-25685
http://www.standard.co.uk/goingout/film/exposed-beyond-burlesque--film-review-9050818.html
Exposed…as reviewed in Little White Lies:
Director Beth B takes us a whirlwind journey through the intoxicating world of body performance.
It’s tempting to write burlesque off as glorified stripping, but director Beth B’s unique documentary shows the human body as a great performance art canvas for those brave or extroverted enough to use it. Her six-years-in-the-making film homes in on performers that use nudity, not to titillate — although that's involved — but to serve witty and inventive routines on gender, sexuality and politics. You ain't seen a Us justice system satire till you've seen a Us justice system satire called 'The Patriot Act' featuring a buxom, glitter-spangled blonde stuffing dollar bills in her mouth.
A composite of performances and interviews, Exposed works as both an X-rated cabaret show and analyses of its subjects’ motivations for letting us see everything. Whether its Mat Fraser taking ownership of his thalidomide-induced disability, Dirty Martini arabesqueing a fuck-you to instructors who said her body was wrong for dance, Rose Wood refusing to bolt himself into one gender or The World Famous *Bob* explaining a novel form of transexualism, the common thread is of individuals taking control of themselves and sharing this liberation with an audience.
"There is freedom in vulgarity" smiles Bunny Love, the most conventionally attractive of the bunch. She is perfectly aware of what she calls her "juicy" qualities and uses them to create performances that disturb and transfix in equal measure. "This is all just an illusion," she says of hair, eyelashes, lips, waist and boobs, "I can put it on and I can fake you out but it’s so much more complicated than that." These complexities are expressed via a maniacal on stage unravelling, like if Blanche DuBois’ spirit was embedded in the body of Marilyn Monroe and we saw her work at the Flamingo Hotel.
This act is the first of a run of performances that never dip in quality or boundary-pushing content. Beth B has found the best in the business and won their trust before channelling their symbiotic urges to opine and entertain. Dumb vessels for objectification do not live at this address. Instead we have eight character studies heartily engaged in the struggle to express themselves in nuance. All have learnt (the hard way) that, to get all Oscar Wilde: "If you want to tell people the truth, make them laugh, otherwise they'll kill you."
Through a camera that repeatedly finds interviewees at dressing tables where the careful transformation from everyday person to feathery, glittery peacock is happening, Beth B replicates her subjects' obsession with glamour and the performance possibilities offered by costume. Yet just as their work is to take it all off, so too it is for Ms B, who finds them make-up free after a gig, or going to a friend's birthday in *gosh* jeans. Focus is not on getting carried with shimmer and lights but in using our gravitation towards such things to tell different stories.
Just one of these stories would be refreshing but Exposed has gone all-out, providing a luxurious sweet store of perspectives as coherent as they are unconventional. Knitted into the seams of this celebration of countercultural entertainment are circumspect moments delivered and captured so lightly that those seduced by the viewpoints on offer will feel drawn to watch and rewatch.
"I don’t like to perpetuate perfection because I think flaws are more interesting," says Bambi the Mermaid, best known for her 'egg-laying'. It's a point-of-view we need at a time when Photoshopping images of beautiful celebrities is du jour and it's a point-of-view adopted with absolute commitment by Bambi and everyone else prepared to show us who they are with nothing on.
--
www.exposedmovie.com
www.bethbproductions.com...
Exposed is about liberation of the self, the body and the mind. The film focuses on performance artists who have been featured at the Whitney Biennale, Ps 122, and Deitch Projects. These performers are a new generation of artists who are declaring their freedom of expression as Robert Mapplethorpe and Karen Finley did.
The film had its world premiere at the Berlin Film Festival and was nominated Best Documentary Film, has shown in over 30 film festivals worldwide, and had its U.S. premiere at Doc NYC. It has received extraordinary international press (Top Ten Film in Time Magazine Lightbox and Filmmaker Magazine) and has been touring the world (Moscow, Taiwan, Norway, Australia...).
The filmmakers are coordinating the combination of live performances and film screenings that create a phenomenal event and great exposure for the venues, performers and the film. The audience they have seen at the screenings is very diverse including: art world, Lgbt, students, feminists, burlesque, disability, and human rights groups (it was shown at the Nuremberg Human Rights Festival!).
Below are quotes from several rave reviews
"One of the most revealing portraits yet of the marginal performance medium, the film is likely to blow the cobwebs off any preconceptions viewers might have about gender, sexuality, empowerment and the body."
Read more: Doc NYC 2013: Highlights From the Largest Documentary Festival in the U.S. - LightBox http://lightbox.time.com/2013/11/13/doc-nyc-2013-highlights-from-the-largest-documentary-festival-in-the-u-s/#ixzz2pqB77LEO
What the Critics Are Saying
"Beth B turns her all-embracing camera on the alternate burlesque scene in the intelligent and enjoyably outrageous 'Exposed." –Variety
There is a philosophy behind all of the performances in Exposed. Provocation is the weapon of choice against a society that seeks to limit what is considered to be outside the norms, “the other.” -- Die Tageszeitung
Exposed is a wonderful film that I think you will appreciate and enjoy!
Warm Regards,
Beth B
http://21stcenturyburlesque.com/exposed-beyond-burlesque-screening-at-the-ica-london/
http://www.close-upfilm.com/2014/01/exposed-burlesque-18-film-review/
http://www.littlewhitelies.co.uk/theatrical-reviews/exposed-beyond-burlesque-25685
http://www.standard.co.uk/goingout/film/exposed-beyond-burlesque--film-review-9050818.html
Exposed…as reviewed in Little White Lies:
Director Beth B takes us a whirlwind journey through the intoxicating world of body performance.
It’s tempting to write burlesque off as glorified stripping, but director Beth B’s unique documentary shows the human body as a great performance art canvas for those brave or extroverted enough to use it. Her six-years-in-the-making film homes in on performers that use nudity, not to titillate — although that's involved — but to serve witty and inventive routines on gender, sexuality and politics. You ain't seen a Us justice system satire till you've seen a Us justice system satire called 'The Patriot Act' featuring a buxom, glitter-spangled blonde stuffing dollar bills in her mouth.
A composite of performances and interviews, Exposed works as both an X-rated cabaret show and analyses of its subjects’ motivations for letting us see everything. Whether its Mat Fraser taking ownership of his thalidomide-induced disability, Dirty Martini arabesqueing a fuck-you to instructors who said her body was wrong for dance, Rose Wood refusing to bolt himself into one gender or The World Famous *Bob* explaining a novel form of transexualism, the common thread is of individuals taking control of themselves and sharing this liberation with an audience.
"There is freedom in vulgarity" smiles Bunny Love, the most conventionally attractive of the bunch. She is perfectly aware of what she calls her "juicy" qualities and uses them to create performances that disturb and transfix in equal measure. "This is all just an illusion," she says of hair, eyelashes, lips, waist and boobs, "I can put it on and I can fake you out but it’s so much more complicated than that." These complexities are expressed via a maniacal on stage unravelling, like if Blanche DuBois’ spirit was embedded in the body of Marilyn Monroe and we saw her work at the Flamingo Hotel.
This act is the first of a run of performances that never dip in quality or boundary-pushing content. Beth B has found the best in the business and won their trust before channelling their symbiotic urges to opine and entertain. Dumb vessels for objectification do not live at this address. Instead we have eight character studies heartily engaged in the struggle to express themselves in nuance. All have learnt (the hard way) that, to get all Oscar Wilde: "If you want to tell people the truth, make them laugh, otherwise they'll kill you."
Through a camera that repeatedly finds interviewees at dressing tables where the careful transformation from everyday person to feathery, glittery peacock is happening, Beth B replicates her subjects' obsession with glamour and the performance possibilities offered by costume. Yet just as their work is to take it all off, so too it is for Ms B, who finds them make-up free after a gig, or going to a friend's birthday in *gosh* jeans. Focus is not on getting carried with shimmer and lights but in using our gravitation towards such things to tell different stories.
Just one of these stories would be refreshing but Exposed has gone all-out, providing a luxurious sweet store of perspectives as coherent as they are unconventional. Knitted into the seams of this celebration of countercultural entertainment are circumspect moments delivered and captured so lightly that those seduced by the viewpoints on offer will feel drawn to watch and rewatch.
"I don’t like to perpetuate perfection because I think flaws are more interesting," says Bambi the Mermaid, best known for her 'egg-laying'. It's a point-of-view we need at a time when Photoshopping images of beautiful celebrities is du jour and it's a point-of-view adopted with absolute commitment by Bambi and everyone else prepared to show us who they are with nothing on.
--
www.exposedmovie.com
www.bethbproductions.com...
- 1/14/2014
- by Sydney Levine
- Sydney's Buzz
At the recent New York Ifp Meetings in mid September Just after Tiff, I attended a day devoted to an initiative called the Ifp Festival Forum.This nascent professional association of film festivals has been convening at Ifp’s independent Film Week and the Sundance Film Festival for a couple years, as it seeks to become an independent organization focused on the needs and interests of festival organizers. At Independent Film week they were presenting multiple panels hitting on issues of interest to festivals.
The next meeting will take place at 2014 Art House Convergence, and Film Festivals are invited to attend and to participate. The deadline for reduced registration to the Art House Convergence is looming, so read this to decide whether you should attend. Let me give my personal overview of this quite momentous event.
I was an original founder of Ifp when Sandra Schulberg organized a meeting in the early '80s in New York of indie film people who felt the need for us to be organized, to "have a voice". I then went on to open the L.A. office of Ifp West (now Film Independent / Find) and ran that for a year, effectively setting up the now vibrant La organization.
My partner Sydney Levine and myself have, in recent years, been very aware of the need for the burgeoning film festival scene in the U.S. and internationally to meet, get organized and discuss common issues, problems, solutions in the same way as filmmakers did in those early Ifp days.
For example - In Berlin now for several years my partner Sydney Levine has led, and I have worked closely with her, workshops organized each year during the week pre-Berlinale by Germany's large well-funded PBS-type-entity Deutsche Welle link. She and I have counseled pre and during Berlinale large groups (30 or more) of young film fest directors from Africa, Asia, and Latin America about the international independent film marketplace. She also takes them on her unique walking tours of the physical Berlinale marketplace. (She conducts other tours for various groups at the Berlinale each year and also at Cannes Marche du Film.)
This July at the invitation of U.K.'s International Cinema Office link I went to their week's session in Motovun Croatia and met with 40 or more young festival directors from all over Europe (U.K. and also eastern, southern and central Europe) to discuss the various common problems of festival management, organization, financing, marketing etc. My focus there was on the business of festivals and their connection with the international film markets such as Berlinale and Cannes. I blogged about them and this meeting at IndieWire at SydneysBuzz. You can read that piece Here
My partner Sydney has attended every Art House Convergence meeting in Utah since its second year inception and will also attend this coming January '14 meeting pre-Sundance.
In New York last week I sat down with members of the Ifp Festival Forum Executive Committee to learn what their vision is for this new organization.
The Executive Committee attendees were:
Jody Arlington, Interim Director Ifp Festival Forum Executive Committee
Sarah Pearce, Sundance Institute Co-Managing Director, Operations & Utah Community Relations
Colin Stanfield, San Francisco Film Society Managing Director
Joana Vicente, Executive Director, Ifp introduced the NYC meeting last week.
Sundance Institute’s Sarah Pearce commented on the motives behind this new organization. She said, "we need a voice to advocate for needs in the film festival world. We also want to create a platform to share resources.
Sarasota's Tom Hall sees the next step as "a further discussion of partnership with the Art House Convergence, an organization dedicated to business and organizational needs of art house cinemas. The difference is only that we are dedicated to film festivals. This is the first truly professional conference of this sort organized by and for film festival collaboration".
Jody Arlington, Interim Director Ifp Festival Forum Executive Committee described their efforts like this."Since ratifying our vision, mission, bylaw and strategic plan at Sundance in January, the executive committee has been focused on developing and delivering value against our three core objectives: developing and sharing best practices, advocating for the needs and interests of festivals at the local, national and international level, and of course ensuring everything is aligned with our mission and values. Each panel and discussion at Ifp was aligned with our goals. Art House Convergence will be a more ambitious offering, by which time we’ll have launched our website and have industry research to present.”
This statement has just been released describing the upcoming January 2014 meeting in Utah presented by Ifp Festival Forum and Art House Convergence.
The Ifp Festival Forum and Art House Convergence to Present Film Festival Program at 2014 Art House Convergence Conference
January 13-16, 2014 in Midway, Ut
The Ifp Festival Forum and Art House Convergence (Ahc) announced during Ifp’s Independent Film Week that they are joining forces for this year’s 2014 Art House Convergence Conference, January 13-16 in Midway Utah. For the first time the Art House Convergence will feature a full program of panels, discussions, meetings and presentations seeking to enhance the professional and organizational development of film festivals. The film festival program at Ahc will be open to all attending delegates, and all Ahc programs will be open to attending festival delegates. Registration for all attending film festival delegates is open until October 21, 2013 and registration can be completed Here
“Art Houses and Film Festivals share similar DNA, and often work together symbiotically already,” said Joana Vicente, Executive Director, Ifp. “They also face similar organizational challenges and benefit from the type of professional development and best practices shared at the Ifp Festival Forum during Independent Film Week, and now at the upcoming Art House Convergence Conference.”
Festival Program Conference Topics include:
• Defining Festivals in the New Cinematic Landscape
• The Ethics of Film Festival Programming: A Filmmaker Bill Of Rights
• Digital Conversion For Festivals: How to Program and Exhibit In The Digital Age
• Come Together: How Do We Organize To Tell The Story of Film Festivals To The World?
• Festival To Festival: Models for Collaboration
• Audiences Unleashed: Making Your Festival Valuable to Distributors and Filmmakers
• Festival Nightmares: Horror Stories and Best Practices For Festival Organizers
• Side By Side: A Case Study of Festival Operations and Management
• Data and Transparency: Survey Presentation and Developing A Model for Information Sharing
“The Art House Convergence has dedicated itself to improving the quality and effectiveness of art house cinemas, where so many festivals make their homes. We look forward to working with our festival colleagues who are also dedicated to fostering collaboration and a thriving film community,” said Russ Collins, Director, Art House Convergence.
The Art House Convergence is a four-day, action packed conference that provides productive tips about programming, marketing, fundraising, technology and industry trends to help improve the quality and effectiveness of community-based, mission-driven art house cinemas. The Ifp Festival Forum is an emerging professional association that advocate for the needs and interests of film festivals and their organizers, providing a collaborative platform for members to develop and share operational and curatorial efficiencies, set professional standards, and establish best practices.
About Independent Filmmaker Project (Ifp)
The Independent Filmmaker Project (Ifp) is the premier advocacy organization for independent filmmakers, championing the future of storytelling in the digital age by fostering a vibrant and sustainable independent filmmaking community. Ifp has supported over 7,000 films and offered resources to more than 20,000 filmmakers over its 34-year history, developing 350 new feature and documentary films each year. Ifp represents a growing network of 10,000 filmmakers and artists in New York City and around the world.
Ifp guides filmmakers in the art, technology and business of independent filmmaking through its year-round programming and now the state of the art Made In NY Media Center by Ifp, a new incubator space developed with the Mayor’s Office for Media and Entertainment, where storytellers from multiple disciplines, industries and platforms create, collaborate and connect. In addition to its workshops, seminars, conferences, mentorships, and Filmmaker Magazine, Ifp’s year-round programs include Independent Film Week, Envision, The Cross-Media Forum, The Gotham Independent Film Awards, and the Independent Filmmaker Labs.
About the Ifp Festival Forum™
A professional association that advocates for the needs and interests of Film Festivals and their organizers. The Festival Forum provides a collaborative platform for members to develop and share operational and curatorial efficiencies, set professional standards, and establish best practices. The Forum serves the collective priorities of its membership while leveraging its leadership, expertise, and vision within the international film community and the broader cultural landscape.
Founded in 2010, the Festival Forum includes over 200 U.S. & International festival programmers and executives, including representatives from Berlin, Cannes, Full Frame, Hot Docs, New York Film Festival, New Directors, Rotterdam, Slamdance, Sundance, SXSW, and Tribeca.
About the Art House Convergence
The Art House Convergence conference is an educational program organized by the Michigan Theater and other Sundance Institute Art House Project theaters. At this important annual conference, delegates enjoy inspirational speakers, informative sessions and panel discussions that provide productive tips about programming, marketing, fundraising, technology and industry trends to help improve the quality and quantity of community-based, mission-driven art house cinemas.
The next meeting will take place at 2014 Art House Convergence, and Film Festivals are invited to attend and to participate. The deadline for reduced registration to the Art House Convergence is looming, so read this to decide whether you should attend. Let me give my personal overview of this quite momentous event.
I was an original founder of Ifp when Sandra Schulberg organized a meeting in the early '80s in New York of indie film people who felt the need for us to be organized, to "have a voice". I then went on to open the L.A. office of Ifp West (now Film Independent / Find) and ran that for a year, effectively setting up the now vibrant La organization.
My partner Sydney Levine and myself have, in recent years, been very aware of the need for the burgeoning film festival scene in the U.S. and internationally to meet, get organized and discuss common issues, problems, solutions in the same way as filmmakers did in those early Ifp days.
For example - In Berlin now for several years my partner Sydney Levine has led, and I have worked closely with her, workshops organized each year during the week pre-Berlinale by Germany's large well-funded PBS-type-entity Deutsche Welle link. She and I have counseled pre and during Berlinale large groups (30 or more) of young film fest directors from Africa, Asia, and Latin America about the international independent film marketplace. She also takes them on her unique walking tours of the physical Berlinale marketplace. (She conducts other tours for various groups at the Berlinale each year and also at Cannes Marche du Film.)
This July at the invitation of U.K.'s International Cinema Office link I went to their week's session in Motovun Croatia and met with 40 or more young festival directors from all over Europe (U.K. and also eastern, southern and central Europe) to discuss the various common problems of festival management, organization, financing, marketing etc. My focus there was on the business of festivals and their connection with the international film markets such as Berlinale and Cannes. I blogged about them and this meeting at IndieWire at SydneysBuzz. You can read that piece Here
My partner Sydney has attended every Art House Convergence meeting in Utah since its second year inception and will also attend this coming January '14 meeting pre-Sundance.
In New York last week I sat down with members of the Ifp Festival Forum Executive Committee to learn what their vision is for this new organization.
The Executive Committee attendees were:
Jody Arlington, Interim Director Ifp Festival Forum Executive Committee
Sarah Pearce, Sundance Institute Co-Managing Director, Operations & Utah Community Relations
Colin Stanfield, San Francisco Film Society Managing Director
Joana Vicente, Executive Director, Ifp introduced the NYC meeting last week.
Sundance Institute’s Sarah Pearce commented on the motives behind this new organization. She said, "we need a voice to advocate for needs in the film festival world. We also want to create a platform to share resources.
Sarasota's Tom Hall sees the next step as "a further discussion of partnership with the Art House Convergence, an organization dedicated to business and organizational needs of art house cinemas. The difference is only that we are dedicated to film festivals. This is the first truly professional conference of this sort organized by and for film festival collaboration".
Jody Arlington, Interim Director Ifp Festival Forum Executive Committee described their efforts like this."Since ratifying our vision, mission, bylaw and strategic plan at Sundance in January, the executive committee has been focused on developing and delivering value against our three core objectives: developing and sharing best practices, advocating for the needs and interests of festivals at the local, national and international level, and of course ensuring everything is aligned with our mission and values. Each panel and discussion at Ifp was aligned with our goals. Art House Convergence will be a more ambitious offering, by which time we’ll have launched our website and have industry research to present.”
This statement has just been released describing the upcoming January 2014 meeting in Utah presented by Ifp Festival Forum and Art House Convergence.
The Ifp Festival Forum and Art House Convergence to Present Film Festival Program at 2014 Art House Convergence Conference
January 13-16, 2014 in Midway, Ut
The Ifp Festival Forum and Art House Convergence (Ahc) announced during Ifp’s Independent Film Week that they are joining forces for this year’s 2014 Art House Convergence Conference, January 13-16 in Midway Utah. For the first time the Art House Convergence will feature a full program of panels, discussions, meetings and presentations seeking to enhance the professional and organizational development of film festivals. The film festival program at Ahc will be open to all attending delegates, and all Ahc programs will be open to attending festival delegates. Registration for all attending film festival delegates is open until October 21, 2013 and registration can be completed Here
“Art Houses and Film Festivals share similar DNA, and often work together symbiotically already,” said Joana Vicente, Executive Director, Ifp. “They also face similar organizational challenges and benefit from the type of professional development and best practices shared at the Ifp Festival Forum during Independent Film Week, and now at the upcoming Art House Convergence Conference.”
Festival Program Conference Topics include:
• Defining Festivals in the New Cinematic Landscape
• The Ethics of Film Festival Programming: A Filmmaker Bill Of Rights
• Digital Conversion For Festivals: How to Program and Exhibit In The Digital Age
• Come Together: How Do We Organize To Tell The Story of Film Festivals To The World?
• Festival To Festival: Models for Collaboration
• Audiences Unleashed: Making Your Festival Valuable to Distributors and Filmmakers
• Festival Nightmares: Horror Stories and Best Practices For Festival Organizers
• Side By Side: A Case Study of Festival Operations and Management
• Data and Transparency: Survey Presentation and Developing A Model for Information Sharing
“The Art House Convergence has dedicated itself to improving the quality and effectiveness of art house cinemas, where so many festivals make their homes. We look forward to working with our festival colleagues who are also dedicated to fostering collaboration and a thriving film community,” said Russ Collins, Director, Art House Convergence.
The Art House Convergence is a four-day, action packed conference that provides productive tips about programming, marketing, fundraising, technology and industry trends to help improve the quality and effectiveness of community-based, mission-driven art house cinemas. The Ifp Festival Forum is an emerging professional association that advocate for the needs and interests of film festivals and their organizers, providing a collaborative platform for members to develop and share operational and curatorial efficiencies, set professional standards, and establish best practices.
About Independent Filmmaker Project (Ifp)
The Independent Filmmaker Project (Ifp) is the premier advocacy organization for independent filmmakers, championing the future of storytelling in the digital age by fostering a vibrant and sustainable independent filmmaking community. Ifp has supported over 7,000 films and offered resources to more than 20,000 filmmakers over its 34-year history, developing 350 new feature and documentary films each year. Ifp represents a growing network of 10,000 filmmakers and artists in New York City and around the world.
Ifp guides filmmakers in the art, technology and business of independent filmmaking through its year-round programming and now the state of the art Made In NY Media Center by Ifp, a new incubator space developed with the Mayor’s Office for Media and Entertainment, where storytellers from multiple disciplines, industries and platforms create, collaborate and connect. In addition to its workshops, seminars, conferences, mentorships, and Filmmaker Magazine, Ifp’s year-round programs include Independent Film Week, Envision, The Cross-Media Forum, The Gotham Independent Film Awards, and the Independent Filmmaker Labs.
About the Ifp Festival Forum™
A professional association that advocates for the needs and interests of Film Festivals and their organizers. The Festival Forum provides a collaborative platform for members to develop and share operational and curatorial efficiencies, set professional standards, and establish best practices. The Forum serves the collective priorities of its membership while leveraging its leadership, expertise, and vision within the international film community and the broader cultural landscape.
Founded in 2010, the Festival Forum includes over 200 U.S. & International festival programmers and executives, including representatives from Berlin, Cannes, Full Frame, Hot Docs, New York Film Festival, New Directors, Rotterdam, Slamdance, Sundance, SXSW, and Tribeca.
About the Art House Convergence
The Art House Convergence conference is an educational program organized by the Michigan Theater and other Sundance Institute Art House Project theaters. At this important annual conference, delegates enjoy inspirational speakers, informative sessions and panel discussions that provide productive tips about programming, marketing, fundraising, technology and industry trends to help improve the quality and quantity of community-based, mission-driven art house cinemas.
- 10/4/2013
- by Peter Belsito
- Sydney's Buzz
In the early 80s a small group of filmmakers, including myself, under the invitation of Sandra Schulberg gathered at NYC's 92nd Street 'Y' to found a filmmaker-run and oriented organization to facilitate networking and 'to give us a voice'. I am still very happy with the result as seen in today's 34th edition of Independent Film Week.
Ifp is announcing its industry activities for the 34th edition of Independent Film Week, as well as the 2012 slate of 165 new films in development selected for its esteemed Project Forum.
Independent Film Week takes place September 16-20, 2012 at various locations throughout Lincoln Center and is a one-of-a-kind event that brings the international film and media community to New York City to advance new voices and projects on the independent scene. The event is purely focused on supporting the future of storytelling by nurturing and providing opportunities for both emerging and established artists to connect with the financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences.
Expanding from its core mission Ifp's Film Week has been re-focused to ensure that artists, industry and audiences have the educational, networking and access opportunities necessary to create and enjoy work across a variety of platforms. The Week provides multiple ways for the independent film and media communities to come together.
These include:
•Project Forum which facilitates over 2,000 meetings for talent with new projects in development;
•Future Forward Industry Initiatives allow established professionals to meet to discuss new opportunities in creative media, as well as debate key issues critical to the future of visual storytelling;
•Filmmaker Conference Offering audiences the opportunity to discuss the future of film;
•Filmmaker Magazine - Celebrating tomorrow’s filmmakers today through Ifp’s signature publication, celebrating its 20th Anniversary this year.
“Ifp is proud to present this year’s Independent Film Week, which includes a truly original, exciting, and diverse slate of U.S. and international projects that are sure to pique the interest of our attending industry friends,” said Joana Vicente, Executive Director, Ifp. “Not only does Film Week remain an important space for filmmakers with unique vision to connect with industry and peers, but it is also a destination for aspiring filmmakers and film fans alike to explore the art and business of 21st century storytelling with the Filmmaker Conference.”
Project Forum
Under the curatorial leadership of Deputy Director/Head of Programming Amy Dotson & Senior Director of Programmer Milton Tabbot, Ifp’s Project Forum has had a prolific history in the independent community supporting independent filmmakers at critical stages in their development processes. 165 U.S. and International projects have been selected for the 2012 Project Forum, evenly split between documentary and narrative features. Projects hail from the U.S., throughout Europe and Canada, as well Australia, Columbia, Dubai, Hong Kong, India, Israel, New Zealand, South Africa and Turkey.
For A Full List Of 2012 Selected Projects:
http://www.ifp.org/resources/2012-project-forumslate/
This year’s selection of docs includes a range of stories equally divided among - and embedded within - the American political and social landscape, the international scene, history, and the arts world – with new projects from an exciting lineup of new and established indie filmmakers.
In addition, SAG Indie’s Emerging Narrative Reading will highlight short excerpts from new work by upand-coming writer/directors, featuring a live reading from leading independent actors cast by Paul Schnee and Alison Estrin of Barden/ Schnee Casting (Winter’s Bone, The Help).
The Ifp organization championed the early work of pioneering independent filmmakers Charles Burnett, Todd Haynes, Mira Nair, Michael Moore, Joel and Ethan Cohen, Kevin Smith, and Todd Solondz. Recently, it has also played a vital role in launching the first films of many of today’s rising stars on the independent scene.
Future Forward Industry Initiatives
Film Week also consists of a number of initiatives aimed at expanding the networks and educating established film and media professionals on issues prevalent within the art and business of 21st Century storytelling and audience engagement.
• Ifp Producer of Marketing & Distribution Labs - Ifp & director Jon Reiss (Bomb It!) have created the world’s first Producer of Marketing & Development (Pmd) Labs, a six month fellowship providing select producers, marketing and digital strategists the tools and networks necessary to create a audience engagement strategy for select feature films from Ifp’s 2012 Independent Filmmaker Labs.
• Ifp’s Festival Forum - Launched in 2010 at Ifp’s Independent Film Week, Ifp’s Festival Forum network is a bi-annual convening of over 45 top festival programmers and leaders from around the globe. The purpose of this two-day event is to create an infrastructure where festivals around the world can come together to discuss issues and trends affecting their organizations, audiences, and filmmakers, as well as discover new work by up-and-coming filmmakers to include in their upcoming festival slates.
• New International Partners & Initiatives - Ifp is pleased to announce new international partnerships and initiatives with a variety of funding bodies and cultural around the globe, providing a myriad of new creative and business opportunities for Ifp’s emerging and established talent. This includes producers and executives attending on behalf of the Dubai Film Market, Torino Film Lab, Turkey’s Meetings On The Bridge, Columbia’s ProImagines will all be presenting partners of Ifp’s No Borders International CoProduction Market.
Filmmaker Conference
Held during Ifp’s signature Independent Film Week, the Filmmaker Conference brings together the international filmmaking community to explore the art and business of 21st century storytelling. Whether stories are told through film, television, online, or new media, the Filmmaker Conference is the premiere place for to interact with experts on how to connect with audiences to make the most of your films.
For the latest Conference schedule and to purchase tickets: http://www.ifp.org/conferences/filmmakerconference
About Ifp
After debuting with a program in 1979 New York Film Festival, the nonprofit Ifp has evolved into the nation’s oldest and largest organization of independent filmmakers, and also the premiere advocate for them. Since its start Ifp has supported the production of 7,000 films and provided resources to more than 20,000 filmmakers – voices that might not otherwise have been heard. Ifp fosters the development of 350 new feature and documentary films each year through its Project Forum of Independent Film Week, Independent Filmmaker Labs and projects in its fiscal sponsorship program.
Ifp is announcing its industry activities for the 34th edition of Independent Film Week, as well as the 2012 slate of 165 new films in development selected for its esteemed Project Forum.
Independent Film Week takes place September 16-20, 2012 at various locations throughout Lincoln Center and is a one-of-a-kind event that brings the international film and media community to New York City to advance new voices and projects on the independent scene. The event is purely focused on supporting the future of storytelling by nurturing and providing opportunities for both emerging and established artists to connect with the financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences.
Expanding from its core mission Ifp's Film Week has been re-focused to ensure that artists, industry and audiences have the educational, networking and access opportunities necessary to create and enjoy work across a variety of platforms. The Week provides multiple ways for the independent film and media communities to come together.
These include:
•Project Forum which facilitates over 2,000 meetings for talent with new projects in development;
•Future Forward Industry Initiatives allow established professionals to meet to discuss new opportunities in creative media, as well as debate key issues critical to the future of visual storytelling;
•Filmmaker Conference Offering audiences the opportunity to discuss the future of film;
•Filmmaker Magazine - Celebrating tomorrow’s filmmakers today through Ifp’s signature publication, celebrating its 20th Anniversary this year.
“Ifp is proud to present this year’s Independent Film Week, which includes a truly original, exciting, and diverse slate of U.S. and international projects that are sure to pique the interest of our attending industry friends,” said Joana Vicente, Executive Director, Ifp. “Not only does Film Week remain an important space for filmmakers with unique vision to connect with industry and peers, but it is also a destination for aspiring filmmakers and film fans alike to explore the art and business of 21st century storytelling with the Filmmaker Conference.”
Project Forum
Under the curatorial leadership of Deputy Director/Head of Programming Amy Dotson & Senior Director of Programmer Milton Tabbot, Ifp’s Project Forum has had a prolific history in the independent community supporting independent filmmakers at critical stages in their development processes. 165 U.S. and International projects have been selected for the 2012 Project Forum, evenly split between documentary and narrative features. Projects hail from the U.S., throughout Europe and Canada, as well Australia, Columbia, Dubai, Hong Kong, India, Israel, New Zealand, South Africa and Turkey.
For A Full List Of 2012 Selected Projects:
http://www.ifp.org/resources/2012-project-forumslate/
This year’s selection of docs includes a range of stories equally divided among - and embedded within - the American political and social landscape, the international scene, history, and the arts world – with new projects from an exciting lineup of new and established indie filmmakers.
In addition, SAG Indie’s Emerging Narrative Reading will highlight short excerpts from new work by upand-coming writer/directors, featuring a live reading from leading independent actors cast by Paul Schnee and Alison Estrin of Barden/ Schnee Casting (Winter’s Bone, The Help).
The Ifp organization championed the early work of pioneering independent filmmakers Charles Burnett, Todd Haynes, Mira Nair, Michael Moore, Joel and Ethan Cohen, Kevin Smith, and Todd Solondz. Recently, it has also played a vital role in launching the first films of many of today’s rising stars on the independent scene.
Future Forward Industry Initiatives
Film Week also consists of a number of initiatives aimed at expanding the networks and educating established film and media professionals on issues prevalent within the art and business of 21st Century storytelling and audience engagement.
• Ifp Producer of Marketing & Distribution Labs - Ifp & director Jon Reiss (Bomb It!) have created the world’s first Producer of Marketing & Development (Pmd) Labs, a six month fellowship providing select producers, marketing and digital strategists the tools and networks necessary to create a audience engagement strategy for select feature films from Ifp’s 2012 Independent Filmmaker Labs.
• Ifp’s Festival Forum - Launched in 2010 at Ifp’s Independent Film Week, Ifp’s Festival Forum network is a bi-annual convening of over 45 top festival programmers and leaders from around the globe. The purpose of this two-day event is to create an infrastructure where festivals around the world can come together to discuss issues and trends affecting their organizations, audiences, and filmmakers, as well as discover new work by up-and-coming filmmakers to include in their upcoming festival slates.
• New International Partners & Initiatives - Ifp is pleased to announce new international partnerships and initiatives with a variety of funding bodies and cultural around the globe, providing a myriad of new creative and business opportunities for Ifp’s emerging and established talent. This includes producers and executives attending on behalf of the Dubai Film Market, Torino Film Lab, Turkey’s Meetings On The Bridge, Columbia’s ProImagines will all be presenting partners of Ifp’s No Borders International CoProduction Market.
Filmmaker Conference
Held during Ifp’s signature Independent Film Week, the Filmmaker Conference brings together the international filmmaking community to explore the art and business of 21st century storytelling. Whether stories are told through film, television, online, or new media, the Filmmaker Conference is the premiere place for to interact with experts on how to connect with audiences to make the most of your films.
For the latest Conference schedule and to purchase tickets: http://www.ifp.org/conferences/filmmakerconference
About Ifp
After debuting with a program in 1979 New York Film Festival, the nonprofit Ifp has evolved into the nation’s oldest and largest organization of independent filmmakers, and also the premiere advocate for them. Since its start Ifp has supported the production of 7,000 films and provided resources to more than 20,000 filmmakers – voices that might not otherwise have been heard. Ifp fosters the development of 350 new feature and documentary films each year through its Project Forum of Independent Film Week, Independent Filmmaker Labs and projects in its fiscal sponsorship program.
- 9/18/2012
- by Peter Belsito
- Sydney's Buzz
Rating: 3.5 out of 5 stars
Stuart Schulberg’s Nuremberg, originally released in 1948, is distinguished as the first documentary made about the Holocaust. While exhibited fairly extensively in Germany as part of the Allied De-Nazification initiative, it received little play elsewhere, and with the U.S. soon enough turning their attention to Cold War concerns, the film became something of an artefact.
Resurrected and restored by Schulberg’s daughter Sandra alongside Josh Waletzky – complete with both a new title and score, as well as strong re-recorded narration provided by Liev Schreiber – Nuremberg remains in its new form a harrowing but important contraction of the key beats which brought about some of World War 2’s most heinous acts.
Beginning with footage of a desolate, restless post-war Europe, Schulberg then transports us to the beginning of the Nuremberg trials, as footage recorded by and confiscated from Nazi soldiers – much of it appearing in this...
Stuart Schulberg’s Nuremberg, originally released in 1948, is distinguished as the first documentary made about the Holocaust. While exhibited fairly extensively in Germany as part of the Allied De-Nazification initiative, it received little play elsewhere, and with the U.S. soon enough turning their attention to Cold War concerns, the film became something of an artefact.
Resurrected and restored by Schulberg’s daughter Sandra alongside Josh Waletzky – complete with both a new title and score, as well as strong re-recorded narration provided by Liev Schreiber – Nuremberg remains in its new form a harrowing but important contraction of the key beats which brought about some of World War 2’s most heinous acts.
Beginning with footage of a desolate, restless post-war Europe, Schulberg then transports us to the beginning of the Nuremberg trials, as footage recorded by and confiscated from Nazi soldiers – much of it appearing in this...
- 6/11/2012
- by Shaun Munro
- Obsessed with Film
A compact, conclusive primer on the criminality and rise of the Nazi party, Nuremberg: Its Lesson For Today, is actually a recovered documentary from 1948 written and directed by the late Stuart Schulberg (brother of Budd, the writer of On The Waterfront) that, though U.S.-sponsored, was never released in this country. Thought lost for many years, Schulberg’s daughter Sandra Schulberg and her fellow documentarian Josh Waletzky have now restored the film using a decent print that they discovered with the help of the German Bundesarchiv (Germany’s National Archive, headquartered in Berlin). Enlisting the vocal talents of actor Liev Schreiber, the narration has been re-recorded, this time in English and the result is an interesting documentary that combines footage of the trial of Hitler’s commanders who survived the war – Hermann Goering, Rudolf Hess, Julius Streicher, etc. with a concise flashback history of the rise and fall of the Nazi Party.
- 1/20/2012
- by Tom Stockman
- WeAreMovieGeeks.com
Originally published in the Fall 2010 issue.
The time frame needed to produce an independent feature these days can seem longer than the lifespan of its underlying technology. Cheap HDSLRs challenge high-end camcorders that cost 50 times more. Even Red One, whose revolutionary bona fides were golden two years ago, suddenly feels status quo. And lurking around the corner — due at year’s end — is a vanguard of new, inexpensive large-sensor camcorders from all the usual suspects.
It’s been said that the geek shall inherit the earth, but this is getting ridiculous. How’s a producer to make sense of these exploding possibilities? Even d.p.’s and post mavens alert to the latest digital trends struggle to keep up.
It wasn’t always so. A few weeks ago I stood at the dry end of a DuArt processing machine as a roll of 35mm came off, a print of the long-suppressed Nazi war-crimes film,...
The time frame needed to produce an independent feature these days can seem longer than the lifespan of its underlying technology. Cheap HDSLRs challenge high-end camcorders that cost 50 times more. Even Red One, whose revolutionary bona fides were golden two years ago, suddenly feels status quo. And lurking around the corner — due at year’s end — is a vanguard of new, inexpensive large-sensor camcorders from all the usual suspects.
It’s been said that the geek shall inherit the earth, but this is getting ridiculous. How’s a producer to make sense of these exploding possibilities? Even d.p.’s and post mavens alert to the latest digital trends struggle to keep up.
It wasn’t always so. A few weeks ago I stood at the dry end of a DuArt processing machine as a roll of 35mm came off, a print of the long-suppressed Nazi war-crimes film,...
- 12/4/2011
- by David Leitner
- Filmmaker Magazine - Blog
(by Guest Blogger Peter Belsito) Nuremburg The long suppressed 1940's documentary inside the trials of the Nazi elite. Restored by Sandra Schulberg. Written & Directed by Stuart Schulberg - Produced by Pare Lorentz & Stuart Schulberg War criminal Goering in the dock of justice. __________________ One of the greatest courtroom dramas in history, Nuremberg shows how the international prosecutors built their case against the top Nazi war criminals using the Nazis’ own films and records. The trial established the “Nuremberg principles” — the foundation for all subsequent trials for crimes against the peace, war crimes, and crimes against humanity. From…...
- 6/10/2011
- Sydney's Buzz
Chicago – In the opening moments of Stuart Schulberg’s invaluable 1948 documentary, “Nuremberg: Its Lesson for Today,” shell-shocked men, women and children emerge from the wreckage of what appears to be a post-apocalyptic landscape. A street lamp juts out from the carnage, twisted out of all recognition, much like the human bodies later viewed in the footage.
Rating: 5.0/5.0
The level of barbarism and monstrous inhumanity captured by Schulberg’s lens is simply beyond words. It’s impossible to dissect such vital images with a conventionally critical eye. “Nuremberg” is less a film than an enduring historical record. Moviegoers familiar with dramatizations such as Stanley Kramer’s excellent 1961 ensemble piece, “Judgment at Nuremberg,” will be amazed to see excerpts from the 25 hours of film permitted to be shot of the initial Nuremberg trials, from November 1945 to October 1946.
Read Matt Fagerholm’s full review of “Nuremberg [The Schulberg/Restoration]” in our reviews section.
History buffs and...
Rating: 5.0/5.0
The level of barbarism and monstrous inhumanity captured by Schulberg’s lens is simply beyond words. It’s impossible to dissect such vital images with a conventionally critical eye. “Nuremberg” is less a film than an enduring historical record. Moviegoers familiar with dramatizations such as Stanley Kramer’s excellent 1961 ensemble piece, “Judgment at Nuremberg,” will be amazed to see excerpts from the 25 hours of film permitted to be shot of the initial Nuremberg trials, from November 1945 to October 1946.
Read Matt Fagerholm’s full review of “Nuremberg [The Schulberg/Restoration]” in our reviews section.
History buffs and...
- 5/6/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Nuremberg, the documentary film based on the 1945 World War II Nazi trials in Nuremberg directed by Stuart Schulberg and completed in 1948 is the official document of the 1945 Nuremberg Trial as commissioned by the United States. It's a sin that Nuremberg has never been released until now. Unlike sentimental tear-jerker interpretations most famously the documentaries produced by Steven Spielberg, there is no manipulation here, no tugging on the heartstrings. Schulberg understood that the greatest horrors our world had really ever known did not need any kind of contrived storytelling mechanisms to affect emotion. The film is sparse and relies on the facts and the actual voices of those involved to tell the story. This is actually a practice that Sandra Schulberg, his daughter who oversaw the preparation for its restoration and release this time around and has been a producer for the past three decades, describes as actually a principle that...
- 10/21/2010
- IONCINEMA.com
Toronto -- Film and TV producer Stuart Schulberg's unreleased documentary about the 1946 Nuremberg Nazi trial has received a celluloid face-lift.
Daughter Sandra Schulberg and Josh Waletzky brought their courtroom drama restoration of "Nuremberg: Its Lesson for Today" to the Toronto Jewish Film Festival for its North American bow, ahead of a late-September theatrical release in New York City.
Indie producer Schulberg speculates Cold War intrigue likely stopped her father's film from ever being distributed in American theatres after the war. The 78-minute official Nuremberg trial documentary was only screened in Germany in 1948 and 1949 as part of American denazification efforts in that country.
"We're still unraveling this mystery," Schulberg said of the film's post-war suppression in the U.S., which makes this week's Toronto festival screening the first-ever theatrical showing in North America.
The original post-war production of "Nuremberg: Its Lesson For Today" followed Stuart Schulberg and older...
Daughter Sandra Schulberg and Josh Waletzky brought their courtroom drama restoration of "Nuremberg: Its Lesson for Today" to the Toronto Jewish Film Festival for its North American bow, ahead of a late-September theatrical release in New York City.
Indie producer Schulberg speculates Cold War intrigue likely stopped her father's film from ever being distributed in American theatres after the war. The 78-minute official Nuremberg trial documentary was only screened in Germany in 1948 and 1949 as part of American denazification efforts in that country.
"We're still unraveling this mystery," Schulberg said of the film's post-war suppression in the U.S., which makes this week's Toronto festival screening the first-ever theatrical showing in North America.
The original post-war production of "Nuremberg: Its Lesson For Today" followed Stuart Schulberg and older...
- 4/22/2010
- by By Etan Vlessing
- The Hollywood Reporter - Movie News
When writer-director Tom Kalin brought his first feature, "Swoon," to the Independent Feature Project's 1991 Independent Feature Film Market, he recalls attending "a charming, homespun affair" with his fellow producers, Christine Vachon and James Schamus. While there, a three-minute reel of "Swoon's" best images and moments at the market captured the attention of acquisitions execs from Fine Line and PBS' "American Playhouse." As a result, Kalin headed off to Sundance the following January with the film presold and on its way to being viewed as a milestone of "new queer cinema."That was then. Today, the Big Apple's Ifp market celebrates its 30th anniversary with a new name -- Independent Film Week, running Sept. 14-19 -- and is a mix of old visions and new strategies. Through the years, however, Ifp's goal has remained consistent: to open doors and create possibilities for aspiring filmmakers with plenty of talent but little money and few connections.
- 9/15/2008
- by Andrew O'Hehir
- backstage.com
Revisiting the sort of pugilistic territory he explored in his debut feature, "Hard Times", director Walter Hill, clearly inspired by the legal travails of Mike Tyson, has fashioned a lean and mean thriller that, no disrespect intended, is in the best B-movie tradition.
This tale of a heavyweight fighter incarcerated at the height of his fame, and the inevitable prison boxing match that results, is an entertaining and hard-edged actioner bearing not a trace of narrative fat, and in earlier days would no doubt have incited wild excitement had it been shown at the exploitation palaces on 42nd Street. Commercial prospects look underwhelming in this far-too-repressed cinematic age, but a perfect late summertime release slot should help it find an audience. Too bad so many drive-ins have disappeared.
George "Iceman" Chambers (Ving Rhames) is a champion boxer who has been given a six- to eight-year sentence on a rape charge, of which he vehemently protests his innocence. He's sent to Sweetwater Prison in the middle of the Mojave Desert, where his presence immediately attracts the rabid interest of both guards and inmates. Iceman is used to being considered the toughest guy around, but he finds competition in the form of Monroe Hutchens (Wesley Snipes), a former boxer sent to prison for life 10 years ago just as he was starting to make it big. Since then, he's amassed an undefeated record of 67 wins in prison matches, despite displaying a constant Zen-like calm that leads him to such pursuits as building an elaborate model of a pagoda out of toothpicks.
Another inmate is Mendy Ripstein (Peter Falk), a highly connected gangster in failing health who always manages to get what he wants. And what he wants now is to arrange a bout between Iceman and Monroe, neither of whom is interested. But when he dangles a shortened sentence -- he's got that kind of clout -- and a heap of money to the respective fighters, they quickly agree to a match, to be fought by the far less restrictive "London Prize Ring" rules.
Hill and David Giler's screenplay is uncommonly taut and focused, with only the excessive use of screen titles and such minor affectations as numerous "interview" segments shot in black-and-white detracting from its forward drive. While not exactly deep or nuanced, it does reveal flashes of dark wit, like one character's comment, after watching the inmates banging their tin cups, that "these dumbshits have been watching too many old prison movies." A slew of first-rate character actors provide colorful supporting performances, including Michael Rooker as a savvy guard, Jon Seda as Mendy's helpmate, Wes Studi as Iceman's wary cellmate and Fisher Stevens as a slimy prisoner dubbed "Ratbag". Master P makes a cameo appearance as the leader of a prison rap group, in a role that could be modeled after any number of hip-hop stars.
Hill invests the proceedings with his usual expert professionalism, applying the sort of rigorous and sober cinematic discipline that's in short supply these days. Both Rhames and Snipes deliver terrific performances, in dramatically contrasting styles, with the former investing his role with his trademark flashy charisma and the latter working in an effectively minimalist mode. Falk is clearly having a ball as the codger gangster and seems to particularly enjoy his opportunity to possibly set a record for onscreen expletives.
UNDISPUTED
Miramax Films
Millenium Films, Hollywood Partners, Amen Ra Films, Motion Picture Corporation of America
Credits:
Director: Walter Hill
Screenwriters: David Giler, Walter Hill
Producers: David Giler, Walter Hill, Brad Krevoy, Andrew Sugerman
Executive producers: Danny Dimbort, Trevor Short, Boaz Davidson, John Thompson, Wesley Snipes, Avi Lerner, Sandra Schulberg, Rudolf Wiesmeier
Director of photography: Lloyd Ahern II
Editor: Freeman Davies
Production designer: Maria Caso
Music: Stanley Clarke
Cast:
Monroe Hutchens: Wesley Snipes
George "Iceman" Chambers: Ving Rhames
Mendy Ripstein: Peter Falk
A.J. Mercker: Michael Rooker
Jesus "Chuy" Campos: Jon Seda
Mingo Pace: Wes Studi
Ratbag Dolan: Fisher Stevens
Running time -- 90 minutes
MPAA rating: R...
This tale of a heavyweight fighter incarcerated at the height of his fame, and the inevitable prison boxing match that results, is an entertaining and hard-edged actioner bearing not a trace of narrative fat, and in earlier days would no doubt have incited wild excitement had it been shown at the exploitation palaces on 42nd Street. Commercial prospects look underwhelming in this far-too-repressed cinematic age, but a perfect late summertime release slot should help it find an audience. Too bad so many drive-ins have disappeared.
George "Iceman" Chambers (Ving Rhames) is a champion boxer who has been given a six- to eight-year sentence on a rape charge, of which he vehemently protests his innocence. He's sent to Sweetwater Prison in the middle of the Mojave Desert, where his presence immediately attracts the rabid interest of both guards and inmates. Iceman is used to being considered the toughest guy around, but he finds competition in the form of Monroe Hutchens (Wesley Snipes), a former boxer sent to prison for life 10 years ago just as he was starting to make it big. Since then, he's amassed an undefeated record of 67 wins in prison matches, despite displaying a constant Zen-like calm that leads him to such pursuits as building an elaborate model of a pagoda out of toothpicks.
Another inmate is Mendy Ripstein (Peter Falk), a highly connected gangster in failing health who always manages to get what he wants. And what he wants now is to arrange a bout between Iceman and Monroe, neither of whom is interested. But when he dangles a shortened sentence -- he's got that kind of clout -- and a heap of money to the respective fighters, they quickly agree to a match, to be fought by the far less restrictive "London Prize Ring" rules.
Hill and David Giler's screenplay is uncommonly taut and focused, with only the excessive use of screen titles and such minor affectations as numerous "interview" segments shot in black-and-white detracting from its forward drive. While not exactly deep or nuanced, it does reveal flashes of dark wit, like one character's comment, after watching the inmates banging their tin cups, that "these dumbshits have been watching too many old prison movies." A slew of first-rate character actors provide colorful supporting performances, including Michael Rooker as a savvy guard, Jon Seda as Mendy's helpmate, Wes Studi as Iceman's wary cellmate and Fisher Stevens as a slimy prisoner dubbed "Ratbag". Master P makes a cameo appearance as the leader of a prison rap group, in a role that could be modeled after any number of hip-hop stars.
Hill invests the proceedings with his usual expert professionalism, applying the sort of rigorous and sober cinematic discipline that's in short supply these days. Both Rhames and Snipes deliver terrific performances, in dramatically contrasting styles, with the former investing his role with his trademark flashy charisma and the latter working in an effectively minimalist mode. Falk is clearly having a ball as the codger gangster and seems to particularly enjoy his opportunity to possibly set a record for onscreen expletives.
UNDISPUTED
Miramax Films
Millenium Films, Hollywood Partners, Amen Ra Films, Motion Picture Corporation of America
Credits:
Director: Walter Hill
Screenwriters: David Giler, Walter Hill
Producers: David Giler, Walter Hill, Brad Krevoy, Andrew Sugerman
Executive producers: Danny Dimbort, Trevor Short, Boaz Davidson, John Thompson, Wesley Snipes, Avi Lerner, Sandra Schulberg, Rudolf Wiesmeier
Director of photography: Lloyd Ahern II
Editor: Freeman Davies
Production designer: Maria Caso
Music: Stanley Clarke
Cast:
Monroe Hutchens: Wesley Snipes
George "Iceman" Chambers: Ving Rhames
Mendy Ripstein: Peter Falk
A.J. Mercker: Michael Rooker
Jesus "Chuy" Campos: Jon Seda
Mingo Pace: Wes Studi
Ratbag Dolan: Fisher Stevens
Running time -- 90 minutes
MPAA rating: R...
- 8/19/2002
- The Hollywood Reporter - Movie News
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