Exclusive: The Dances With Films festival, which had to go virtual for its 2020 edition because of the coronavirus pandemic, is returning bigger than ever this year for its 24th edition, with organizers expanding the Los Angeles-based indie film event to three weeks, from August 26-September 12.
The festival’s lineup, which will unspool at the TLC Chinese Theaters in Hollywood, will kick off with the opening-night film The Art of Protest, a world premiere, which will mark the first time a documentary will open the fest. Directed by Colin M. Day, the film examines the intersection of the art, music and protest worlds. Financed by rocker Dave Navarro, it includes interviews with Navarro, Tom Morello, Moby, Shepard Fairey Pussy Riot and others.
Protest will be part of an opening “Meet the Filmmakers” gala August 26 at the Roosevelt Hotel Ballroom.
The closing-night film is Mars Roberge’s Mister Sister, set inside the...
The festival’s lineup, which will unspool at the TLC Chinese Theaters in Hollywood, will kick off with the opening-night film The Art of Protest, a world premiere, which will mark the first time a documentary will open the fest. Directed by Colin M. Day, the film examines the intersection of the art, music and protest worlds. Financed by rocker Dave Navarro, it includes interviews with Navarro, Tom Morello, Moby, Shepard Fairey Pussy Riot and others.
Protest will be part of an opening “Meet the Filmmakers” gala August 26 at the Roosevelt Hotel Ballroom.
The closing-night film is Mars Roberge’s Mister Sister, set inside the...
- 7/23/2021
- by Patrick Hipes
- Deadline Film + TV
Indecline, an activist collective based out of Las Vegas, Nevada, first made a name for themselves in 2016. That summer, inspired by the farcical campaign of Donald Trump — and the art they’d seen during the election season, most notably Illma Gore’s portrait of the future 45, painted in her menstrual blood — the group put on a cross-country show of guerilla art. Early one August morning, teams in five cities simultaneously unveiled unauthorized, six-foot-five statues of Donald Trump, naked, his manhood comically small against the grotesque folds of his nude body.
- 10/2/2020
- by Elisabeth Garber-Paul
- Rollingstone.com
I love Banksy‘s work most because of how it comments on the commodification of art. Here’s a world-renowned master who refuses to authenticate anything he’s done on the street—his canvas of choice. He does this as a stand for the form, for what graffiti has always been. The pieces he stencils are site-specific both in the sense of the wall and the country for which he’s commenting politically. They are simultaneously powerful and fleeting. They strike a chord internationally, spark conversation, provide a sense of awe and celebrity, and then disappear. Others tag over them. Owners cover them with paint. And both are okay considering they aren’t meant to be permanent. It’s less about beauty and aesthetics than emotion and context. They’re rendered immortal by their deaths.
Director Colin M. Day‘s documentary Saving Banksy seeks to approach the notion of artistic...
Director Colin M. Day‘s documentary Saving Banksy seeks to approach the notion of artistic...
- 1/17/2017
- by Jared Mobarak
- The Film Stage
In the publishing world, street art has proven to be profitable fodder: Artists create the colorful work for free, and since it's all illegal, can't take action when you go out with a camera and turn their labor into a book you then copyright. The movement, and in particular its anonymous standard-bearer Banksy, is proving equally useful to documentarians: Colin M. Day's new Saving Banksy is the second doc in less than a year to find a story worth telling about the eponymous prankster. Day's debut succeeds in part thanks to its modest scope, viewing the street-art phenomenon through an...
- 1/13/2017
- by John DeFore
- The Hollywood Reporter - Movie News
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