The material details of the musical instrument larcenies that took place across high schools in south Los Angeles between 2011 and 2013 don’t transpire in filmmaker Alison O’Daniel’s audaciously experimental “The Tuba Thieves.” There’s no thorough investigation into who committed the thefts and why. Instead, she takes a more symbolic approach to look at how the events altered the sonic landscape of the players’ lives and of the places they inhabit. It wouldn’t be a stretch to describe it as an audiovisual anthropological study.
If there’s an actual protagonist in this formally adventurous effort, it’s the synesthetic dance between images and sound (or silence) and how these interactions inform our perception of the world, depending on whether you are a hearing person, someone hard-of-hearing or a deaf individual. These parallel experiences converge in a sensorial examination of Los Angeles built from a lyrically edited barrage of moments.
If there’s an actual protagonist in this formally adventurous effort, it’s the synesthetic dance between images and sound (or silence) and how these interactions inform our perception of the world, depending on whether you are a hearing person, someone hard-of-hearing or a deaf individual. These parallel experiences converge in a sensorial examination of Los Angeles built from a lyrically edited barrage of moments.
- 11/16/2023
- by Carlos Aguilar
- Variety Film + TV
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“Life is hard work,” Julián Moreno tells his granddaughter, filmmaker Iliana Sosa, as she interviews him from behind her camera. He’s about 90 when he says this, and there isn’t a note of complaint or regret in his words. There’s more than a little fond teasing, though, when he puzzles over Sosa’s “different way of working,” one that has nothing to do with raising crops or building a house. A man of few words, all of them well chosen, Moreno is the focus of What We Leave Behind, a poetic meditation on family, mortality, tradition and the U.S.-Mexico border.
Receiving a theatrical release via Ava DuVernay’s Array before its streaming debut on Netflix, Sosa’s concise but unhurried ode to her grandfather, which received two special jury prizes at SXSW, strikes reverberant chords, regardless of whether you...
“Life is hard work,” Julián Moreno tells his granddaughter, filmmaker Iliana Sosa, as she interviews him from behind her camera. He’s about 90 when he says this, and there isn’t a note of complaint or regret in his words. There’s more than a little fond teasing, though, when he puzzles over Sosa’s “different way of working,” one that has nothing to do with raising crops or building a house. A man of few words, all of them well chosen, Moreno is the focus of What We Leave Behind, a poetic meditation on family, mortality, tradition and the U.S.-Mexico border.
Receiving a theatrical release via Ava DuVernay’s Array before its streaming debut on Netflix, Sosa’s concise but unhurried ode to her grandfather, which received two special jury prizes at SXSW, strikes reverberant chords, regardless of whether you...
- 9/29/2022
- by Sheri Linden
- The Hollywood Reporter - Movie News
The making of “Ottolenghi and the Cakes of Versailles” was as complex as the confections created by the renowned pastry chefs it focuses on — and the result is equal parts beauty for both food and film.
The IFC Films documentary (in select theaters and on demand Sept. 25) follows chef Yotam Ottolenghi as he assembles an Avengers-like team of pastry chefs to bring the splendor and beauty of Versailles, in dessert form, to New York’s Metropolitan Museum of Art for the opening of a special exhibit about the French palace.
Helmer Laura Gabbert had read Ottolenghi’s unique recipe books; when she heard that he was the subject of the film, she wanted to be a part of the project. “I just kind of knew that any documentary placing him at the center would be special,” she says.
Audiences see Ottolenghi traveling around the world, tapping Dominique Ansel, who...
The IFC Films documentary (in select theaters and on demand Sept. 25) follows chef Yotam Ottolenghi as he assembles an Avengers-like team of pastry chefs to bring the splendor and beauty of Versailles, in dessert form, to New York’s Metropolitan Museum of Art for the opening of a special exhibit about the French palace.
Helmer Laura Gabbert had read Ottolenghi’s unique recipe books; when she heard that he was the subject of the film, she wanted to be a part of the project. “I just kind of knew that any documentary placing him at the center would be special,” she says.
Audiences see Ottolenghi traveling around the world, tapping Dominique Ansel, who...
- 9/25/2020
- by Carole Horst
- Variety Film + TV
As part of the release of his short film, "Lily in the Grinder," filmmaker Michael Morgenstern ("Shabbat Dinner") has shared this before-and-after comparison between the raw camera video and the finished product. Written and directed by Morgenstern, the film has screened at various film festivals and is nominated for an HBO Greenie Award. Set to an original string quarter score, "Lily in the Grinder" tells the story of Ryan's search for meaning in his bare New York City existence. Read More: 5 Budget-Friendly 50mm Lenses for the Cinema Look On his blog, Morgenstern shared the stages the film went through to get the polished look, which you can read below. You can watch the full film here. 1. Reframing: During shooting, cinematographer Judy Phu (one of the most talented people I’ve ever worked with) and I developed a language around composition in the video. So much of the meaning exists in the comparison between frames,...
- 4/1/2015
- by Paula Bernstein
- Indiewire
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