Coming to theaters from IFC Films and Shudder on August 18th, we have a look at the new trailer and poster for Laura Moss' birth/rebirth, starring Marin Ireland and Judy Reyes!
"Rose (Marin Ireland) is a pathologist who prefers working with corpses over social interaction. She also has an obsession — the reanimation of the dead. Celie (Judy Reyes) is a maternity nurse who has built her life around her bouncy, chatterbox six-year-old daughter, Lila (A.J. Lister). When one tragic night, Lila suddenly falls ill and dies, the two women's worlds crash into each other. They embark on a dark path of no return where they will be forced to confront how far they are willing to go to protect what they hold most dear.
This standout directorial debut from Laura Moss reimagines Mary Shelley’s classic horror myth Frankenstein with such a contemporary understanding that it becomes something exciting,...
"Rose (Marin Ireland) is a pathologist who prefers working with corpses over social interaction. She also has an obsession — the reanimation of the dead. Celie (Judy Reyes) is a maternity nurse who has built her life around her bouncy, chatterbox six-year-old daughter, Lila (A.J. Lister). When one tragic night, Lila suddenly falls ill and dies, the two women's worlds crash into each other. They embark on a dark path of no return where they will be forced to confront how far they are willing to go to protect what they hold most dear.
This standout directorial debut from Laura Moss reimagines Mary Shelley’s classic horror myth Frankenstein with such a contemporary understanding that it becomes something exciting,...
- 7/13/2023
- by Jonathan James
- DailyDead
While there aren’t many palm trees in sight, the stretch of endless power lines in Lea’s (Lily McInerny) surroundings mirror the nature of her repetitive existence. Her single mom (Gretchen Mol) entertains a string of terrible boyfriends in the pursuit of ever-evaporating companionship. Her immature friends spend their time ranking the hotness of people in their class when they aren’t lifelessly scrolling their Instagram feeds. As a 17-year-old, Lea’s sexual awakenings are either taken as a joke, as her friend fingers a cream-filled donut poking fun at urges, or rather un-involving. In one scene, she starts to gaze out the window while having unsatisfying sex in the backseat of a car with a fellow classmate. It’s a summer defined by boredom, waiting out the days until she can escape the life she was born into.
When a man twice her age, Tom (Jonathan Tucker), takes...
When a man twice her age, Tom (Jonathan Tucker), takes...
- 3/1/2023
- by Jordan Raup
- The Film Stage
We’re all aware of the hokey old “the doctor is a woman!” riddle, but what if that doctor were Dr. Frankenstein? Distaff riffs on Mary Shelley’s Og horror novel do exist — schlocky 1971 Italian exploitation flick “Lady Frankenstein,” for one. But given that it’s a story of life-creation, it’s slightly surprising that it’s taken till now for it to be repurposed, however loosely, into a Midnight-Madness-style motherhood fable. Better late than never: Laura Moss’ superbly performed, enjoyably queasy “Birth/Rebirth” proves just how well the classic tale of scientific hubris and the desire to conquer death maps onto a gory maternity morality play, reanimating the truism that there’s little more (un)deadly than a mother’s love.
In a prologue, hospital midwife Celie (Judy Reyes) is assisting at an emergency C-section for a pregnancy gone suddenly, heinously wrong. The baby lives. The mother dies.
In a prologue, hospital midwife Celie (Judy Reyes) is assisting at an emergency C-section for a pregnancy gone suddenly, heinously wrong. The baby lives. The mother dies.
- 1/26/2023
- by Jessica Kiang
- Variety Film + TV
IndieWire has published its extensive survey regarding the cameras and lenses that shot 40 narrative films at the 2023 Sundance Film Festival. We took the data and organize it in order to find a segmentation and tendency, by also comparing it to the previous years. The Arri Alexa Mini remains the king. However, diversity is significantly reduced. No Red, no Blackmagic, and no mirrorless. That’s unfortunate.
Sundance 2023: Camera manufacturers’ chart Sundance Film Festival 2023
The Sundance Film Festival is an annual film festival organized by the Sundance Institute. It is the largest independent film festival in the United States, with more than 46,660 attending in 2016 (yeah – that’s insane). It takes place each January in Park City, Utah; Salt Lake City, Utah; and at the Sundance Resort, and acts as a showcase for new work from American and international independent filmmakers. The festival consists of competitive sections for American and international dramatic and documentary films,...
Sundance 2023: Camera manufacturers’ chart Sundance Film Festival 2023
The Sundance Film Festival is an annual film festival organized by the Sundance Institute. It is the largest independent film festival in the United States, with more than 46,660 attending in 2016 (yeah – that’s insane). It takes place each January in Park City, Utah; Salt Lake City, Utah; and at the Sundance Resort, and acts as a showcase for new work from American and international independent filmmakers. The festival consists of competitive sections for American and international dramatic and documentary films,...
- 1/23/2023
- by Yossy Mendelovich
- YMCinema
Editor’s note: This review was originally published at the 2023 Sundance Film Festival. IFC Films and Shudder release the film in theaters on Friday, August 18.
“Purpose is a moving target,” Dr. Rose Casper (Marin Ireland) flatly declares towards the end of Laura Moss’ “birth/rebirth.” The Bronx pathologist is talking about her goals for the six-year-old girl she’s just Frankensteined back from the dead in the bedroom of her Co-op City apartment, and yet by that point in this thoughtful but wildly miscalculated Mary Shelley riff it’s already been well-established that Rose is also talking about her own unique sense of womanhood.
The inexpressive mad scientist has always felt at odds with the biological processes that supposedly define her body, and now she rebels against them by creating life with her mind; a rebellion that finds her masturbating random men in bar toilet stalls, injecting herself with their sperm,...
“Purpose is a moving target,” Dr. Rose Casper (Marin Ireland) flatly declares towards the end of Laura Moss’ “birth/rebirth.” The Bronx pathologist is talking about her goals for the six-year-old girl she’s just Frankensteined back from the dead in the bedroom of her Co-op City apartment, and yet by that point in this thoughtful but wildly miscalculated Mary Shelley riff it’s already been well-established that Rose is also talking about her own unique sense of womanhood.
The inexpressive mad scientist has always felt at odds with the biological processes that supposedly define her body, and now she rebels against them by creating life with her mind; a rebellion that finds her masturbating random men in bar toilet stalls, injecting herself with their sperm,...
- 1/20/2023
- by David Ehrlich
- Indiewire
A modern-day, female-focused retelling of Mary Shelley’s Frankenstein, Laura Moss’s birth/rebirth refuses to flinch when it comes to portraying the bloody viscera of the birthing process. The film follows a maternity nurse Celie (Judy Reyes) who experiences a life-shattering personal loss. Soon after, she forms an unlikely relationship with pathologist Rose (Marin Ireland), an aloof genius who’s covertly working on a medical process that can reanimate the dead. Dp Chananun Chotrungroj told Filmmaker about her and Moss simultaneously attending the NYU Grad Film program, the iconic film that served as birth/rebirth‘s visual touchstone and how her own experience in the […]
The post “The Real Violence and Danger Women Sometimes Go Through When Giving Birth”: Dp Chananun Chotrungroj on birth/rebirth first appeared on Filmmaker Magazine.
The post “The Real Violence and Danger Women Sometimes Go Through When Giving Birth”: Dp Chananun Chotrungroj on birth/rebirth first appeared on Filmmaker Magazine.
- 1/20/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
A modern-day, female-focused retelling of Mary Shelley’s Frankenstein, Laura Moss’s birth/rebirth refuses to flinch when it comes to portraying the bloody viscera of the birthing process. The film follows a maternity nurse Celie (Judy Reyes) who experiences a life-shattering personal loss. Soon after, she forms an unlikely relationship with pathologist Rose (Marin Ireland), an aloof genius who’s covertly working on a medical process that can reanimate the dead. Dp Chananun Chotrungroj told Filmmaker about her and Moss simultaneously attending the NYU Grad Film program, the iconic film that served as birth/rebirth‘s visual touchstone and how her own experience in the […]
The post “The Real Violence and Danger Women Sometimes Go Through When Giving Birth”: Dp Chananun Chotrungroj on birth/rebirth first appeared on Filmmaker Magazine.
The post “The Real Violence and Danger Women Sometimes Go Through When Giving Birth”: Dp Chananun Chotrungroj on birth/rebirth first appeared on Filmmaker Magazine.
- 1/20/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Each year, Filmmaker sends all Sundance feature film or series cinematographers a questionnaire to complete ahead of their film’s festival screening. We also send out editor questionnaires and a single question for feature directors to answer. Below, find links to individual cinematographer responses, which will be updated daily during the festival. “The Real Violence and Danger Women Sometimes Go Through When Giving Birth”: Dp Chananun Chotrungroj on birth/rebirth “The Cinema Gods Smiled Upon Us”: Dp Andrij Parekh on The Pod Generation “I Opted for a Low-key Chiaroscuro Look”: Dp Sherwin Akbarzadeh on Shayda “For This Project, I Had a Collection […]
The post 2023 Sundance Questionnaire: Cinematographer Responses first appeared on Filmmaker Magazine.
The post 2023 Sundance Questionnaire: Cinematographer Responses first appeared on Filmmaker Magazine.
- 1/20/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Each year, Filmmaker sends all Sundance feature film or series cinematographers a questionnaire to complete ahead of their film’s festival screening. We also send out editor questionnaires and a single question for feature directors to answer. Below, find links to individual cinematographer responses, which will be updated daily during the festival. “The Real Violence and Danger Women Sometimes Go Through When Giving Birth”: Dp Chananun Chotrungroj on birth/rebirth “The Cinema Gods Smiled Upon Us”: Dp Andrij Parekh on The Pod Generation “I Opted for a Low-key Chiaroscuro Look”: Dp Sherwin Akbarzadeh on Shayda “For This Project, I Had a Collection […]
The post 2023 Sundance Questionnaire: Cinematographer Responses first appeared on Filmmaker Magazine.
The post 2023 Sundance Questionnaire: Cinematographer Responses first appeared on Filmmaker Magazine.
- 1/20/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Every year, IndieWire reaches out to the cinematographers behind the films premiering at the 2023 Sundance Film Festival, and asks which cameras, lenses, and formats they used, and why they chose them to create the looks and meet the production demands of their films. Here are the responses from filmmakers who brought scripted narrative features to the festival; check back tomorrow for a survey of the 2023 documentary lineup.
Films appear in alphabetical order by title.
“The Accidental Getaway Driver”
Dir: Sing J. Lee, DoP: Michael Cambio Fernandez
Format: 3.2K Arriraw
Camera: Arri Alexa Mini
Lens: Hawk Anamorphic
Fernandez: I think the wide aspect ratio helped tell the story of four characters in small spaces and emphasize the feelings of being trapped. The Mini helped us get into limited spaces and using one camera allowed the characters to move with what limited spaces we had. The story is about three escaped...
Films appear in alphabetical order by title.
“The Accidental Getaway Driver”
Dir: Sing J. Lee, DoP: Michael Cambio Fernandez
Format: 3.2K Arriraw
Camera: Arri Alexa Mini
Lens: Hawk Anamorphic
Fernandez: I think the wide aspect ratio helped tell the story of four characters in small spaces and emphasize the feelings of being trapped. The Mini helped us get into limited spaces and using one camera allowed the characters to move with what limited spaces we had. The story is about three escaped...
- 1/19/2023
- by Sarah Shachat and Jim Hemphill
- Indiewire
It’s that time of the year again when the Sundance Film Festival shares all of its horror discoveries that we’ll be seeing in the next few years.
Today they announced the comprehensive slate of independent films selected from the fest that will take place January 19–29, 2023, in person in Park City, Salt Lake City, and the Sundance Resort, along with a selection of films available online across the country January 24–29, 2023.
Bloody Disgusting combed through the entire program this afternoon and pulled out all of the genre films of note, with first-look images and information where available.
What are you most excited to see at Sundance next year?
Midnight: From horror and comedy to works that defy genre classification, these films will keep you wide awake, even at the most arduous hour. Films that have premiered in this category in recent years include Fresh, Hereditary, Mandy, Relic, Assassination Nation, and The Babadook.
Today they announced the comprehensive slate of independent films selected from the fest that will take place January 19–29, 2023, in person in Park City, Salt Lake City, and the Sundance Resort, along with a selection of films available online across the country January 24–29, 2023.
Bloody Disgusting combed through the entire program this afternoon and pulled out all of the genre films of note, with first-look images and information where available.
What are you most excited to see at Sundance next year?
Midnight: From horror and comedy to works that defy genre classification, these films will keep you wide awake, even at the most arduous hour. Films that have premiered in this category in recent years include Fresh, Hereditary, Mandy, Relic, Assassination Nation, and The Babadook.
- 12/7/2022
- by Brad Miska
- bloody-disgusting.com
Euro-ukrainian Co-production Solidarity
The Eurimages Co-production Award, presented as part of the annual European Film Awards, will this year be awarded to all the film producers of war-torn Ukraine.
Eurimages, a Council of Europe-backed film finance organization described the unusual award “as an expression of strong appreciation for the growing quality of Ukrainian production in the past years, and as a sign of ongoing support now that the infrastructure for production support within Ukraine has collapsed.” The award will be accepted by a delegation of Ukrainian producers who are Academy members at the European Film Awards ceremony on Dec. 10 in Reykjavík, Iceland.
The quality of Ukrainian productions is reflected in the Ukrainian films shortlisted for the European Film Awards earlier this year, Eurimages said. These include: “Reflection,” directed by Valentyn Vasyanovych for the feature film selection; “Pamfir,” directed by Dmytro Sukholytkyy-Sobchuk is nominated for European Discovery – Prix Fipresci.
In addition,...
The Eurimages Co-production Award, presented as part of the annual European Film Awards, will this year be awarded to all the film producers of war-torn Ukraine.
Eurimages, a Council of Europe-backed film finance organization described the unusual award “as an expression of strong appreciation for the growing quality of Ukrainian production in the past years, and as a sign of ongoing support now that the infrastructure for production support within Ukraine has collapsed.” The award will be accepted by a delegation of Ukrainian producers who are Academy members at the European Film Awards ceremony on Dec. 10 in Reykjavík, Iceland.
The quality of Ukrainian productions is reflected in the Ukrainian films shortlisted for the European Film Awards earlier this year, Eurimages said. These include: “Reflection,” directed by Valentyn Vasyanovych for the feature film selection; “Pamfir,” directed by Dmytro Sukholytkyy-Sobchuk is nominated for European Discovery – Prix Fipresci.
In addition,...
- 11/22/2022
- by Patrick Frater
- Variety Film + TV
If one would have to describe the atmosphere of Taiki Sakpisit’s feature debut “The Edge of Daybreak” in one word, “unheimlich” would definitely come to mind. This film combines stunning images, an unsettling narrative and sinister sounds to submerge the viewer in a troubled family history. As such it is a perfect blend of the two aspects of his career as both a visual artist and a filmmaker.
“The Edge of Daybreak” is screening at the Across Asia Film Festival
The story of “The Edge of Daybreak” is inspired by true events from Thai history, namely the oppression of the student uprisings in the 1970s and the 2006 military coup. However, Taiki Sakpisit uses them rather to refer to certain emotions than to visualize the events themselves. What interests him is the impact of a political crisis and the violence and separation that follow, on the family life of those involved.
“The Edge of Daybreak” is screening at the Across Asia Film Festival
The story of “The Edge of Daybreak” is inspired by true events from Thai history, namely the oppression of the student uprisings in the 1970s and the 2006 military coup. However, Taiki Sakpisit uses them rather to refer to certain emotions than to visualize the events themselves. What interests him is the impact of a political crisis and the violence and separation that follow, on the family life of those involved.
- 12/19/2021
- by Nancy Fornoville
- AsianMoviePulse
Gretchen Mol, Jonathan Tucker and newcomer Lily McInerny are set to star in “Palm Trees and Power Lines,” from director Jamie Dack.
Based on Dack’s short of the same name — which debuted as a Cinéfondation selection at the 2018 Cannes Film Festival — “Palm Trees and Power Lines” is a coming-of-age drama about a disconnected teenage girl named Lea (McInerny) who enters a relationship with a man twice her age. Lea sees him as the solution to all her problems, but his intentions are not what they seem.
Dack makes her feature directorial debut with the project, which is a recipient of the 2021 Panavision new filmmaker grant. “Palm Trees and Power Lines” was also produced by a female-led crew. Dack wrote the screenplay with Audrey Findlay and produced the movie alongside Leah Chen Baker. Spirit Award-nominated director of photography Chananun Chotrungroj shot the feature.
Mol will next be seen in the upcoming Showtime series “American Gigolo.
Based on Dack’s short of the same name — which debuted as a Cinéfondation selection at the 2018 Cannes Film Festival — “Palm Trees and Power Lines” is a coming-of-age drama about a disconnected teenage girl named Lea (McInerny) who enters a relationship with a man twice her age. Lea sees him as the solution to all her problems, but his intentions are not what they seem.
Dack makes her feature directorial debut with the project, which is a recipient of the 2021 Panavision new filmmaker grant. “Palm Trees and Power Lines” was also produced by a female-led crew. Dack wrote the screenplay with Audrey Findlay and produced the movie alongside Leah Chen Baker. Spirit Award-nominated director of photography Chananun Chotrungroj shot the feature.
Mol will next be seen in the upcoming Showtime series “American Gigolo.
- 9/8/2021
- by Angelique Jackson
- Variety Film + TV
It makes sense that one of the protagonists of “Materna” is a fan of Jean-Pierre Melville’s existential neo-noir “Le Samouraï,” given that David Gutnik’s feature debut is itself a tapestry of modern alienation and disaffection. Charting the plights of four women whose paths eventually cross on a New York City subway train, Gutnik’s fragmented feature debut is rooted in fraught mother-daughter dynamics and intertwined issues of regret, resentment, racism, classism and homophobia.
Having won prizes for best actress (Assol Abdullina) and best cinematography at the pandemic-pinched 2020 Tribeca Film Festival, it should entice audiences in search of distinctive art-house fare when it debuts in limited release on Aug. 6 (ahead of an Aug. 10 VOD premiere), even if
Co-written with leads Abdullina and Jade Eshete, Gutnik’s film begins in a New York City subway car whose crowd includes a quartet of women — later identified as Jean (Kate Lyn Sheil...
Having won prizes for best actress (Assol Abdullina) and best cinematography at the pandemic-pinched 2020 Tribeca Film Festival, it should entice audiences in search of distinctive art-house fare when it debuts in limited release on Aug. 6 (ahead of an Aug. 10 VOD premiere), even if
Co-written with leads Abdullina and Jade Eshete, Gutnik’s film begins in a New York City subway car whose crowd includes a quartet of women — later identified as Jean (Kate Lyn Sheil...
- 8/6/2021
- by Nick Schager
- Variety Film + TV
There are few boundaries on public transportation, at least not physical ones. Crammed together in small spaces for oftentimes unexpected lengths of time, people who don’t normally interact are suddenly forced into each others’ orbits. Such is the concept behind Tribeca winner “Materna,” which uses the New York City subway system as a meeting point for four seemingly very different women, all of whom are forced to deal with an unexpected encounter and the impact it has on their lives. At its heart, motherhood and questions of feminine identity burn bright.
The film is the directorial debut of David Gutnik, who is also the editor of several acclaimed features, including Christina Choe’s 2018 Sundance award-winning drama “Nancy.” Gutnik wrote the film alongside two of his stars, Jade Eshete (“Billions” and “High Maintenance”) and Assol Abdullina (in one of her first film roles), and the film also features leading roles...
The film is the directorial debut of David Gutnik, who is also the editor of several acclaimed features, including Christina Choe’s 2018 Sundance award-winning drama “Nancy.” Gutnik wrote the film alongside two of his stars, Jade Eshete (“Billions” and “High Maintenance”) and Assol Abdullina (in one of her first film roles), and the film also features leading roles...
- 7/12/2021
- by Kate Erbland
- Indiewire
Utopia has acquired worldwide rights to David Gutnik’s “Materna” ahead of the film’s in-person debut at this year’s Tribeca Film Festival.
The movie looks at four women, whose lives intersect during an incident on a New York City subway. Kate Lyn Sheil (“She Dies Tomorrow”), Jade Eshete (“Billions”), Lindsay Burdge (“Black Bear”), Assol Abdullina (“First Snow”), Michael Chernus (“Orange Is the New Black”), Rory Culkin (“Castle Rock”) and Sturgill Simpson (the upcoming “Killers of the Flower Moon”) all star. Abdullina and Eshete co-wrote the screenplay with Gutnik.
According to the official logline: “‘Materna’ follows the journeys of four New York women who are isolated by city life, separated by class, politics, race and religion, and yet bound by a shared hunger for identity and connection. With their futures at stake, the characters’ lives are upended by a fateful encounter underground, where their stories of personal transformation become a battle for survival.
The movie looks at four women, whose lives intersect during an incident on a New York City subway. Kate Lyn Sheil (“She Dies Tomorrow”), Jade Eshete (“Billions”), Lindsay Burdge (“Black Bear”), Assol Abdullina (“First Snow”), Michael Chernus (“Orange Is the New Black”), Rory Culkin (“Castle Rock”) and Sturgill Simpson (the upcoming “Killers of the Flower Moon”) all star. Abdullina and Eshete co-wrote the screenplay with Gutnik.
According to the official logline: “‘Materna’ follows the journeys of four New York women who are isolated by city life, separated by class, politics, race and religion, and yet bound by a shared hunger for identity and connection. With their futures at stake, the characters’ lives are upended by a fateful encounter underground, where their stories of personal transformation become a battle for survival.
- 4/28/2021
- by Brent Lang
- Variety Film + TV
If one would have to describe the atmosphere of Taiki Sakpisit’s feature debut “The Edge of Daybreak” in one word, “unheimlich” would definitely come to mind. This film combines stunning images, an unsettling narrative and sinister sounds to submerge the viewer in a troubled family history. As such it is a perfect blend of the two aspects of his career as both a visual artist and a filmmaker.
The Edge of Daybreak screened at International Film Festival Rotterdam
The story of “The Edge of Daybreak” is inspired by true events from Thai history, namely the oppression of the student uprisings in the 1970s and the 2006 military coup. However, Taiki Sakpisit uses them rather to refer to certain emotions than to visualize the events themselves. What interests him is the impact of a political crisis and the violence and separation that follow, on the family life of those involved. He...
The Edge of Daybreak screened at International Film Festival Rotterdam
The story of “The Edge of Daybreak” is inspired by true events from Thai history, namely the oppression of the student uprisings in the 1970s and the 2006 military coup. However, Taiki Sakpisit uses them rather to refer to certain emotions than to visualize the events themselves. What interests him is the impact of a political crisis and the violence and separation that follow, on the family life of those involved. He...
- 2/6/2021
- by Nancy Fornoville
- AsianMoviePulse
Scriptwriter of “Last Life in the Universe”, Prabda Yoon’s feature debut is a film equally unorthodox, through a genre mash-up that seems to focus more on style than context.
Motel Mist is available from Raintrail Pictures
A love motel on the outskirts of Bangkok called Motel Mistress becomes the central location for five people whose lives eventually intertwine in the most unexpected fashion, along with Nid, the mother of a now disappeared celebrity, who describes her son’s, Tul, obsession with aliens on TV. Sopol, a middle-aged father-like figure picks up a young girl, Laila, from school, only to indulge in his intense S&m fetishes in room number 7, his custom-made erotic chamber. The aforementioned Tul eventually also arrives in the same hotel, insisting for room 5, even paying a large amount of money to get, only to paint it black in order to communicate with aliens. Tot, the motel attendant,...
Motel Mist is available from Raintrail Pictures
A love motel on the outskirts of Bangkok called Motel Mistress becomes the central location for five people whose lives eventually intertwine in the most unexpected fashion, along with Nid, the mother of a now disappeared celebrity, who describes her son’s, Tul, obsession with aliens on TV. Sopol, a middle-aged father-like figure picks up a young girl, Laila, from school, only to indulge in his intense S&m fetishes in room number 7, his custom-made erotic chamber. The aforementioned Tul eventually also arrives in the same hotel, insisting for room 5, even paying a large amount of money to get, only to paint it black in order to communicate with aliens. Tot, the motel attendant,...
- 1/17/2021
- by Panos Kotzathanasis
- AsianMoviePulse
Film Republic, a London-based specialist sales agent, has acquired the international rights to feature debutant Rezwan Shahriar Sumit’s “The Salt in Our Waters.”
The film had its world premiere at the British Film Institute London Film Festival earlier this month, followed by its Asian premiere at the Busan Film Festival.
“The Salt in Our Waters” tells the story of an artist who leaves the bustling Bangladesh capital Dhaka to relocate to a coastal village on the Bangladeshi delta for inspiration. Welcomed by the local fishermen, the artist’s modern ideas and sculptures enchant the local chairman and the children, but not all welcome his modern approach with such open arms. Against the backdrops of environment change and the rising tide, some villagers accuse him and his works of having provoked disastrous weather patterns.
The cast includes Fazlur Rahman Babu, Shatabdi Wadud, Titas Zia, Tasnova Tamanna and Ashok Bepari. The...
The film had its world premiere at the British Film Institute London Film Festival earlier this month, followed by its Asian premiere at the Busan Film Festival.
“The Salt in Our Waters” tells the story of an artist who leaves the bustling Bangladesh capital Dhaka to relocate to a coastal village on the Bangladeshi delta for inspiration. Welcomed by the local fishermen, the artist’s modern ideas and sculptures enchant the local chairman and the children, but not all welcome his modern approach with such open arms. Against the backdrops of environment change and the rising tide, some villagers accuse him and his works of having provoked disastrous weather patterns.
The cast includes Fazlur Rahman Babu, Shatabdi Wadud, Titas Zia, Tasnova Tamanna and Ashok Bepari. The...
- 10/30/2020
- by Naman Ramachandran
- Variety Film + TV
Rezwan Shahriar Sumit was born and raised in Bangladesh’s capital Dhaka. “City Life”, his first short, earned him a place at the Berlinale Talents in 2008. He went on to study at the Graduate Film Program of New York University as a Tisch Fellow. There he produced Barbara Cigarroa’s short “Dios Nunca Muere” that played at NYFF, AFI Fest, Palm Springs, and Kurzfilmtage Winterthur. His first feature “The Salt in Our Waters” has been awarded France’s Cnc Aide aux cinémas du monde, Tfl Audience Design Fund, Bangladesh’s national film grant, and the Spike Lee Fellowship.
On the occasion of “The Salt in Our Waters” having its world premiere at the BFI London Film Festival we spoke to writer and director Rezwan Shahriar Sumit about the hardship of finding finance, Director Spike Lee’s ray of hope, working with Dop Chananun Chotrungroj, studying abroad and much more.
Please...
On the occasion of “The Salt in Our Waters” having its world premiere at the BFI London Film Festival we spoke to writer and director Rezwan Shahriar Sumit about the hardship of finding finance, Director Spike Lee’s ray of hope, working with Dop Chananun Chotrungroj, studying abroad and much more.
Please...
- 10/24/2020
- by Adriana Rosati
- AsianMoviePulse
The conflicting interaction between a city artist and the villagers of a fishing isle is at the core of young Bangladeshi director and writer Rezwan Shahriar Sumit’s first feature “The Salt in Our Waters”. Even before its world premiere, scheduled at the BFI London Film Festival, the film has been already awarded France’s Cnc Aide aux cinémas du monde, Tfl Audience Design Fund, Bangladesh’s national film grant, and the Spike Lee Fellowship. The bar is high!
“The Salt in Our Waters” is screening at the BFI London Film Festival
City-man and sculptor Rudro (Titas Zia), decides to leave behind the chaos of Dhaka and spend some time on a small mangrove fishing island in the Bay of Bengal, to work but also to retrace the steps of his late father, a coastguard who once had fallen in love with that part of the country. Once on the island,...
“The Salt in Our Waters” is screening at the BFI London Film Festival
City-man and sculptor Rudro (Titas Zia), decides to leave behind the chaos of Dhaka and spend some time on a small mangrove fishing island in the Bay of Bengal, to work but also to retrace the steps of his late father, a coastguard who once had fallen in love with that part of the country. Once on the island,...
- 10/18/2020
- by Adriana Rosati
- AsianMoviePulse
Chicago – “The show must go on … “ That became the rallying cry of the 2020 Tribeca Film Festival, which was physically postponed because of the Covid pandemic (it was originally scheduled from April 15-26). Despite that unexpected turn, the Festival went online, named juries and awarded honors to films on April 29th.
The top prizes went to “The Half of It,” directed by Alice Wu (Best U.S. Narrative), “The Hater,” directed by Jan Komasa (Best International Narrative) and “Socks on Fire,” directed by Bo McGuire (Best Documentary).
Best U.S. Narrative Feature is ‘The Half of It,’ directed by Alice Wu
Photo credit: Tribeca Film Festival
Awards were distributed in the following feature film competition categories – U.S. Narrative, International Narrative, Documentary, New Narrative Director, and the Nora Ephron Prize, honoring a woman writer or director. Awards were also given in the short film categories – Narrative, Documentary, Student Visionary and Animation.
The top prizes went to “The Half of It,” directed by Alice Wu (Best U.S. Narrative), “The Hater,” directed by Jan Komasa (Best International Narrative) and “Socks on Fire,” directed by Bo McGuire (Best Documentary).
Best U.S. Narrative Feature is ‘The Half of It,’ directed by Alice Wu
Photo credit: Tribeca Film Festival
Awards were distributed in the following feature film competition categories – U.S. Narrative, International Narrative, Documentary, New Narrative Director, and the Nora Ephron Prize, honoring a woman writer or director. Awards were also given in the short film categories – Narrative, Documentary, Student Visionary and Animation.
- 4/30/2020
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
This evening, Tribeca Film Festival revealed the Jury-selected winning titles from the 19th annual confab, which was forced to postpone its originally scheduled April gathering in response to the global health crisis. Top honors went to Alice Wu’s Netflix coming-of-age dramedy The Half of It, which picked up The Founders Award for Best U.S. Narrative Feature, while The Hater was named Best International Narrative Feature, and Socks On Fire nabbed Best Documentary Feature.
In addition, Best U.S narrative feature screenplay went to Anna Kerrigan for Cowboys, a film that also earned a best actor nod for its star Steve Zahn. Assol Abdullina was awarded best actress for her performance in Materna. Also announced were the winners in the shorts program.
Soon after announcing the delay of its 2020 edition, Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal told Deadline that the org was looking into...
In addition, Best U.S narrative feature screenplay went to Anna Kerrigan for Cowboys, a film that also earned a best actor nod for its star Steve Zahn. Assol Abdullina was awarded best actress for her performance in Materna. Also announced were the winners in the shorts program.
Soon after announcing the delay of its 2020 edition, Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal told Deadline that the org was looking into...
- 4/29/2020
- by Amanda N'Duka
- Deadline Film + TV
“The Half of It,” a coming-of-age drama written and directed by Alice Wu, and actors Steve Zahn and Assol Abdullina were among the winners of the 2020 Tribeca Film Festival’s slate of juried awards.
“The Half of It,” which will be released on Netflix on May 1, follows a shy, straight-a student named Ellie Chu who makes some extra money by writing papers for her high school peers. She reluctantly agrees to write a love letter for a lovesick jock to his crush, a girl Ellie also secretly loves. All three students go on a journey of complicated friendship and self-discovery in the drama-comedy film.
The Polish film “The Hater” by Jan Komasa won for best international narrative feature and “Socks on Fire” directed by Bo McGuire won for best documentary feature.
Due to the coronavirus pandemic halting most in-person award shows, this year’s Tribeca winners were announced on Instagram.
“The Half of It,” which will be released on Netflix on May 1, follows a shy, straight-a student named Ellie Chu who makes some extra money by writing papers for her high school peers. She reluctantly agrees to write a love letter for a lovesick jock to his crush, a girl Ellie also secretly loves. All three students go on a journey of complicated friendship and self-discovery in the drama-comedy film.
The Polish film “The Hater” by Jan Komasa won for best international narrative feature and “Socks on Fire” directed by Bo McGuire won for best documentary feature.
Due to the coronavirus pandemic halting most in-person award shows, this year’s Tribeca winners were announced on Instagram.
- 4/29/2020
- by Jordan Moreau
- Variety Film + TV
The Tribeca Film Festival unveiled its awards in the jury competition for the movies that were to show at the postponed festival, recognizing Alice Wu’s “The Half of It” with the top prize in the narrative competition and Steve Zahn with the Best Actor prize for his work in “Cowboys.”
The New York festival was meant to take place April 15-26 for its 19th edition, and while the festival still plans on screening the accepted films in some form in 2020, no details have been set.
“The Half of It” was honored with The Founders Award for Best U.S. Narrative Feature. “The Hater” won Best International Narrative Feature, and “Socks On Fire” won Best Documentary Feature.
Also Read: Tribeca Film Festival to Debut Select Programming Online
Shorts awards went to “No More Wings” for Best Narrative Short, “My Father The Mover” for Best Documentary Short, “Friends” for Best Animated...
The New York festival was meant to take place April 15-26 for its 19th edition, and while the festival still plans on screening the accepted films in some form in 2020, no details have been set.
“The Half of It” was honored with The Founders Award for Best U.S. Narrative Feature. “The Hater” won Best International Narrative Feature, and “Socks On Fire” won Best Documentary Feature.
Also Read: Tribeca Film Festival to Debut Select Programming Online
Shorts awards went to “No More Wings” for Best Narrative Short, “My Father The Mover” for Best Documentary Short, “Friends” for Best Animated...
- 4/29/2020
- by Brian Welk
- The Wrap
Though it postponed its annual in-person gathering, the Tribeca Film Festival on Wednesday handed out awards for the 2020 juried competition. Top narrative and nonfiction honors went to two queer films, Alice Wu’s coming-of-age tale “The Half of It” and Bo McGuire’s hybrid documentary “Socks on Fire,” while Jan Komasa’s “The Hater” won Best International Narrative Feature. Other winners include “Cowboys,” “Materna,” “Kokoloko,” and “Asia.”
In mid-March, festival organizers postponed the festival just weeks before it was set to bow in New York City. In the interim, some programming for the 19th annual festival was made available online, while its brass still hopes to hold a traditional festival in the coming months.
“We are fortunate that technology allowed for our jury to come together this year to honor our filmmakers,” said Tribeca co-founder and CEO Jane Rosenthal in an official statement. “Despite not being able to be together physically,...
In mid-March, festival organizers postponed the festival just weeks before it was set to bow in New York City. In the interim, some programming for the 19th annual festival was made available online, while its brass still hopes to hold a traditional festival in the coming months.
“We are fortunate that technology allowed for our jury to come together this year to honor our filmmakers,” said Tribeca co-founder and CEO Jane Rosenthal in an official statement. “Despite not being able to be together physically,...
- 4/29/2020
- by Chris Lindahl
- Indiewire
The 2020 Film Independent Spirit Awards were handed out Saturday in recognition of the best in indie films from 2019.
Willem Dafoe won the first award, Best Supporting Male, for his role in “The Lighthouse.” “Uncut Gems” won Best Editing, while the Best Documentary award went to “American Factory.” Best Cinematography went to Jarin Blaschke for “The Lighthouse.”
Kelly Reichardt was awarded The Bonnie Award, which recognizes a mid-career female director with a $50,000 unrestricted grant. The John Cassavetes Award, given to the best feature made for under $500,000, was given to “Give Me Liberty.”
Also Read: Independent Spirit Awards 2020: Aubrey Plaza's Best Jokes (So Far)
“Parasite” won Best International Film. Zhao Shuzhen won Best Supporting Female for her role in “The Farewell.” “Marriage Story” won Best Screenplay. Adam Sandler won Best Male Lead for his performance in “Uncut Gems” and Renée Zellweger received the Best Female Lead for her role in “Judy.
Willem Dafoe won the first award, Best Supporting Male, for his role in “The Lighthouse.” “Uncut Gems” won Best Editing, while the Best Documentary award went to “American Factory.” Best Cinematography went to Jarin Blaschke for “The Lighthouse.”
Kelly Reichardt was awarded The Bonnie Award, which recognizes a mid-career female director with a $50,000 unrestricted grant. The John Cassavetes Award, given to the best feature made for under $500,000, was given to “Give Me Liberty.”
Also Read: Independent Spirit Awards 2020: Aubrey Plaza's Best Jokes (So Far)
“Parasite” won Best International Film. Zhao Shuzhen won Best Supporting Female for her role in “The Farewell.” “Marriage Story” won Best Screenplay. Adam Sandler won Best Male Lead for his performance in “Uncut Gems” and Renée Zellweger received the Best Female Lead for her role in “Judy.
- 2/8/2020
- by Beatrice Verhoeven
- The Wrap
The winners of the 2020 Independent Spirit Awards are being announced live during today’s ceremony, hosted for the second year in a row by Aubrey Plaza (fresh off rave reviews from Sundance for her performance in the indie “Black Bear”). Unlike the Oscars where Netflix is the most-nominated studio, the Spirit Awards are dominated in 2020 by A24. The indie distributor boats 18 nominations across four movies: “The Lighthouse,” “Waves,” “The Farewell,” “Uncut Gems,” and “The Last Black Man in San Francisco.” The Safdie brothers’ “Uncut Gems” and Robert Eggers’ “The Lighthouse” lead all movies with five nominations each. Both of these films are nominated for Best Feature along with Terrence Malick’s “A Hidden Life,” Lulu Wang’s “The Farewell,” Noah Baumbach’s “Marriage Story,” and Chinonye Chukwu’s “Clemency.”
Last year’s big Spirit Award winner was Barry Jenkins’ “If Beale Street Could Talk,” which won prizes for Best Feature,...
Last year’s big Spirit Award winner was Barry Jenkins’ “If Beale Street Could Talk,” which won prizes for Best Feature,...
- 2/8/2020
- by Zack Sharf
- Indiewire
The 35th annual Spirit Awards, honoring the best in independent cinema, took place Saturday in Santa Monica.
Lulu Wang’s “The Farewell” won best picture, while Adam Sandler and Renee Zellweger took home the top acting prizes.
Full list of winners.
Best Feature
A Hidden Life
Clemency
The Farewell (Winner)
Marriage Story
Uncut Gems
Best Director
Robert Eggers – The Lighthouse
Alma Har’el – Honey Boy
Julius Onah – Luce
Benny Safdie, Josh Safdie – Uncut Gems (Winner)
Lorene Scafaria – Hustlers
Best First Feature
Booksmart (Winner)
The Climb
Diane
The Last Black Man In San Francisco
The Mustang
See You Yesterday
Best Female Lead
Karen Allen – Colewell
Hong Chau – Driveways
Elisabeth Moss – Her Smell
Mary Kay Place – Diane
Alfre Woodard – Clemency
Renée Zellweger – Judy (Winner)
Best Male Lead
Chris Galust – Give Me Liberty
Kelvin Harrison Jr. – Luce
Robert Pattinson – The Lighthouse
Adam Sandler – Uncut Gems (Winner)
Matthias Schoenaerts – The Mustang
Best Supporting Female
Jennifer Lopez...
Lulu Wang’s “The Farewell” won best picture, while Adam Sandler and Renee Zellweger took home the top acting prizes.
Full list of winners.
Best Feature
A Hidden Life
Clemency
The Farewell (Winner)
Marriage Story
Uncut Gems
Best Director
Robert Eggers – The Lighthouse
Alma Har’el – Honey Boy
Julius Onah – Luce
Benny Safdie, Josh Safdie – Uncut Gems (Winner)
Lorene Scafaria – Hustlers
Best First Feature
Booksmart (Winner)
The Climb
Diane
The Last Black Man In San Francisco
The Mustang
See You Yesterday
Best Female Lead
Karen Allen – Colewell
Hong Chau – Driveways
Elisabeth Moss – Her Smell
Mary Kay Place – Diane
Alfre Woodard – Clemency
Renée Zellweger – Judy (Winner)
Best Male Lead
Chris Galust – Give Me Liberty
Kelvin Harrison Jr. – Luce
Robert Pattinson – The Lighthouse
Adam Sandler – Uncut Gems (Winner)
Matthias Schoenaerts – The Mustang
Best Supporting Female
Jennifer Lopez...
- 2/8/2020
- by Variety Staff
- Variety Film + TV
Aubrey Plaza will return to host the Independent Spirit Awards on Saturday in Santa Monica.
The 35th annual Spirit Awards are set to air live on the IFC Channel beginning at 5 p.m. Et/2 p.m. Pt. The network will live stream the ceremony on its website, though audiences will need a cable login to watch. TV subscribers can also watch the show live on IFC app’s, available on iOS and Android, Apple TV, Roku, Fire TV, Xbox, and Android TV devices.
This year’s top Spirit Award nominees include Robert Pattinson’s “The Lighthouse” and Adam Sandler’s “Uncut Gems,” with five nods each. Shia Labeouf’s “Honey Boy” and Kirill Mikhanovsky’s scored four nominations.
“Uncut Gems,” Terrence Malick’s “A Hidden Life,” Chinonye Chukwu’s “Clemency,” Lulu Wang’s “The Farewell” and Noah Baumbach’s “Marriage Story” are up for best feature.
Here’s the full...
The 35th annual Spirit Awards are set to air live on the IFC Channel beginning at 5 p.m. Et/2 p.m. Pt. The network will live stream the ceremony on its website, though audiences will need a cable login to watch. TV subscribers can also watch the show live on IFC app’s, available on iOS and Android, Apple TV, Roku, Fire TV, Xbox, and Android TV devices.
This year’s top Spirit Award nominees include Robert Pattinson’s “The Lighthouse” and Adam Sandler’s “Uncut Gems,” with five nods each. Shia Labeouf’s “Honey Boy” and Kirill Mikhanovsky’s scored four nominations.
“Uncut Gems,” Terrence Malick’s “A Hidden Life,” Chinonye Chukwu’s “Clemency,” Lulu Wang’s “The Farewell” and Noah Baumbach’s “Marriage Story” are up for best feature.
Here’s the full...
- 2/8/2020
- by Variety Staff
- Variety Film + TV
Best international film nominees include Parasite, Portrait Of A Lady On Fire and The Souvenir.
Uncut Gems has emerged as the top contender among nominees for this year’s Film Independent Spirit Awards, with the Adam Sandler drama getting nominations in five categories including best feature.
Other best feature nominees are A Hidden Life, Clemency, The Farewell and Marriage Story.
The Lighthouse also got five Spirit Award nominations and other films with multiple citations included Give Me Liberty and Honey Boy with four each and Clemency, Hustlers, The Last Black Man In San Francisco, Luce, Marriage Story and The Third Wife with three each.
Uncut Gems has emerged as the top contender among nominees for this year’s Film Independent Spirit Awards, with the Adam Sandler drama getting nominations in five categories including best feature.
Other best feature nominees are A Hidden Life, Clemency, The Farewell and Marriage Story.
The Lighthouse also got five Spirit Award nominations and other films with multiple citations included Give Me Liberty and Honey Boy with four each and Clemency, Hustlers, The Last Black Man In San Francisco, Luce, Marriage Story and The Third Wife with three each.
- 11/21/2019
- ScreenDaily
The nominations for the 35th Independent Spirit Awards have been announced, and it was a big morning for “The Lighthouse” and “Uncut Gems.” The annual indie awards ceremony is presented by Film Independent and takes place the day before the Academy Awards on the beach in Santa Monica, California. The Spirit Awards have become known over the last decade for showcasing nominees that are a mix of underdog films and higher-profile awards contenders.
It’s important to note the Indie Spirit Awards has a budget ceiling of $22.5 million, meaning any movie made for more than this amount is ineligible for nominations. For this reason, Martin Scorsese’s Netflix-backed “The Irishman” was not eligible for 2020 nominations (the film had a budget north of $150 million). Netflix’s other top Oscar contender, Noah Baumbach’s “Marriage Story,” is eligible for Spirit Awards and landed a Best Feature nomination. As has become common over the last several years,...
It’s important to note the Indie Spirit Awards has a budget ceiling of $22.5 million, meaning any movie made for more than this amount is ineligible for nominations. For this reason, Martin Scorsese’s Netflix-backed “The Irishman” was not eligible for 2020 nominations (the film had a budget north of $150 million). Netflix’s other top Oscar contender, Noah Baumbach’s “Marriage Story,” is eligible for Spirit Awards and landed a Best Feature nomination. As has become common over the last several years,...
- 11/21/2019
- by Zack Sharf
- Indiewire
“What did you do to bring this upon us?”
In her statement about her debut feature “The Third Wife”, director Ash Mayfair states two main reasons why she made the film and which topics it deals with. On the one hand, she names her upbringing in Vietnam, most importantly the women in her life who have supported her through the years. Given her career, which has led her to a degree in English Literature and one in Theater Directing from the prestigious Royal Academy of Dramatic Arts in London, large parts of her biography have taken place outside her home country. Yet, as her statement and the nature of “The Third Wife” prove, she has returned there for her directorial debut paying homage to the women who have been most important in her life.
On the other hand, the movie deals with the matter of arranged and child marriage.
In her statement about her debut feature “The Third Wife”, director Ash Mayfair states two main reasons why she made the film and which topics it deals with. On the one hand, she names her upbringing in Vietnam, most importantly the women in her life who have supported her through the years. Given her career, which has led her to a degree in English Literature and one in Theater Directing from the prestigious Royal Academy of Dramatic Arts in London, large parts of her biography have taken place outside her home country. Yet, as her statement and the nature of “The Third Wife” prove, she has returned there for her directorial debut paying homage to the women who have been most important in her life.
On the other hand, the movie deals with the matter of arranged and child marriage.
- 7/19/2019
- by Rouven Linnarz
- AsianMoviePulse
The Third Wife marks the ambitious debut of Vietnamese director Ash Mayfair, who gained her Mfa from NYU. Set in the late 19th century, her film tracks the fortunes of 14-year-old Mây (Nguyễn Phương Trà My), who is selected as the third wife of a much older man, who expects her to bear him a son. Her life in rural Vietnam becomes further complicated as she begins to develop feelings for the second wife Xuân (Mai Thu Hường) and as pressure builds in the family. Shot by Chananun Chotrungroj, the film largely uses natural light and […]...
- 5/17/2019
- by Amber Wilkinson
- Filmmaker Magazine - Blog
The Third Wife marks the ambitious debut of Vietnamese director Ash Mayfair, who gained her Mfa from NYU. Set in the late 19th century, her film tracks the fortunes of 14-year-old Mây (Nguyễn Phương Trà My), who is selected as the third wife of a much older man, who expects her to bear him a son. Her life in rural Vietnam becomes further complicated as she begins to develop feelings for the second wife Xuân (Mai Thu Hường) and as pressure builds in the family. Shot by Chananun Chotrungroj, the film largely uses natural light and […]...
- 5/17/2019
- by Amber Wilkinson
- Filmmaker Magazine-Director Interviews
Cinematographer-turned-director Bruce Thierry Cheung offers an artful and affecting mix of harshly defined specifics and impressionistic storytelling in “Don’t Come Back from the Moon,” a cumulatively poignant drama about absent fathers and abandoned families in an economically devastated desert community. Structured more like a tone poem than a conventional narrative, it’s an elliptical memory play set in some fuzzily defined yesterday — judging from the appliances and automobiles, maybe 20 or so years ago. At the same time, it also evokes a sense of bleak devastation that suggests a futuristic tale of survival in a post-apocalyptic world.
Such stylization seems altogether appropriate for a film that, at heart, really is a story about the aftermath of a disaster.
“Don’t Come Back from the Moon” is based on a novel by Dean Bakopoulos (who collaborated in adapting the screenplay with Cheung) that was set in a declining Rust Belt town...
Such stylization seems altogether appropriate for a film that, at heart, really is a story about the aftermath of a disaster.
“Don’t Come Back from the Moon” is based on a novel by Dean Bakopoulos (who collaborated in adapting the screenplay with Cheung) that was set in a declining Rust Belt town...
- 1/18/2019
- by Joe Leydon
- Variety Film + TV
Gently dipping us into the long ago and far away past, Ash Mayfair’s directorial debut brings an intimate immediacy to the re-creation of rural Vietnam in the late 19th century. Though it’s almost painterly, in the pellucid watercolor palette of Dp Chananun Chotrungroj’s glistening bamboo-green, aloe-scented imagery, and authentic to its period setting down to the quietest silken detail, by focusing with unwavering empathy on the interior life of teenage bride May (Nguyen Phuong Tra My), the remarkable “The Third Wife” feels newborn and ineffably modern. Winner of prizes at both the San Sebastian and Toronto festivals, this is the rare debut that derives its freshness not from inexperience but from a balance between compassion and restraint that most filmmakers take decades to achieve.
May, young as a droplet clinging to a leaf, arrives to her new life by ceremonial canoe with her new family, including her...
May, young as a droplet clinging to a leaf, arrives to her new life by ceremonial canoe with her new family, including her...
- 10/4/2018
- by Jessica Kiang
- Variety Film + TV
“What did you do to bring this upon us?”
In her statement about her debut feature “The Third Wife”, director Ash Mayfair states two main reasons why she made the film and which topics it deals with. On the one hand, she names her upbringing in Vietnam, most importantly the women in her life who have supported her through the years. Given her career, which has led her to a degree in English Literature and one in Theater Directing from the prestigious Royal Academy of Dramatic Arts in London, large parts of her biography have taken place outside her home country. Yet, as her statement and the nature of “The Third Wife” prove, she has returned there for her directorial debut paying homage to the women who have been most important in her life.
On the other hand, the movie deals with the matter of arranged and child marriage. Even...
In her statement about her debut feature “The Third Wife”, director Ash Mayfair states two main reasons why she made the film and which topics it deals with. On the one hand, she names her upbringing in Vietnam, most importantly the women in her life who have supported her through the years. Given her career, which has led her to a degree in English Literature and one in Theater Directing from the prestigious Royal Academy of Dramatic Arts in London, large parts of her biography have taken place outside her home country. Yet, as her statement and the nature of “The Third Wife” prove, she has returned there for her directorial debut paying homage to the women who have been most important in her life.
On the other hand, the movie deals with the matter of arranged and child marriage. Even...
- 9/9/2018
- by Rouven Linnarz
- AsianMoviePulse
While much attention has currently (and rightfully) been drawn toward Bong Joon Ho’s Okja within the realm of human-and-beast cinema, Kirsten Tan’s Pop Aye is a worthy companion. Intimately canvassed and drawn with raw etchings of humanity and human error, Tan’s film is both a road movie and a buddy film, a familial drama and a study of the ever-evolving, industrialized landscapes where not everyone fits in. Through her insistent gaze on the human (and non-human) figures at its center, Tan never forgets why this story is being told. This focus makes Pop Aye a film that is heartwarming in its human-to-animal gaze, and yet crushing in its understanding of a human’s flaws.
Pop Aye Follows Thana (Thaneth Warakulnukroh), an architect who lives a somewhat dissatisfied life with his wife. There seems to be little love between them — at least not as much love as was...
Pop Aye Follows Thana (Thaneth Warakulnukroh), an architect who lives a somewhat dissatisfied life with his wife. There seems to be little love between them — at least not as much love as was...
- 6/28/2017
- by Mike Mazzanti
- The Film Stage
The Thailand International Film Destination Festival wrapped on April 29, with awards presented to the winners of the Amazing Thailand Film Challenge.
The short film competition involves 112 filmmakers, both students and professionals, flying to Thailand to make a short film in seven days.
The New Talent Award for Best Film went to Man by Charlotte Rabate and Chananun Chotrungroj, while Return Of The Golden Lily, directed by Takashi Hirose and Magnus Orn Thors, won the Experienced Vision Award for Best Film.
Launched last year, the festival aims to showcase Thailand as an international shooting destination, and also featured screenings of films that have shot in Thailand such as Peter Fudakowski’s Secret Sharer, Roy Alfred Jr’s Glory Days and Rakeysh Omprakash Mehra’s Bhaag Milkha Bhaag.
Awards also went to guests for their contributions to Thailand’s international film industry, including producer Daemon Hillin (A Stranger In Paradise), production designer James Newport (Bangkok Dangerous) and actresses [link=nm...
The short film competition involves 112 filmmakers, both students and professionals, flying to Thailand to make a short film in seven days.
The New Talent Award for Best Film went to Man by Charlotte Rabate and Chananun Chotrungroj, while Return Of The Golden Lily, directed by Takashi Hirose and Magnus Orn Thors, won the Experienced Vision Award for Best Film.
Launched last year, the festival aims to showcase Thailand as an international shooting destination, and also featured screenings of films that have shot in Thailand such as Peter Fudakowski’s Secret Sharer, Roy Alfred Jr’s Glory Days and Rakeysh Omprakash Mehra’s Bhaag Milkha Bhaag.
Awards also went to guests for their contributions to Thailand’s international film industry, including producer Daemon Hillin (A Stranger In Paradise), production designer James Newport (Bangkok Dangerous) and actresses [link=nm...
- 5/2/2014
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
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