A filmmaker we’ve been keeping tabs on since the late naughts when his Slamdance/SXSW preemed 2007’s Murder Party dropped, Jeremy Saulnier played a significant creative role with dp contributions to Baltimore originals in Matthew Porterfield’s Hamilton and Putty Hill and Michael Tully’s Septien (2011).
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- 11/15/2017
- by Eric Lavallée
- IONCINEMA.com
Now in its eighth year, the American Film Festival offers a unique perspective on recent developments in U.S. indie filmmaking. That’s because it happens in Poland, staged at the stylish Kino Nowe Horyzonty film center in Wroclaw, also home to the summer New Horizons festival, which has more of a European tilt.
Although the festival, which recently concluded, surveys many favorites from Sundance and South by Southwest, the curation doesn’t merely transpose selections to a new setting. It imports a lively assortment of filmmakers, as well, and creates a cozy, engaged atmosphere more akin to the communal vibe of the Maryland Film Festival. Indeed, to rub shoulders in a crowd that included Jody Lee Lipes, Noel Wells, Dustin Guy Defa, Nathan Silver, producer Mike Ryan, Jessica Oreck and Mike Ott is to experience a deep dive into the creative bustle of current indie ferment.
That spirit is...
Although the festival, which recently concluded, surveys many favorites from Sundance and South by Southwest, the curation doesn’t merely transpose selections to a new setting. It imports a lively assortment of filmmakers, as well, and creates a cozy, engaged atmosphere more akin to the communal vibe of the Maryland Film Festival. Indeed, to rub shoulders in a crowd that included Jody Lee Lipes, Noel Wells, Dustin Guy Defa, Nathan Silver, producer Mike Ryan, Jessica Oreck and Mike Ott is to experience a deep dive into the creative bustle of current indie ferment.
That spirit is...
- 11/14/2017
- by Steve Dollar
- Indiewire
Monterey Media has acquired North American rights to Matthew Porterfield’s “I Used To Be Darker,” which had its world premiere in the Next <=> section of the Sundance Film Festival on Jan. 19. The company plans a summer theatrical release. “Darker” follows a runaway from Northern Ireland who takes refuge with her aunt and uncle in Baltimore just as their marriage is coming to an end. Deragh Campbell, Hannah Gross, Kim Taylor, Ned Oldham, Geoff Grace and Nick Petr star. Amy Belk wrote the screenplay with Porterfield. Monterey’s Scott Mansfield negotiated the deal with Nick LoPiccolo and Ben Weiss of Paradigm on behalf of the filmmakers. Porterfield previously directed “Hamilton” and “Putty Hill.” Monterey Media recently released “Bringing Up Bobby” and “Take Me Home.”...
- 1/28/2013
- by Jay A. Fernandez
- Indiewire
Exclusive: The Sundance Film Festival ended yesterday, but there will be a flood of deals that continue for the next few weeks, leading into Berlin. Monterey Media has acquired I Used To Be Darker, the third film by rising writer/director Matthew Porterfield. The deal comes as the filmmaker prepares for the film to be featured in the Forum section of the Berlin festival next month. Porterfield previously directed Hamilton and Putty Hill. (Full press release follows below.) Related: Sundance Awards 2013: ‘Fruitvale’ & ‘Blood Brother’ Win Grand Jury Porterfield wrote the script with Amy Belk and the film stars Deragh Campbell, Hannah Gross, Kim Taylor, Ned Oldham, Geoff Grace and Nick Petr. It premiered Saturday at the Yarrow Hotel Theatre, and focused on a runaway who seeks refuge with her aunt and uncle in Baltimore. There she finds their marriage is ending and her cousin is in crisis. In the days that follow,...
- 1/27/2013
- by MIKE FLEMING JR
- Deadline
#5. Concussion
Who: Having begun her ascension via her work as a commercials director/producer, 2012/2013 has turned out to be fairly kick ass in terms of receiving support. From the guidance of producer Rose Troche (helmer of Go Fish), being chosen by Independent Feature Project’s narrative lab to grabbing grants in the shape of the Adrienne Shelly Director’s Grant and Gothams Award’s Calvin Klein Spotlight on Women Filmmakers Live the Dream Grant.
What: Sight unseen, with a high libido, this might be compared to Steve McQueen’s Shame as it also centers on a Manhattanite whose midlife crisis includes a character with a double life of sorts.
Where: You can find more info on the facebook page and the official website should start getting into gear shortly.
When: The Rose Troche produced drama was shot in New York City in March of last year.
Why: Premise alone for...
Who: Having begun her ascension via her work as a commercials director/producer, 2012/2013 has turned out to be fairly kick ass in terms of receiving support. From the guidance of producer Rose Troche (helmer of Go Fish), being chosen by Independent Feature Project’s narrative lab to grabbing grants in the shape of the Adrienne Shelly Director’s Grant and Gothams Award’s Calvin Klein Spotlight on Women Filmmakers Live the Dream Grant.
What: Sight unseen, with a high libido, this might be compared to Steve McQueen’s Shame as it also centers on a Manhattanite whose midlife crisis includes a character with a double life of sorts.
Where: You can find more info on the facebook page and the official website should start getting into gear shortly.
When: The Rose Troche produced drama was shot in New York City in March of last year.
Why: Premise alone for...
- 1/18/2013
- by Eric Lavallee
- IONCINEMA.com
A first look into what’s ahead from some of our favorite auteurs, 2013′s CineMart (held during the Int. Film Festival Rotterdam) boosts an impressive selection of projects from the likes of Argentina’s Lucrecia Martel (The Headless Woman) who’ll be lensing Zama – the adaptation of a period piece about Don Diego de Zama, a 17th-century official for the Spanish crown based in Asuncion del Paraguay, who awaits his transfer to the city of Buenos Aires. We’ve got Greece’s Yorgos Lanthimos from Dogtooth and Alps fame, who the last time we spoke to mentioned how he was looking to break into English language film territory and we think The Lobster might be that first foray. Among the other Cannes Film Festival introduced filmmakers who’ll be seeking coin in Rotterdam we have Michael Rowe (Leap Year) who brings Rest Home, Alice Rohrwacher (Corpo celeste) who tackles Le Meraviglie,...
- 12/12/2012
- by Eric Lavallee
- IONCINEMA.com
Putty Hill, his critically acclaimed Berlin and SXSW selected sophomore feature officially put Matthew Porterfield on the future of indie film map. He began lensing in the summer of 2011 – so this is definitely readied for a big festival showing and we won’t be surprised if Sundance wants to be affiliated with this filmmaker. Most recently included in the half dozen items for Poland’s American Film Fest’s Us in Progress Wrocław, I Used to be Darker features the photography from Porterfield’s dp Jeremy Saulnier (he contributed on Porterfield’s debut film as well (2000′s Hamilton) and the pic will be toplined by newbie actresses Deragh Campbell (pictured above) and Hannah Gross.
Gist: Scripted by Amy Belk and Porterfield, this is about a young woman named Taryn, a Northern Irish runaway, who finds herself pregnant in Ocean City, MD, she seeks refuge with American relatives in Baltimore. But Aunt Kim and her husband,...
Gist: Scripted by Amy Belk and Porterfield, this is about a young woman named Taryn, a Northern Irish runaway, who finds herself pregnant in Ocean City, MD, she seeks refuge with American relatives in Baltimore. But Aunt Kim and her husband,...
- 11/20/2012
- by Eric Lavallee
- IONCINEMA.com
"Not much happened in Matthew Porterfield's first film, Hamilton, which was sort of the point," writes Paul Schrodt in Slant. "The characters, lower-middle-class Baltimore suburbanites, moved in static compositions, going about their chores, and neither they nor the audience seemed to have much idea where it was going or what it meant. What set Hamilton apart, if anything, was its acuity of observation — the way small moments, like someone waiting for his laundry, took on the rhythms of everyday life. Porterfield's latest, Putty Hill, follows the same basic template, but narratively and formally, it's a subtle but confident step forward."...
- 2/18/2011
- MUBI
Matthew Porterfield’s 2006 debut feature, Hamilton, is a wisp of a film: an impressionistic hourlong look at two days in the lives of a pair of young, lower-middle-class Baltimore parents. Porterfield and co-writer Jordan Mintzer return to those Baltimore neighborhoods for Putty Hill, but the results are markedly different. Where Hamilton is hushed and sullen, Putty Hill is vibrant and chatty. A group of friends gather for the funeral of one of their own: a 26-year-old victim of a drug overdose. And as they hit all their usual hangout spots, Porterfield peppers them with questions about their lives, their ...
- 2/17/2011
- avclub.com
by Vadim Rizov
Putty Hill begins with brisk, no-nonsense establishing shots from the rural parts of Baltimore—a house, a hill—and then the opening credits pause everything before it's started. We're looking at a wall: the light's mid-day but diffuse, red is coming from somewhere, and you can hear a cello warming up its scales and arpeggios. It's a startlingly atmospheric, non-naturalistic opening for what should be quotidian social realism, and indicative of where Putty Hill is heading: wild, weird places. Matthew Porterfield's response to Baltimore—our collective national shithole of choice since The Wire—is to treat the city as an imaginative destination, where anyone can take off mentally.
The plot, as in Porterfield's Hamilton, is meant to be disregarded. A junkie's overdosed, and these are the days leading up to his funeral—days of a weird, Linklater-esque quality, where time melts and days dissolve. You could...
Putty Hill begins with brisk, no-nonsense establishing shots from the rural parts of Baltimore—a house, a hill—and then the opening credits pause everything before it's started. We're looking at a wall: the light's mid-day but diffuse, red is coming from somewhere, and you can hear a cello warming up its scales and arpeggios. It's a startlingly atmospheric, non-naturalistic opening for what should be quotidian social realism, and indicative of where Putty Hill is heading: wild, weird places. Matthew Porterfield's response to Baltimore—our collective national shithole of choice since The Wire—is to treat the city as an imaginative destination, where anyone can take off mentally.
The plot, as in Porterfield's Hamilton, is meant to be disregarded. A junkie's overdosed, and these are the days leading up to his funeral—days of a weird, Linklater-esque quality, where time melts and days dissolve. You could...
- 3/14/2010
- GreenCine Daily
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