Julia Reichert, whose 50-year career as a documentarian included a 2020 Oscar win for American Factory, has died after a battle with bladder cancer. She was 76.
Reichert died Thursday night, her frequent collaborator Steven Bognar told The Hollywood Reporter. Despite undergoing chemotherapy ahead of her Oscar triumph, she attended the 2020 Academy Awards and walked to the stage with Bognar to accept their award.
Long regarded as a godmother of the indie film industry, the director, producer and writer also received Oscar nominations for Union Maids (1976), Seeing Red: Stories of American Communists (1983) and The Last Truck: Closing of a Gm Plant (2009).
Her first film, Growing Up Female (1971), was inducted into the Library of Congress’ National Film Registry by being “culturally, historically or aesthetically significant.”
American Factory, about a Chinese billionaire who reopens an abandoned Gm plant outside Dayton, Ohio, to make car windshields, shows Chinese...
Reichert died Thursday night, her frequent collaborator Steven Bognar told The Hollywood Reporter. Despite undergoing chemotherapy ahead of her Oscar triumph, she attended the 2020 Academy Awards and walked to the stage with Bognar to accept their award.
Long regarded as a godmother of the indie film industry, the director, producer and writer also received Oscar nominations for Union Maids (1976), Seeing Red: Stories of American Communists (1983) and The Last Truck: Closing of a Gm Plant (2009).
Her first film, Growing Up Female (1971), was inducted into the Library of Congress’ National Film Registry by being “culturally, historically or aesthetically significant.”
American Factory, about a Chinese billionaire who reopens an abandoned Gm plant outside Dayton, Ohio, to make car windshields, shows Chinese...
- 12/2/2022
- by Etan Vlessing
- The Hollywood Reporter - Movie News
Chicago – Julia Reichert is a filmmaker of legendary proportions. Her career has spanned from the radical 1960s to the present, and along the way she has made passionate documentaries about life affirming and life evolving events, earning three Oscar nominations. She will make an appearance at Female Filmmakers Night at the Midwest Independent Film Festival on August 7th.
Julia Reichert attended college during the latter part of the 1960s, and came of age as the social climate in America was changing every year. This influenced her approach to filmmaking, culminating in her first documentary “Growing Up Female” (1971). This film is recognized as one of the first feminist perspectives within the center of the woman’s movement revolution of the era, and in 2011 was designated for preservation by the National Film Registry. Among other films, she went on to produce and direct three more Oscar nominated documentaries, “Union Maids” (1976), “Seeing Red...
Julia Reichert attended college during the latter part of the 1960s, and came of age as the social climate in America was changing every year. This influenced her approach to filmmaking, culminating in her first documentary “Growing Up Female” (1971). This film is recognized as one of the first feminist perspectives within the center of the woman’s movement revolution of the era, and in 2011 was designated for preservation by the National Film Registry. Among other films, she went on to produce and direct three more Oscar nominated documentaries, “Union Maids” (1976), “Seeing Red...
- 8/7/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Fake Fruit Factory from Guergana Tzatchkov on Vimeo.
"Every year, Librarian of Congress James H Billington personally selects which films will be added to the National Film Registry, working from a list of suggestions from the library’s National Film Preservation Board and the general public," reports Ann Hornaday for the Washington Post. This year's list of 25 films slated for preservation:
Allures (Jordan Belson, 1961) Bambi (Walt Disney, 1942) The Big Heat (Fritz Lang, 1953) A Computer Animated Hand (Pixar, 1972) Crisis: Behind a Presidential Commitment (Robert Drew, 1963) The Cry of the Children (George Nichols, 1912) A Cure for Pokeritis (Laurence Trimble, 1912) El Mariachi (Robert Rodriguez, 1992) Faces (John Cassavetes, 1968) Fake Fruit Factory (Chick Strand, 1986) Forrest Gump (Robert Zemeckis, 1994) Growing Up Female (Jim Klein and Julia Reichert, 1971) Hester Street (Joan Micklin Silver, 1975) I, an Actress (George Kuchar, 1977) The Iron Horse (John Ford, 1924) The Kid (Charlie Chaplin, 1921) The Lost Weekend (Billy Wilder, 1945) The Negro Soldier (Stuart Heisler,...
"Every year, Librarian of Congress James H Billington personally selects which films will be added to the National Film Registry, working from a list of suggestions from the library’s National Film Preservation Board and the general public," reports Ann Hornaday for the Washington Post. This year's list of 25 films slated for preservation:
Allures (Jordan Belson, 1961) Bambi (Walt Disney, 1942) The Big Heat (Fritz Lang, 1953) A Computer Animated Hand (Pixar, 1972) Crisis: Behind a Presidential Commitment (Robert Drew, 1963) The Cry of the Children (George Nichols, 1912) A Cure for Pokeritis (Laurence Trimble, 1912) El Mariachi (Robert Rodriguez, 1992) Faces (John Cassavetes, 1968) Fake Fruit Factory (Chick Strand, 1986) Forrest Gump (Robert Zemeckis, 1994) Growing Up Female (Jim Klein and Julia Reichert, 1971) Hester Street (Joan Micklin Silver, 1975) I, an Actress (George Kuchar, 1977) The Iron Horse (John Ford, 1924) The Kid (Charlie Chaplin, 1921) The Lost Weekend (Billy Wilder, 1945) The Negro Soldier (Stuart Heisler,...
- 12/30/2011
- MUBI
©Paramount Pictures
“My momma always said, .Life was like a box of chocolates. You never know what you’re gonna get..” That line was immortalized by Tom Hanks in the award-winning movie “Forest Gump” in 1994. Librarian of Congress James H. Billington today selected that film and 24 others to be preserved as cultural, artistic and historical treasures in the National Film Registry of the Library of Congress.
Spanning the period 1912-1994, the films named to the registry include Hollywood classics, documentaries, animation, home movies, avant-garde shorts and experimental motion pictures. Representing the rich creative and cultural diversity of the American cinematic experience, the selections range from Walt Disney.s timeless classic “Bambi” and Billy Wilder.s “The Lost Weekend,” a landmark film about the devastating effects of alcoholism, to a real-life drama between a U.S. president and a governor over the desegregation of the University of Alabama. The selections also...
“My momma always said, .Life was like a box of chocolates. You never know what you’re gonna get..” That line was immortalized by Tom Hanks in the award-winning movie “Forest Gump” in 1994. Librarian of Congress James H. Billington today selected that film and 24 others to be preserved as cultural, artistic and historical treasures in the National Film Registry of the Library of Congress.
Spanning the period 1912-1994, the films named to the registry include Hollywood classics, documentaries, animation, home movies, avant-garde shorts and experimental motion pictures. Representing the rich creative and cultural diversity of the American cinematic experience, the selections range from Walt Disney.s timeless classic “Bambi” and Billy Wilder.s “The Lost Weekend,” a landmark film about the devastating effects of alcoholism, to a real-life drama between a U.S. president and a governor over the desegregation of the University of Alabama. The selections also...
- 12/28/2011
- by Michelle McCue
- WeAreMovieGeeks.com
Christmas isn't just about getting stuff. It's about giving too, Charlie Brown. I know what you're thinking: Tell that to the U.S. government, who seems to delight only in taking — be it our money or our personal freedoms.
But each December, there is a certain federal institution that gives we the people a little gift…emphasis on the "little." That's right, it's time once again to see what films have been designated as American treasures by the Library of Congress.
Every year, 25 movies are chosen by the Librarian of Congress for addition to the National Film Registry. If my math is correct (and there's a good chance it's not), there have been 575 films deemed worthy of preservation by the Library of Congress since this all began in 1989. To give you some perspective, that's about the average number of movies released each year. Coincidentally, it's also the number of average movies released each year…...
But each December, there is a certain federal institution that gives we the people a little gift…emphasis on the "little." That's right, it's time once again to see what films have been designated as American treasures by the Library of Congress.
Every year, 25 movies are chosen by the Librarian of Congress for addition to the National Film Registry. If my math is correct (and there's a good chance it's not), there have been 575 films deemed worthy of preservation by the Library of Congress since this all began in 1989. To give you some perspective, that's about the average number of movies released each year. Coincidentally, it's also the number of average movies released each year…...
- 12/28/2011
- by Theron
- Planet Fury
I’m never one to put significant stock in the film-based choices made by any kind of committee — be it an awards group, critics circle, soup kitchen line, etc. — but the National Film Registry is a little different. Not that they’re any different than those aforementioned organization types, but because the government assemblage preserves works deemed “culturally, historically or aesthetically significant.” No small potatoes.
Their latest list — created for both public awareness and the opportunity to grumble, as I’ll do in a second — has been unveiled, and the selections are none too out-of-left-field. The biggest of these 25 would have to be Forrest Gump, a choice I fully understand but completely disagree with on an opinion and moral scale. The only other true objection I can raise is toward El Mariachi, film school-level junk from a director whose finest works are the direct result of working with those more talented.
Their latest list — created for both public awareness and the opportunity to grumble, as I’ll do in a second — has been unveiled, and the selections are none too out-of-left-field. The biggest of these 25 would have to be Forrest Gump, a choice I fully understand but completely disagree with on an opinion and moral scale. The only other true objection I can raise is toward El Mariachi, film school-level junk from a director whose finest works are the direct result of working with those more talented.
- 12/28/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Gloria Grahame, The Big Heat Forrest Gump, Bambi, The Silence Of The Lambs: National Film Registry 2011 Movies Besides the aforementioned Hester Street and Norma Rae, women are also at the forefront of Julia Reichert and Jim Klein's Growing Up Female (1971); Chick Strand’s Fake Fruit Factory (1986), a documentary about Mexican women who create ornamental papier-mâché fruits and vegetables; and the recently deceased George Kuchar’s experimental short I, an Actress (1977), which is available on YouTube. I couldn't find any titles focusing on gay, lesbian, bisexual, multisexual, etc., or transgender characters. As so often happens, political correctness will go only so far. Anyhow, more interesting than p.c. choices was the inclusion of A Cure for Pokeritis (1912), an early comedy starring then-popular (and quite odd) couple John Bunny and Flora Finch; and what may well be my favorite noirish crime drama, Fritz Lang's The Big Heat (1953), starring Glenn Ford and Gloria Grahame.
- 12/28/2011
- by Andre Soares
- Alt Film Guide
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