Plus ‘Crestone,’ ‘F.T.A.,’ ‘The Good, the Bad, and the Ugly,’ ‘Fast Times at Ridgemont High,’ ‘Merrily We Go to Hell,’ ‘Trances,’ ‘Masculin Feminin,’ ‘Smile,’ ‘The Hot Spot,’ ‘Tank,’ ‘Sweet Liberty,’ ‘All-American Murder,’ ‘The Cellar,’ ‘Winterbeast,’ ‘Horizons West,’ and ‘The Wages of Sin.’
Continue reading The Best Movies To Buy Or Stream This Week: ‘The Good, The Bad & The Ugly,’ ‘The Mitchells Vs. The Machines’ & More at The Playlist.
Continue reading The Best Movies To Buy Or Stream This Week: ‘The Good, The Bad & The Ugly,’ ‘The Mitchells Vs. The Machines’ & More at The Playlist.
- 5/11/2021
- by Jason Bailey
- The Playlist
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
Crestone (Marnie Ellen Hertzler)
Exploring the bohemian lives of SoundCloud rappers who find their own oasis (or perhaps are living in a mirage of one) in the middle of the Colorado desert, Crestone is a brief, but complicated look at such a way of life. With a breezy Animal Collective score guiding the rather beautiful imagery, director Marnie Ellen Hertzler is also keen on showing the failures that come with such a life off the grid. Cuisines featuring terrible-looking bologna sandwiches and ketchup-infused ramen along with donation pleas for an $80K GoFundMe with $0 pledged show this escape from society may not be the luxurious, meditative experience as promoted on...
Crestone (Marnie Ellen Hertzler)
Exploring the bohemian lives of SoundCloud rappers who find their own oasis (or perhaps are living in a mirage of one) in the middle of the Colorado desert, Crestone is a brief, but complicated look at such a way of life. With a breezy Animal Collective score guiding the rather beautiful imagery, director Marnie Ellen Hertzler is also keen on showing the failures that come with such a life off the grid. Cuisines featuring terrible-looking bologna sandwiches and ketchup-infused ramen along with donation pleas for an $80K GoFundMe with $0 pledged show this escape from society may not be the luxurious, meditative experience as promoted on...
- 2/19/2021
- by Jordan Raup
- The Film Stage
The most intriguingly cinematic movies are often the ones in which the characters presented on screen and the filmmakers behind the camera are constantly reinventing themselves to adapt to any situation they find themselves in. That’s certainly the case for both the subjects and director of the new documentary, ‘Crestone.’ Helmer Marnie Ellen Hertzler, who […]
The post Interview: Marnie Ellen Hertzler Talks Crestone (Exclusive) appeared first on Shockya.com.
The post Interview: Marnie Ellen Hertzler Talks Crestone (Exclusive) appeared first on Shockya.com.
- 2/16/2021
- by Karen Benardello
- ShockYa
"There's not a point where we're not reinventing ourselves." Utopia has unveiled a trailer for an indie doc titled Crestone, made by filmmaker Marnie Ellen Hertzler. This premiered at the True/False Documentary Film Festival last year, and stopped by a number of other fests, arriving on VOD in February. In the desert of Crestone, Colorado (on Google Maps), a group of SoundCloud rappers live in solitude, growing weed and making music for the internet. When an old friend arrives to make a movie, reality and fiction begin to blur. The doc film is described in reviews as "the most fascinating intersections between form and content I can remember since Charlie Kaufman and Spike Jonze fucked with it in Adaptation." That one quote intrigues me more than the synopsis. To top it off, the film also features a score by Animal Collective's Geologist & Deakin. This looks like some wild, gonzo...
- 1/18/2021
- by Alex Billington
- firstshowing.net
IndieWire reached out to the directors of photography behind the scripted narrative features that were set to premiere last week at SXSW to find out 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 their responses.
“The Carnivores”
More from IndieWire'Dark City Beneath the Beat' Review: Tt the Artist Remixes Baltimore Into 65-Minute Club BangerMemo to Distributors: Buy These 2020 SXSW Movies
Dir: Caleb Michael Johnson, DoP: Adam J. Minnick
Format: Xavc S
Camera: Sony a6300 & Sony a7R III
Lens: Contax Zeiss Photographic Lenses, 28mm, 50mm, 85mm, & 135mm.
Minnick: We wanted a very precise look with choreographed camera moves to come out of a 12-day-shoot, so we knew we were going to be flying. We didn’t even slate. This set-up allowed for a light and versatile two-camera system to create a one-of-a-kind texture and maximum flexibility.
“The Carnivores”
More from IndieWire'Dark City Beneath the Beat' Review: Tt the Artist Remixes Baltimore Into 65-Minute Club BangerMemo to Distributors: Buy These 2020 SXSW Movies
Dir: Caleb Michael Johnson, DoP: Adam J. Minnick
Format: Xavc S
Camera: Sony a6300 & Sony a7R III
Lens: Contax Zeiss Photographic Lenses, 28mm, 50mm, 85mm, & 135mm.
Minnick: We wanted a very precise look with choreographed camera moves to come out of a 12-day-shoot, so we knew we were going to be flying. We didn’t even slate. This set-up allowed for a light and versatile two-camera system to create a one-of-a-kind texture and maximum flexibility.
- 3/20/2020
- by Chris O'Falt
- Indiewire
The Unbridgeable Divide: How True/False’s Celebrated Partnership With an Evangelical Church Imploded
It was the envy of the documentary world. For a decade, the True/False Fest pulled off something that other progressive film festivals found impossible: Through a working partnership with an evangelical megachurch, The Crossing, it found a major sponsor that also reached across the political and cultural divide.
In 2019, The Crossing’s $40,000 donation accounted for close to two percent of the organization’s operating budget. Perhaps even more important: Nonfiction funders and filmmakers are desperate to find ways to reach beyond the elite liberal bubble of Sundance and the New York arthouses, and the adventurous and challenging programming at T/F found an open dialogue with a conservative community.
It was an odd-couple pairing that created some cognitive dissonance. The documentary festival celebrated films like “After Tiller,” a compassionate look at the lives of doctors who perform late-term abortions, while the staunch pro-life church preaches that heterosexuals hold a moral high ground.
In 2019, The Crossing’s $40,000 donation accounted for close to two percent of the organization’s operating budget. Perhaps even more important: Nonfiction funders and filmmakers are desperate to find ways to reach beyond the elite liberal bubble of Sundance and the New York arthouses, and the adventurous and challenging programming at T/F found an open dialogue with a conservative community.
It was an odd-couple pairing that created some cognitive dissonance. The documentary festival celebrated films like “After Tiller,” a compassionate look at the lives of doctors who perform late-term abortions, while the staunch pro-life church preaches that heterosexuals hold a moral high ground.
- 3/9/2020
- by Chris O'Falt
- Indiewire
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.