Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising?
This week we throw ourselves out of a perfectly fine plane, remember wandering the aisles at the local Blockbuster Video, go space and leave our kid behind, and get a lesson in media literacy from one of the best in the game.
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Like many time periods preceding it, the fall film festival circuit of 2019 has been a mixed bag of results for female filmmakers. The Venice Film Festival spared a measly two slots in its competition for films directed by women and, as if to thumb their nose at those decrying their regressive attitudes, awarded their Best Director prize to convicted rapist Roman Polanski. All this from a festival that signed the 50/50 by 2020 pledge for gender parity just last year, to boot. As Katrin Gebbe, director of Pelican Blood told me, “In the past few years, we’ve started to put our finger into the wound.”
Meanwhile, at the 2019 Toronto International Film Festival (TIFF), the programmers paid more than lip service to their commitment on equality. Female directors comprised 36% of this year’s selection at TIFF, with percentages even higher in sections like Contemporary World Cinema and the high-profile Galas. Look beyond the numbers, too, and it’s clear that quantity did not come at the expense of quality.
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