ISSN 1717-9559
Keyword : Independent Cinema
1.
An in-depth interview with Frank Henenlotter on the release of his first feature film in 16 years, Bad Biology.
2.
A thematic and formal analysis of the environmental thread across a group of mainly low budget, independent horror films that showed at Fantasia 2007.
3.
A report of the 2008 Bradford International Film Festival.
4.
The end of the world is hot on US screens of late, culminating in the intriguing technological experiment, Cloverfield.
5.
An interview with Philippe Spurrell, director of the Canadian supernatural mystery, The Descendant (2007).
6.
Festival report on the ever-growing (48th) Thessaloniki International Film Festival.
7.
An earnest, DIY account of a sighted creature in the New Orleans, Louisiana area.
8.
An interview with the indie masters of camp aesthetics and underground trash (in the best term), the Kuchar bros.
9.
While most reviewers of Abel Ferrara’s (arguably masterpiece) The Bad Lieutenant tended to laud Harvey Kietel’s performance in spite of his character’s morally reprehensible nature, and the film’s overall harsh subject matter, Jason Mark Scott argues that Ferrara’s stylistic mix of ‘naturalism’ (which is likened to Pier Paolo Pasolini) and lyricism amounts to a poignant treatment of Catholic angst.
10.
A book review essay of Mark Reid's expansive book on African American cinema, which dates back to the silent films of pioneering director/producer Oscar Micheaux to contemporary American cinema.
11.
A review essay of one of the most intriguing low budget American horror films ever made, taking into account production history and how director Herk Harvey uses the film's technical limitations to its benefit.
12.
An essay on Hakan Sahin's first two features, Mirror and Snow, studies on the psychological effects of living in geographical isolation.
13.
An interview with director, cast and select production people of the refreshingly original indie horror film, Shallow Ground.
14.
An in-depth interview with co-writer and co-director of the Canadian noirish horror film Eternal.
15.
An interview with the director of the indie reality-based melodrama (in the good sense) Firecracker.
16.
Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).
17.
“Twist” makes an interesting companion piece to another recent Canadian film by director Tim Southam, “The Bay of Love and Sorrow” (2002). Unlike Tierney, for whom “Twist” represents his first feature film, Southam comes to “The Bay” with a more varied and experienced background.
18.
As I said in my most recent Fantasia International Film festival report, the director of “Bottled Fool”, Hiroki Yamaguchi, is a good bet to become the next big thing out of Japan. After making a prize winning short in 1999 at the age of 21 (“Shinya Zoki”/“Midnight Viscera”) he soon completed his first feature film in the same year, “Hateshinai tameiki” (1999).
19.
On the occasion of Fuon (The Crying Wind, Japan, 2004, 106 mins.) showing in competition at the 2004 Festival des Films du Monde (World Film Festival), in Montreal, the director of the film, Higashi Yoichi, along with principal actor, Uema Muneo, and Yamagami Tetsujiro, the film’s producer were interviewed by Peter Rist for Offscreen.
20.
Masterclass! short film workshops with UK writer/director/actor/educator Simon van der Borgh and US short film guru Kim Adelman.
21.
Along with Totaro's essay, this forms an in-depth introduction to the films of Guy Maddin.
22.
An analytical peek into the twisted world of Guy Maddin.
24.
I was fortunate to catch this low budget chiller at a late night screening at Montreal’s Cinema du Parc theatre on April 23, 2004. It had been a long time since I had seen this film, but for reasons soon apparent, it has remained finely etched in my memory.
26.
This interview, following the recent completion of his first film, will give us an insider view into the American independent cinema and a chance to better grasp the concept of ‘indie’ cinema.
27.
A Mäori proverb says you spend your life walking backwards because you can see the past but not the future—that’s why we trip.
28.
Hundreds of directors, producers, distributors, commissioners and others from all corners of the documentary industry from all corners of the world descended on Fremantle Western Australia for this year’s Australian International Documentary Conference (26-28 February). Sándor Lau dives into the belly of the beast in search of its soul.
29.
Cult classic of the 1970s rediscovered and gets a small theatrical and DVD release.
30.
Review of the recent American low budget indie film, Virgil Bliss, released recently on DVD by First Run Features.
31.
Good things do come in small packages, with this subtle and delicate low budget digi-film that dignifies 24 hours in the life of two flawed, yet endearing losers, lovers Alex and J.D.
32.
Early in 2001 Hors Champ presented a 4-day event featuring a selected program of vintage works by one of America's leading visual artists, experimental filmmaker Stan Brakhage. Nicolas Renaud recounts what was for many an extremely moving 4-day aesthetic experience.
33.
The definitive interview on one of Montreal's most notorious independent feature films, Subconscious Cruelty. Enough said.
34.
Genghis Blues touches the very core of the human soul -as great music does- and demonstrates with poetic simplicity how music can be the great cultural leveler. How else can you explain the immediate, symbiotic link that is established between a burly, blind, near-forgotten San Franciscan bluesman and the people of a remote Central Asian nation, Tuva?
35.
Every now and then a horror film comes out that reaffirms one's tenuous faith in the Hollywood “major” Independent studios. The Prophecy is one such film.
36.
A Gun for Jennifer is a ballsy, energetic feminist revisionist take on the traditionally male revenge action film. After a successful festival run, it has seen comparisons to such female revenge films as Ms. 45 and Thelma and Louise, though...
37.
Both the Canadian Kissed and Spanish Aftermath deal with the taboo subject of necrophilia. However, the respective filmmakers Lynne Stopkewich and Nacho Cerdà are as far apart in approach as there native countries are geographically.
38.
The Love God is easily one of the most wildly inventive, original American genre films of recent years.
39.
During the Hollywood Studio period (roughly 1920 to 1950), the demarcation line between the majors and the independents was quite clear. The majors, the “Big Five” (Warners, MGM, RKO, Paramount, Fox) and “Little Three” (Columbia, Universal, United).
Page 1 of 1 pages
Site Sections
Categories
- Asian CinemaMizoguchi, Miike, J Horror, ...
- Cinema(s) of CanadaQuebec Cinema, Egoyan, ...
- Film DirectorsBava, Pahani, Herzog, ...
- European CinemaAustrian, British, Italian, ...
- Film Aesthetics & HistoryBazin, Cinefest, Film Style, ...
- Horror and the FantasticEurohorror, Giallo, Craven, ...
- Non-Fiction CinemaDeren, Mettler, NFB, ...
- Popular GenresComedy, Fantasia, Mondo, ...