This year's SXSW film line - up features a lot of
big studio films such as Paramount's A Quiet Place, Universal's Blockers, and Fox Searchlight's Isle of Dogs but there are as always a lot of smaller films that are worthy of your attention too.
Not exact matches
Just on a technical level, the
film represents
such a
big jump forward for Saulnier that you should expect the
studios to immediately start arguing over which giant soulless franchise should occupy his time in the near - future.
Black Panther, the first
big studio film from Ryan Coogler (Fruitvale Station, Creed) is just
such a
film.
In the late 1920s, Fritz Lang was the star director of Germany's Ufa Studios, the
biggest film studio outside of Hollywood, and one of the most celebrated filmmakers in the world for
such ambitious epic visions as Destiny (1921), the Die Nibelungen (1924)
films and especially Metropolis (1927), his allegorical science fiction classic that is still considered one of the great
films of the silent era.
The behind - the - scenes action of Living in Oblivion is no exception, and although we've seen many
films just like it in recent years,
such as Mistress and The
Big Picture, Tom DiCillo's (Double Whammy, Box of Moon Light) creation distinguishes itself by being about a independent filmmaking, not greatly influenced by the dictation of a major
studio or bigwig producer, but by conflicts within the filmmaker himself.
If you're a modern animation buff, you'll be surprised that
such a polished - looking
film doesn't bear any of the
big studios» names.
* It must be noted that, at no point during the actual
film does anyone call Devereaux «The November Man»; it's only name - dropped at the very end by the
film's villain, a sad - looking Bill Smitrovich, visibly thankful to have
such a
big part in a
studio film despite half his dialogue being clumsily misogynistic cracks like «Show me your tits»).
Newcomer Alice Englert, does not have as strong a resume, but the daughter of director, Jane Champion, clearly demonstrates why she was entrusted with
such a
big studio film after having only acted in a few indies.
Plenty (including Wyatt, presumably) must have been nervous about
such an untested filmmaker taking on a
big budget property, and an important franchise for the
studio, but the
film proved a surprise smash, and much of the credit (along with Andy Serkis» remarkable performance) must go to Wyatt, who directed the
film cleanly but brilliantly, and soon attracted the label of «the next Christopher Nolan.»
The upcoming summer movie season promises to be one of the
biggest in years, so it's a bit of a surprise that
studios are limping (rather than sprinting) into that period with
such a humdrum selection of
films.
The actress, who, prior to Bone, was already known in industry circles for her gritty portrayals of troubled youths in
such independent
films as Poker House and The Burning Plain seamlessly made the transition to
big - budget
studio fare playing a young «Mystique» in X-Men: First Class while still sticking to her indie roots with key roles in
films like The Beaver, Like Crazy, and the forthcoming House at the End of the Street.
Free and open - source software like Blender developed to
such a high level that even
big studios use it in their
film - production.