Sentences with phrase «independent film scene in»

New «Looking at Los Angeles» contributor Danielle McCullough surveys the independent film scene in Los Angeles.

A hardcore punk - rocker turned self - described «filmmaker, absentee father,» Jeremy Saulnier emerged on the independent film scene in 2007 with Murder Party, a low - budget horror - comedy infusion that flew under the radar.

Since she first appeared as Nina in Goran Dukić's Wristcutters: A Love Story (2006), Seimetz has been active in the independent film scene in many capacities — as a collaborator to Joe Swanberg (which involves wearing many hats), (14) a producer (for Barry Jenkins's elegant and sensitive Medicine for Melancholy [2008], among others) and an actress for edgy, polyvalent directors who often blur the boundary between acting, directing, writing and crewing: Jay Keitel (also the DP for Sun Don't Shine), Lawrence Michael Levine, Lena Dunham, Kentucker Audley, David Robert Mitchell, Adam Wingard, Cherie Saulter, Josh Slates, Dan Bush and Tomer Almagor.

Not exact matches

Unlike other independent films in which big names are ridden into the ground like a sweaty mule, shoehorned into every possible scene in the movie, «Moms» Night Out» has an ensemble cast - an amazing feat for a film with a budget just under $ 5 million, according to Andrew and John Erwin, the brothers who directed the film.

She earned critical praise for her role in the independent feature REMEMBER THE DAZE, singled out by Variety as the «scene stealer» of the film opposite Amber Heard and Leighton Meester.

He burst onto the scene in 2013 with Fruitvale Station, a low budget independent film that premiered at Sundance and told the true story of a 22 - year - old African American who was killed by police in Oakland.

After all, underground cinema is less in thrall to the establishment of a name (filmmakers may often either move on to independent film or into other areas of activity), and much more likely to be a scene of greater experimentation.

In this wonderful interview excerpt, courtesy of Youtube user andyrodd077, legendary independent filmmaker George Kuchar opens up on his time in the New York film scenIn this wonderful interview excerpt, courtesy of Youtube user andyrodd077, legendary independent filmmaker George Kuchar opens up on his time in the New York film scenin the New York film scene.

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.

Amy Seimetz («Upstream Color») Over the last few years, Amy Seimetz hasn't come anywhere near threatening to crack the mainstream, but has served as a sort of «Zelig «- figure for a particular kind of American independent film, crossing paths with many of the most notable players in the scene in some way or another.

What happens afterward is arguably one of the most memorable scenes in independent film ever.

An emotionally stirring journey through the coming - of - age of a young black man in Miami, Moonlight has established Jenkins as one of the most vital storytellers on the independent film scene.

Here is moment from their chat that is appearing only on our website — in which they discuss the film's themes and influences, its place in the nineties independent film scene, and its importance in Moore's early career.

For a glimpse of the dynamic between Haynes and Moore, watch the below outtake from a supplement on our release, in which the two discuss some of the influences behind Safe — including Michelangelo Antonioni's Red Desert, Chantal Akerman's Jeanne Dielman, and the work of frequent Haynes reference point Douglas Sirk — and the independent - film scene from which it emerged.

A piercingly intelligent and flawlessly performed chamber piece, in which the video camera becomes a charged metaphor for the characters» isolation, the Palme d'Or — winning sex, lies, and videotape changed the landscape of American film, helping pave the way for the thriving independent scene of the 1990s.

But those in the know have been keeping tabs on Nichols since his breakout sophomore effort, the provocative apocalypse tale Take Shelter, and over these three films (also including his debut, Shotgun Stories, and the moderately successful and excellent Mud), he has established himself as a strong Southern voice on the independent scene, the sort of director who makes you sit up and take notice whenever he announces a new project.

Combining warmth and genuine pain without resorting to a sappy or contrived ending is no longer anything new in the independent film scene but it is always welcome to see it done as well as it is done in Little Miss Sunshine.

The 35 - year - old actor was discussing filming scenes for the upcoming movie during an interview with The Independent — and one thing he said in particular has gotten a lot of attention.

Of course, this year has also been marked by much upheaval in the movie business, from the sexual harassment scandals that have already taken a toll on the independent film scene to the recently announced merger of giants Disney and 20th Century Fox, which also promises to effect major changes in the years to come.

The filmmaker behind «We're Glad You're Here» discusses her film as a feminist experiment, filling a hole in the independent - film scene and life imitating art.

Independent filmmaker and underground music aficionado David Markey's films include 1991: The Year Punk Broke (1992) and the Los Angeles punk Super 8 cult classics The Slog Movie (1982), Desperate Teenage Lovedolls (1984), and its sequel Lovedolls Superstar (1986), all of which represent a unique record of the punk scene in Southern California throughout the 1980s and 1990s.

Presented as part of the Club 57 exhibition, this survey celebrates film and video created during New York's post-punk period, including landmark examples of No Wave, Cinema of Transgression, and independent films that grew out of the East Village scene and were first exhibited in area venues like Club 57, New Cinema, Millennium, and others.