It's a question swirling around the Sundance Film Festival at this tony ski resort this year as the fate of
independent films seems to grow dimmer and the money to finance these ventures is as difficult to cobble together as political compromises -LSB-...]
Not exact matches
Following a substantial role in the
independent romantic comedy Better Than Chocolate (1999), Crewson
seemed to be on the verge of adding another hit to her resumé as one of Robin Williams» original owners in the fantasy Bicentennial Man (1999), but the
film failed to live up to box - office expectations.
There
seems to be a progressive gap growing between
independent projects and the
films that are considered to be more mainstream.
Although we've seen the struggle for individualism and personal power done many times before, particularly in
independent films, Real Women Have Curves never
seems to lack for freshness despite it all.
He
seems better than this
film, which plays out as a typical
independent movie striving to be a mainstream hit.
But it's also a time when the various foreign
films, documentaries, smaller American
independent movies and a few genuinely unclassifiable flicks that also hit theaters don't
seem like counterprogramming so much as complimentary.
Robespierre is among the greatest discoveries to emerge from the Sundance indie slate in the past few years and offers continued relevance to the festival, which
seems increasingly distanced from its original mandate to support not only
independent film but movies that take risks.
Having been nominated at the 2012 Gotham
Independent Film Awards for «Best
Film Not Playing at a Theater Near You,» it
seems only a matter of time before someone picks up the movie, though Seimetz says she is sifting through distribution offers and trying to sort out what will work best for her
film or rather what will be the best way to sell her
film.
Although Crumb was made long time ago now, there
seems to have been a recent trend in adapting
independent comics to
film.
Some big - budget projects that
seemed guaranteed to find audiences didn't, while
independent films that «weren't particularly strong on the page» turned out «beautifully» (but didn't always find audiences).
In Junebug, Southern compatriots Morrison and MacLachlan
seem to be reaching for ephemeral grace notes more than overarching clarity, but the mesmerizing performance of Adams isn't transcendental — it
seems to exist in a vacuum
independent of the rest of the
film.
She writes me: «At those
Independent Spirit Awards (a million years ago it
seems like) we had been told that you were not a fan of the
film.
Things began so well with three strong
independent films, but those days
seem to be behind us.
I don't love every one of those
films, but together, they certainly
seemed as if they were the foundation for a serious
independent -
film movement.
«Ingrid Veninger is a true
independent, a maker of intimate
films that
seem born of the moment.
This
film is a must - see for serious fans of horror movies, as well as those who value the type of experimental filmmaking that
independent filmmaking
seems to foster under the right conditions.
2014
seems to be a good year for middle - aged English actors getting to ham it up and go crazy in
independent films; Ralph Fiennes got to knock it out of the park last month with The Grand Budapest Hotel, and here comes Jude Law in the gangster dramedy Dom Hemingway.
The developers have long been fans of the 1994
independent film, and Randal
seems to invoke the laid - back and free - spirited Randal Graves, considered to be «master of his own destiny» as well as a «danger to the dead and the living.»