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#Likes4Lucas
The redemption story of a fictional YouTube star, #Likes4Lucas is now 60% funded, 100% shot and officially in post-production. To be released as a short film and as the pilot for an eight-part episodic series, #L4L is a "Trojan-Horse Traumedy.” Its secret mission: to help at-risk teens deal with digital addiction.
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Review: The Perfect Neighbor
A non-fiction narrative recounted primarily through police bodycam footage, The Perfect Neighbor speaks volumes. Produced and directed by the award-winning Geeta Gandbhir, it is both brilliant journalism and sensitive storytelling: a life-and-death drama, a tragedy born of neighborhood tensions—and a microcosm of our nation’s deepest wounds.
Interview: Carter Logan on Father Mother Sister Brother
Is it possible to control a work of art that is by nature—and intent—an enigma? According to longtime Jarmusch Producer Carter Logan, the familial interactions they explore onscreen are direct analogues to his creative process with Jarmusch.
Review: Nouvelle Vague
Inspired by Jean-Luc Godard’s 1960 game-changer, À Bout De Souffle (Breathless), Richard Linklater’s Nouvelle Vague (New Wave) turns historical autofiction into an ode to first-time filmmaking.
Review: I Only Rest in the Storm
17 minutes may seem like a long time for a film to explore Colonialism, but we’ve been doing it as a species for far longer.
The Art of Sundance: Beginner’s Festival Guide
Sundance is expensive. If you can allot the time and money to go, you’ll want to make the most of your experience. So here’s how to make it even more worth your while.
Review: It Was Just an Accident
A deeply upsetting, unexpectedly comic crime drama, Jafar Panahi’s It Was Just An Accident is both a cinematic achievement and an act of political defiance. Completed under immense personal risk, this enthralling Iranian film delivers politically-charged trauma via clandestine filmmaking. The result is one of the most daring and unforgettable films his entire oeuvre … with questions that linger long after.
My own worst critic, your greatest ally.
As a filmmaker and critic, I’m tough on myself, but fair to my audience. Basically, I’m an optimist—without rose-colored glasses. I know that excellence takes many forms, that a filmmaker’s journey informs the story onscreen. I sympathize with artistic struggles and know the pain of production. I believe in potential; I search for kernels of truth, for those cracks in the chaos where intention shines through. All storytelling is a mix of affirmation, education and therapy.
Dylan Kai Dempsey