Author Archives: Jake Kring-Schreifels

Dispatches From Sundance Film Festival 2020: Part 1

Dispatches From Sundance Film Festival 2020: Part 1

Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels is keeping a regular diary over the course of a week at the 2020 Sundance Film Festival. He’s giving our IndieNYC website a Sundance first-look, writing about the movies he’s seeing, his observations around Park City and the excitement surrounding another year of new independent cinema. Check back to IndieNYC throughout the festival for his latest entries from Park City. Today’s report includes the new Taylor Swift documentary Miss Americana, Luxor from director Zeina Durr, La Llorona by Jayro Bustamente and Ironbark by Dominic Cooper.

"Portrait of a Lady on Fire"

NYFF Review: “Portrait of a Lady on Fire”

To experience Portrait of a Lady on Fire, is to observe a detailed painting coming to life. Over time, its sketch marks and broad dabs of paint begin to layer and blend, filling out a finished canvas full of detailed and vivid complexion — a slow burn that turns more beautiful the longer it heats. Movies often teach you how to watch them, and director Celine Sciamma, much like her two female protagonists, insists on your patience, your attention to detail and your openness.

NYFF Review: “The Irishman” Directed by Martin Scorsese

Invoking his signature cinematic past, in the opening-night film of the 57th New York Film Festival, director Martin Scorsese opens The Irishman, his 209-minute mob-focused opus, with a long tracking shot. Instead of weaving through casino slots or dinner tables though, this visual tour slowly glides past the sterile, morose hallways of a nursing home to greet a solitary, white-haired old man, staring blankly into an empty room. The movie’s primary focus and sole storyteller, Frank Sheeran, played by Robert De Niro, looks into the camera and begins meditating on the unthinkable, unlikely atrocities and long gestating regrets that have consumed his life. If it’s fair to label this the conclusion to a trilogy, the bow wrapping together Scorsese’s mob-centric classics Goodfellas and Casino, then it’s also fair to consider it a technical and spiritual hard pivot.


12 Observations From The 2017 South By Southwest Film Festival

For the majority of its 24 years, South by Southwest has been most commonly associated with its music festival – a midweek sprawl of bands and artists playing in just about every bar and street corner in Austin– while the movies and interactive portions play second fiddle. Look back at some of the festival’s recent


On The Radar: SXSW 2017

While the South by Southwest Film Festival prides itself on being an innovative, edgy and forward-thinking exhibition, it is also happy to celebrate itself, nestle into its roots and promote the vibrancy that exists in its own backyard. These two traits are not mutually exclusive, as will likely be seen in this year’s opening night


2016 Sundance Film Festival Interview: Grímur Hákonarsson (Rams)

After it won the “Un Certain Regard” section at Cannes last year, “Rams,” the latest film from Icelandic director Grímur Hákonarsson, made a stop at the 2016 Sundance Film Festival.  The story features two sheep farming brothers who haven’t spoken to each other in 40 years, yet live as neighbors in an isolated Iceland valley.