Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels has been keeping a regular diary over the course of the 2020 Sundance Film Festival. In his third and final dispatch, Jake shares a range of musings along with seven film reviews. This article offers Jake’s take-away impressions of the festival in Park City, from streaming to shrieking. Jake begins his pondering with a report on The Last Thing He Wanted and Wendy, two Netflix made-for-streaming flicks. Then his experience is buoyed by Minari — an unexpected gem and evidence that festival surprises still exist. As he discusses Horse Girl and Lost Girls, Jake contemplates the importance of actors.. Finishing his week with Us Kids and The Night House, Jake is reminded that despite so many of these films’ online destinations, festivals still offer the thrill of a shared audience experience, sitting in the dark with strangers in a big theater.
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, and this is his second dispatch. Jake’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. Today’s report includes: Never Rarely Sometimes Always, Eliza Hittman’s new drama; Worth, a Michael Keaton-led legal procedural; Dream Horse, an uplifting racehorse saga; and Promising Young Woman, a feminist revenge thriller starring Carrie Mulligan. See which film Jake calls “the best thing I’ve seen at the festival.” (And look for some movie trailers at the end of this article.)
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 Cooke.
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.
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.
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…