The trailer has arrived for the late William Friedkin’s final film, The Caine Mutiny Court-Martial, a remake of the well-worn Herman Wouk source material. This time, the ensemble cast includes Kiefer Sutherland and the late Lance Reddick, while the film reportedly confines itself to three locations for the entirety of its telling. The film joins the Paramount+ platform next month.

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The inaugural edition of FILM FEST KNOX, set to take place in Knoxville this year from November 9 to 12, has announced the six titles that will be featured in its American Regional Film Competition section, designed to highlight work produced outside of New York and Los Angeles, including the sophomore directorial feature by 25 New Face of Film Graham Swon. From the press release: An Evening Song (for three voices) (Dir. Graham Swon) 86 minutes – Drama In the 1930s a former child-prodigy writer moves to the countryside with her pulp-fiction scribe husband where they become entwined in a love […]

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Out December 22 from Searchlight Pictures, All of Us Strangers marks Andrew Haigh’s first feature film since 2017’s Lean on Pete. Early reviews are strong for this drama, which merges a burgeoning romance between Adam (Andrew Scott) and Harry (Paul Mescal) and the former’s return home, where he mysteriously discovers his long-dead parents alive and well. The film screens next at NYFF. Click here to read Peter Bowen’s 2011 interview with Haigh for his debut feature, Weekend.

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Rathaus, the New York and Detroit-based production company behind such films as Tim Sutton’s Funny Face, Cedric Cheung-Lau’s The Mountains Are a Dream that Call to Me and Diana Peralta’s De Lo Mio, has announced a new grant supporting Detroit-based filmmakers. The Rathaus Film Grant will give $10,000 to one moving image artist in support of a short film, feature film, documentary, hybrid piece, or video art. Funds are unrestricted. As the FAQ notes, they “can be used in any way that significantly progresses your project forward. This could be anything from; supporting you to take time off to write […]

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Aidan Gillen returns to the podcast (first time: Episode 40). You know him from some of the most beloved shows of the century: Game of Thrones, The Wire, Peaky Blinders, to name a few. Now he stars in the Irish neo-noir film Barber, where he plays a private investigator hired by a wealthy widow to find her missing granddaughter. He talks about why he doesn’t look at the lines until the day before shooting, how his latest venture on the stage affected his work, why he still doesn’t like rehearsal for film, what bothers him about an “actor-centric” production, and […]

The post Aidan Gillen is Still “Fishing From The Ether”: Back To One, Episode 266 first appeared on Filmmaker Magazine.

“You’re here for an experimental shorts program, so you know,” said filmmaker Shambhavi Kaul. “You know.” Her latest was premiering as part of the second Wavelengths shorts program of TIFF 2023, the section-within-a-section of the festival I value most—once a rejuvenating four sessions when I started attending TIFF in 2016, subsequently pared down to two in a smaller auditorium and back to three in this year’s edition. In his overview of this year’s Wavelengths, Michael Sicinski walks through its history and how, over the years, it’s enfolded other, more fleeting sections for adventurous work; now, there can only be one, […]

The post TIFF 2023: Wavelengths, Arthur & Diana first appeared on Filmmaker Magazine.

Pedro Costa has made the latest in a long line of festival trailers commissioned by the Viennale from leading auteurs. This one stars Elizabeth Pinard, star of his newest short, The Daughters of Fire, singing a Brecht song. This year’s Viennale runs from October 19 to 30.

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Introducing his third feature, Nowhere Near, Miko Revereza said that his first, the train travelogue No Data Plan, was shot in three days and edited in about a month, fooling him into thinking every movie would be as easy. Instead, Nowhere Near took seven years and five or six entirely different cuts to compose itself. Similarly contemplating a mountain of longitudinally acquired footage, Chris Wilcha’s Flipside is assembled from work shot over nearly three decades. Their approaches and intentions are entirely different, but the two films work well together. Wilcha is the maker of 2000’s The Target Shoots First, an immaculate workplace comedy about his mid-’90s […]

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Nothing I heard or saw at the 80th Venice Film Festival felt more momentous than the news that came from Berlin after four days of screenings. On September 2, Berlinale artistic director Carlo Chatrian announced he’d step down after next year’s edition, citing issues with the new management structure proposed by Germany’s minister for culture and media Claudia Roth. His premature departure will mark the end of a five-year journey that turned the festival into an event miles away from the tacky extravaganza of its Dieter Kosslick era. Shepherded by Chatrian and executive director Mariëtte Rissenbeek, the Berlinale had found […]

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In the late 1980s, Gregg Araki began making movies. He made films on a shoestring budget with a do-it-yourself mindset–not due to any kind of loyalty to the auteur theory, but the constraints of what he had at his disposal. In 1992, he made The Living End, a tale of two HIV-positive gay men, a loner and a film critic, who set off on a bloody, ferocious adventure. The film was dedicated to “the hundreds of thousands who’ve died and the hundreds of thousands more who will die because of a big white house full of republican fuckheads.” From there, […]

The post “It’s Disturbing to Me How Relevant They Are”: Gregg Araki on New Restorations and His Teen Apocalypse Trilogy first appeared on Filmmaker Magazine.