Independent films – Monte Carlo Film Festival http://montecarlofilmfestival.com/ Mon, 21 Nov 2022 17:46:44 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://montecarlofilmfestival.com/wp-content/uploads/2021/06/cropped-icon-32x32.png Independent films – Monte Carlo Film Festival http://montecarlofilmfestival.com/ 32 32 The producer of “Godfather” and “Apocalypse Now” was 85 years old – Deadline https://montecarlofilmfestival.com/the-producer-of-godfather-and-apocalypse-now-was-85-years-old-deadline/ Mon, 21 Nov 2022 17:27:00 +0000 https://montecarlofilmfestival.com/the-producer-of-godfather-and-apocalypse-now-was-85-years-old-deadline/

Gray Frederickson, an Oscar-winning co-EP on The Godfather movies and Revelation now who was one of the busiest and most respected producers and production managers from the 1960s through the 80s, died Nov. 20 of prostate cancer in Oklahoma City. He was 85 years old. His wife, Karen, confirmed his death.

Born in Oklahoma, Frederickson moved to Hollywood in the early 60s and quickly gained expertise as an executive producer. He produced the 1971 comedy Do it at 20th Century Fox and teamed up with Al Ruddy to produce Little Fauss and Big Halsy (1970) with Robert Redford at Paramount.

Becoming a trusted adviser to Francis Ford Coppola, Frederickson served as co-executive producer on The Godfather, The Godfather Part II — sharing a Best Picture Oscar for the sequel — and Apocalypse now, spend many months alongside Coppola in the Philippines and other Asian locations.

His association with Coppola continued on other films including one of the heart (1981) and The foreigners (1983) in a 2015 Coppola-directed live theater experiment titled Distant vision.

His production credits also include “Weird” star Al Yankovic. UHF (1989), Ladybugs with Rodney Dangerfield (1992) and South of Heaven, West of Hell (2000) with Billy Bob Thornton.

Frederickson also held other production positions, becoming vice president of physical production at Lorimar in the 1980s.

On The Godfather, Frederickson’s close ties to Coppola were particularly significant given the studio’s ongoing disagreements with producer Ruddy, who was briefly fired mid-production. Frederickson was the only producer present when Marlon Brando performed his surprise “audition” for the lead role during pre-production.

Frederickson had two children. After his Hollywood career, he semi-retired in Oklahoma where he produced several independent films and taught filmmaking at Oklahoma City Community College, before being elected to the Oklahoma Hall of Fame. one year ago.

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BRADMAN: The Movie hosts Chicago premiere ahead of December streaming release https://montecarlofilmfestival.com/bradman-the-movie-hosts-chicago-premiere-ahead-of-december-streaming-release/ Wed, 16 Nov 2022 08:25:00 +0000 https://montecarlofilmfestival.com/bradman-the-movie-hosts-chicago-premiere-ahead-of-december-streaming-release/

“Ruth Diaz, Jenny Wardach, Delilah Hefner, Jim Schiefelbein and Bradley Laborman at the Chicago premiere” Photo by Chris D. McFarland

Bradley Laborman and Jenny Wardach at BRADMAN: The Movie Premiere – photo credit Ruth Diaz

Ruth Diaz and Jenny Wardach at the premiere of BRADMAN: The Movie photo by Chris D. McFarland

Chicago’s Rogers Park 400 Theater hosted the recent “Blue Carpet” premiere screening of BRADMAN: The Movie on Monday, November 7, 2022.

CHICAGO, Illinois, USA, Nov. 16, 2022 /EINPresswire.com/ — The historic 400 Theater at Rogers Park in Chicago, Illinois hosted the recent ‘Blue Carpet’ premiere screening of BRADMAN: The Movie. Several cast and crew members as well as Chicago notables came out to enjoy a night of fun and entertainment and had a chance to see an early screening of the film itself.

Among those present were:

Bradley Laborman, writer and lead actor of the film who plays the lead character Bradley/Bradman. Jenny Wardach, the film’s lead actress who plays Jeannie O’Brien. Ruth Diaz, the actress who plays one of the film’s two main villains, Disco Infuerno. Jeremy Applebaum, who was the cinematographer for the film and is also a producer on the project. Abby Specht, a local Chicago musician and composer of the song “Hero” from BRADMAN: The Movie Soundtrack was present along with Caitie Ramirez who sang on the song.

Also in attendance was Mike Leibrandt, who wrote and performed the song “Drive” from the soundtrack. Al Vittuci, Adam Huffman, Alen Rios, Angelica Trygar, Chantelly Johnson, Cynthia Ruberry, David Wolfgang von Ehrlicher, Delilah Hefner, Jamie Pritzker, Jarrell Johnson, Jeanne Scurek, Jeff Lasky, Jim Schiefelbein, Michelle Hefner were also present. , Riley Moloney, Shannon Shae Marie, Thomas Lozanovski and TJ McDonald.

Various members from Chicago and surrounding communities were also present for the event. Angelica Trygar, who plays the alien “Kyla,” said, “It was such an honor to be part of this project. Kyla was a pleasure to bring to life on screen. I couldn’t ask for a better stage partner than Dennis Hurley.

Dennis Hurley, who played ‘Professor Victor Nordic’ was unable to attend the event due to previous filming commitments, but said in a post: ‘An absolute joy to play Professor Nordic in the feature film. of goofy comedy, Bradman! Always a pleasure to work with Bradley Laborman”

The evening was sponsored by milkandbutter.net, a gaming, charity and crypto community and drinks were provided by Monaco.

After the film, several actors were enthusiastic about the film and were already wondering about a possible sequel.
“Such a funny and brilliant film! I laughed a lot ! I really hope Bradman gets a sequel! said Delilah Hefner, a rising young actress who has a central role in the film.

Chicago-based actor TJ McDonald said, “BRADMAN: The Movie was my first role in a fictional film. I had no idea how things would work out, but it was a wonderful experience and I’m glad I got to be a part of it.

Jenny Wardach gushed about her filming experience: “The cast and crew definitely made the experience a comedy. I wouldn’t change anything.

When we caught up with Bradley Laborman, who was enjoying all the buzz from the premiere, he told us “I made this movie to pay homage to the first movie I ever wrote and created in college, the movie original was a stepping stone that provided me with over 20 years of experience in film, television and live theater. This film is the reason I am today and this reboot, this cast and this crew, provided the perfect chemistry to bring him back to the screen.

We also had the opportunity to contact Barry Keith Coe Jr., who served as one of the film’s producers but was unable to attend the Chicago premiere. “I wish I could have been there, being involved in independent film projects like BRADMAN is important to me as a comedian and an artist. Projects like these give a voice that we don’t always hear. However, I was visiting my little sister in Atlanta to support her by bringing a new edition to our family. I’m an uncle now and my nephew is a ball of light!

BRADMAN: The film has a few more possible screenings scheduled in Los Angeles and New York, as well as again in Chicago in December before hitting streaming platforms around December 15, 2022.
A plot summary of the film is:

Bradley is a middle-aged man who gave up a normal 9 a.m. to 5 p.m. job to try his hand at acting. Now, he works as a rideshare driver while performing nights at the Chuck Hole Comedy Club in Chicago’s Albany Park neighborhood.

His love interest is Jeannie, a comedy club bartender who is studying for her master’s degree at a local university. After some back and forth, they finally agree to go on a date one night after Jeannie leaves work. The powers that be have other plans for Bradley, however.

Through a series of events, Bradley consumes an alien elixir that grants him superpowers. Now Bradley finds himself as superhero “Bradman” protecting the town he calls home and the woman he loves from two evil supervillains bent on destroying the world.

You can learn more about the film by visiting the BradmanTheMovie.com website or by checking out the film’s IMDb page.

Bradley Labourman
BRADMAN Media Unlimited
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BRADMAN: The Movie (2022) – STREAMING TRAILER

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Marvel’s ‘Black Panther’ Marks 2022’s Second Biggest Opening With $180 Million https://montecarlofilmfestival.com/marvels-black-panther-marks-2022s-second-biggest-opening-with-180-million/ Sun, 13 Nov 2022 20:54:00 +0000 https://montecarlofilmfestival.com/marvels-black-panther-marks-2022s-second-biggest-opening-with-180-million/ The box office came alive with the long-awaited release of “Black Panther: Wakanda Forever.”

Marvel’s sequel grossed $180 million in ticket sales from more than 4,396 theaters in the U.S. and Canada, according to The Walt Disney Co. estimates on Sunday, making it the second-biggest opening ever. year behind “Doctor Strange in the Multiverse of Madness”. .” Overseas, it grossed an additional $150 million from 50 territories, bringing its worldwide total to $330 million.

“Wakanda Forever” was eagerly awaited by audiences and exhibitors alike, which has been going through a slow period at the box office since the end of the summer movie season and there were fewer big-budget blockbusters in the pipeline. The film got off to a mighty start a little stronger than even the first film with an $84 million opening day, including $28 million from Thursday previews.

“Some were hoping for maybe $200 million like the first movie, but it’s solid,” said Paul Dergarabedian, senior media analyst at Comscore. “It’s the type of film that cinemas really need to attract audiences.”

The first film opened to $202 million in February 2018 and has grossed over $1.4 billion worldwide, making it one of the highest-grossing films of all time and a cultural phenomenon. . A sequel was inevitable and development began soon after with the return of director Ryan Coogler, but that all changed after the unexpected death of Chadwick Boseman in August 2020. “Wakanda Forever” instead became The Death of King T. ‘Challa / Boseman’s Black Panther, and the grieving kingdom he left behind. Returning cast members include Angela Bassett, Lupita Nyong’o, Letitia Wright, Winston Duke, and Danai Gurira, who face a new foe in Tenoch Huerta’s Namor. The film would also face more complications, including Wright’s injury and some setbacks related to COVID-19. In total, it cost $250 million, not including marketing and promotion.

AP movie screenwriter Jake Coyle wrote in his review that “‘Wakanda Forever’ is too long, a bit heavy, and somehow mystifyingly heads to a climax on a barge in the middle of the Atlantic. But the mastery Coogler’s fluid of mixing intimacy and spectacle remains captivating.

It currently holds 84% ​​on Rotten Tomatoes and, as is often the case with comic book movies, viewership scores are even higher.

Superhero movies have done well during the pandemic, but none have yet reached the heights of “Spider-Man: No Way Home,” which opened to $260.1 million in December 2021. Other big releases include “Doctor Strange in the Multiverse of Madness” ($187.4 million in May), “Thor: Love and Thunder” ($144.2 million in July) and “The Batman” ( $134 million in March).

“Wakanda Forever” is the first film to open more than $100 million since “Thor” in July, which has been difficult for exhibitors already dealing with a schedule that has about 30% fewer wide releases than a normal year.

Holdbacks populated the rest of the top five, as no film dared to launch nationally against a Marvel juggernaut. Second place went to DC superhero “Black Adam,” with $8.6 million, bringing his domestic total to $151.1 million. “Ticket to Paradise” landed in third place, weekend four, with $6.1 million. Julia Roberts and George Clooney’s romantic comedy has grossed nearly $150 million worldwide. “Lyle, Lyle, Crocodile” and “Smile” rounded out the top five with $3.2 million and $2.3 million, respectively.

Some awards hopefuls have struggled in their expansions lately, but Searchlight Pictures’ “The Banshees of Inisherin,” starring Colin Farrell and Brendan Gleeson, feels like an exception. Martin McDonagh’s film expanded to 960 theaters in its fourth weekend and earned No. 7 on the charts with $1.7 million, bringing its total to $5.8 million.

“It’s been a very interesting post-summer period for theaters, with some gems doing well like ‘Ticket to Paradise’ and ‘Smile’,” Dergarabedian said. “But movie theaters can’t survive on non-blockbuster style movies. The industry needs more.

After “Black Panther”, the next blockbuster on the program is “Avatar: The Way of Water”, which will arrive on December 16.

The weekend wasn’t completely without more high profile releases. Steven Spielberg’s autobiographical drama “The Fabelmans” debuted at four theaters in New York and Los Angeles with $160,000. Universal and Amblin will release the film in more theaters in the coming weeks to build excitement around the likely Oscar contender. Michelle Williams and Paul Dano play the parents of Spielberg’s replacement, Sammy Fabelman, who falls in love with movies and movies as his parents’ marriage crumbles.

“It will be an interesting holiday season,” Dergarabedian said. “I think a lot of dramas and indie films will have their time to shine in the next couple of months.”

Estimated Friday-Sunday ticket sales at US and Canadian theaters, according to Comscore. Final national figures will be released on Monday.

1. “Black Panther: Wakanda Forever,” $180 million.

2. “Black Adam,” $8.6 million.

3. “Ticket to Paradise,” $6.1 million.

4. “Lyle, Lyle, Crocodile,” $3.2 million.

5. “Smile,” $2.3 million.

6. “Prey for the Devil,” $2 million.

7. “The Banshees of Inisherin,” $1.7 million.

8. “One Piece Film Red,” $1.4 million.

9. “Up to”, $618,000.

10. “Yashoda”, $380,000.

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Wheatus Documentary: The Edinburgh filmmaker talks about his experience filming Wheatus: You Might Die https://montecarlofilmfestival.com/wheatus-documentary-the-edinburgh-filmmaker-talks-about-his-experience-filming-wheatus-you-might-die/ Thu, 10 Nov 2022 07:13:45 +0000 https://montecarlofilmfestival.com/wheatus-documentary-the-edinburgh-filmmaker-talks-about-his-experience-filming-wheatus-you-might-die/

An Edinburgh filmmaker, who worked on a documentary about Wheatus, the American band best known for their hit single Teenage Dirtbag, has opened up about his touring experience with the band and the awkward moment he was mistaken for a member by a fan excited.

IV Jones produced and co-directed the film, Wheatus: You could die, which took years to prepare. He said, “In a nutshell, the documentary follows the Wheatus band, but it focuses primarily on leader and founder Brendan B. Brown and his external struggle to keep his band going. He also addresses his internal struggles with himself while confronting his past. The film tackles dark themes where Brendan makes himself really transparent on camera, making it a raw and sometimes difficult film to watch. It’s not just a typical rock-doc. It’s a journey of someone’s life and how they made it while facing their inner demons.

IV studied television at Edinburgh College and then at Napier University where he learned “all aspects of narrative and non-fiction filmmaking”. “I was mostly making shorts with friends and like-minded creatives in Edinburgh and Scotland since 2005,” he said. “I caught the bug of making documentary films by following a wrestling organization that was having an event up north. I enjoyed working on all the logistics, doing research and conducting interviews. I never knew what type of scenarios I would capture on film that was exhilarating.

Wheatus Documentary: Filmmakers Discuss Their New Film About Iconic Band ‘Teenage Dirtbag’

He was a guest on the Wheatus project halfway through its completion, taking an overnight trip to London on the Megabus to talk to director and creator Antony D. Lane. Antony was promoting his movie Invasion of the Not Quite Dead when he started making plans for this project.

He explained that he sees the film as “the story of one man’s struggle to keep his dream alive, his band alive and, to some extent, himself alive through the creative art of making music on its own terms. He said: “As with any project, especially if self-funded, it can take years of blood, sweat and tears.”

make the movie

The making of the film had an impact on its creators and the band, as they traveled together across Europe and the United States, capturing everything on film.

Wheatus Documentary: Filmmakers Discuss Their New Film About Iconic Band ‘Teenage Dirtbag’

“These kinds of documentaries take a long time to make, especially without benefactors or adequate funding in place,” IV said. “It’s actually the hardest thing I’ve ever done and it’s also very taxing on my mental health. Brendan was honest with us and didn’t censor what we were allowed to capture. He didn’t really say no. There’s a great scene where the band is in the green room during the tour and there’s a disagreement with vocalist Brendan and bassist and best friend Matthew Milligan. It really shows you the dynamic of their relationship. Brendan’s anger and frustration comes through, and Matthew was able to defuse that, while raising the morale of the band. It’s a great scene that shows everyone’s place and personally on the tour.

However, there were also lighter moments. Director Antony said: “I remember I filmed the whole thing, and I didn’t realize that after following Brendan for a few minutes, I accidentally followed him to the restroom on the tour bus. , he lifts the lid of the toilet bowl, it’s obvious he pulls out his instrument to pee and looks at me and says something like “hell no! and close the door. We both burst out with a huge life on tour can be stressful for the band, especially the early years when Brendan was tour manager, so it was truly amazing to capture the lighter moments and see Brendan with a smile on his face. fun, but awkward moment.

IV, a little guilty, added: “During one of the last tours we filmed, Antony, myself and our sound engineer Danny Allen were chatting with Wheatus bassist Matthew in the Green Room after a gig in Plymouth. . As it was getting late, we all got up and headed for the main hall of the university building. Two security guys in white shirts, black ties and ear flaps approached us excitedly and shouted “It’s Wheatus”.

“Without hesitation, he pulled out his phone and handed it to his co-worker to take our picture. I remember holding all that movie material watching Matthew and waiting for him to explain to that guy that it wasn’t the band but the filmmakers. making a movie about Wheatus. But pretty soon it became apparent that Matthew was ready to play along. With the security guard with his arm around us all with a big smile, the picture was taken. There’s a guy somewhere who thinks he got a picture with the Wheatus band. Sorry, ha ha.

Wheatus Documentary: The Edinburgh filmmaker talks about his experience filming Wheatus: You Might Die

The group

Wheatus lead singer Brendan B. Brown and bassist Matthew Milligan spoke exclusively to the Edinburgh Evening News about their experience with the filmmakers, what it was like to be constantly in front of the camera and what they hope people will see in the documentary.

Brendan explained, “It’s about what it’s been like to make this band work, I think maybe the struggle of knowing what our lives have become, as a result of the song and our attempt at everything. manage ourselves, and document it. Perhaps understanding how dangerous it can be to rely solely on a passionate goal to overcome trauma…an admission that professional help is needed.

He added that the hardest part of the process was: “watching your old self make mistakes in an indelible image of something you struggled not to be and at the same time feeling grateful for having succeeded and worked for it. to be something healthier.”

Wheatus Documentary: Filmmakers Discuss Their New Film About Iconic Band ‘Teenage Dirtbag’

“There were days when I woke up and got out of my bunk and the very first thing I saw was a camera pointed at me,” Matthew said. “I’m not bothered by how I look on camera, but even still it makes you feel like you need to be ‘turned on’ every moment of the day. Which can definitely be exhausting. I think watching the documentary made me realize how difficult that particular time was for the band. At the time, I was just focused on working hard and doing everything in my power to make the shows great, the engaged and growing fan base, and interpersonal relationships as calm and healthy as possible. Watching the film, many of the most dramatic and remarkable moments were reproduced exactly as I remembered them, but this is not is that in replay that I realized how difficult certain scenarios were in reality.

When asked what he hoped people would take away from the documentary, Matthew replied, “There’s always more to someone than initially appears. Humans are beautiful and imperfect and do their best. The power of music cannot be underestimated.

Brendan and Matthew have played in Edinburgh before, with Brendan saying: “We have the fondest memories of Edinburgh. We have played there several times. It’s a magical place with a castle, and somehow we never seem to care about the rain, which comes up from the ground. That’s the reason to go back again and again and find a cozy place for a roast.”

Matthew added: “We love Edinburgh. We don’t play there as often as in Glasgow, but I’m always happy to see him on our tours. We always have great shows in Scotland and Edinburgh is no exception. Oddly, the first memory of Edinburgh that comes to mind right now is that we were there many years ago on our drummer Kevin Garcia’s birthday. Her favorite drink is tequila so we wanted to give her a bottle as a gift. We walked all over town and couldn’t find a single store selling tequila. He ended up with a bottle of scotch but as the old saying goes, when in Rome!

movie hit

IV had hoped the film would screen at Capital’s Filmhouse when it was released next year and said he was devastated by the news of its closure. “”This is a troubling time for independent cinemas in Edinburgh,” he said.

Wheatus Documentary: Filmmakers Discuss Their New Film About Iconic Band ‘Teenage Dirtbag’

Associate producer Mark Christopher Covino also said he knows all too well the issues facing independent films — now more than ever. He said, “I could write a Bible on that one subject.” But to put it simply, raising funds to make these films has become extremely difficult over the years. We now have a massive influx of people creating “content”. This includes documentaries, stories, series, TikToks, etc. The market is completely saturated and because of this, it is increasingly difficult to obtain financing and to be seen.

Wheatus Documentary: Filmmakers Discuss Their New Film About Iconic Band ‘Teenage Dirtbag’
Wheatus Documentary: Filmmakers Discuss Their New Film About Iconic Band ‘Teenage Dirtbag’
Wheatus Documentary: Filmmakers Discuss Their New Film About Iconic Band ‘Teenage Dirtbag’
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Avengers: Infinity War Movie Mistake Considered Marvel’s ‘Biggest’ Mistake Yet in the MCU https://montecarlofilmfestival.com/avengers-infinity-war-movie-mistake-considered-marvels-biggest-mistake-yet-in-the-mcu/ Sat, 05 Nov 2022 13:16:53 +0000 https://montecarlofilmfestival.com/avengers-infinity-war-movie-mistake-considered-marvels-biggest-mistake-yet-in-the-mcu/

avengers: Infinity War featured a “mistake” that moviegoers once considered Marvel’s “biggest” yet.

The blockbuster was released in 2018 to critical and public acclaim.

Directed by the Russo Brothers, the film follows the Avengers’ attempts to stop Thanos from collecting the all-powerful six Infinity Stones as part of his attempt to destroy half of life in the universe.

It seems, however, that the directors and writers, Christopher Markus and Stephen McFeely, forgot a plot point that happened in the past of the Marvel Cinematic Universe.

The scene in question includes the characters Ebony Maw (Tom Vaughan-Lawlor) and Thanos (Josh Brolin).

After handing the Tesseract to Thanos, who already possesses the Stone of Power, Maw says, “My humble character bows to your greatness.

“No other being has ever had the power – nay, the nobility – to wield not one, but two Infinity Stones.”

Over the years, fans have called this the “biggest” mistake to appear in the MCU.

Fans were quick to point out that Loki (Tom Hiddleston) actually owned two Infinity Stones in 2012 Meeting vigilantes – a fact both Maw and Thanos would know.

Ebony Maw’s Mistake in ‘Avengers: Infinity War’

(Marvel Studios)

However, the film’s writers have been defended on Reddit, with one fan arguing that while Loki has the Stones, he doesn’t “wield them in their true form.”

Others have suggested that Maw is making an assumption about no one else in MCU history having two stones at once.

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How Ti West’s X Trilogy Shook the Indie Industry – The Hollywood Reporter https://montecarlofilmfestival.com/how-ti-wests-x-trilogy-shook-the-indie-industry-the-hollywood-reporter/ Wed, 02 Nov 2022 14:00:33 +0000 https://montecarlofilmfestival.com/how-ti-wests-x-trilogy-shook-the-indie-industry-the-hollywood-reporter/

Ti West’s inspiration for Xhis meta slasher starring Mia Goth, was 1970s indie cinema. Not only the aesthetic style of 70s horror and soft-core porn – the plot of X follows a crew trying to shoot a low-budget movie in rural Texas to enrage the Chainsaw Massacre– adjacent adjacent farmers – but also an independent business model invented by low budget movies in rural Texas only to enrage the chainsaw massacre – adjacent adjacent farmers – but also an independent business model invented by people like the original Chain saw director Tobe Hopper, independent film pioneer Roger Corman and the like.

“It was a time when you could make movies independently outside of Hollywood and still have a market and a path to financial success,” West says. Ironically, he says, X and its prequel pearlalso featuring Goth, shot back-to-back on the same set – a cost-saving move Corman would have admired – became “a weird reverse proof-of-concept that it’s still possible”.

Forced to move production from the United States to New Zealand due to COVID, which added the expense of having to “build a little corner of Texas” for the set, West came up with the idea of ​​turning the project into two Movies: A 70s-era soft porn-meets-slasher movie and pearla 1919 horror-melodrama musical. X then later tried to do a prequel, it would have cost triple that,” he notes.

Mia Goth in X

Courtesy of A24

Goth, which has a dual role in X while Maxine, the film’s “last girl” and Pearl, an old farmer’s wife turned on and then enraged by the children shooting their porn movie in her barn, have agreed to spend another three months shooting the prequel, which explores the story of frightening origin of Pearl. She and West co-wrote the pearl scenario after landing below, during their two weeks of enforced COVID quarantine. While doing the films back to back, West and Goth decided the project should be a trilogy. MaXXXinean 80s sequel to Xis currently in production.

In a year that saw the death of independent hits, X and pearl come out. Released by A24 in March, X earned $11.8 million at the US box office, making it the second most successful independently produced and released film of the year, behind only the megahit A24 Everything everywhere all at once. pearl, which A24 lost in September, grossed $9.4 million, good enough for No. 6 on the independent charts. Not bad for a combined budget of under $10 million for both films.

In and of themselves, indie horror hits are nothing new. Jason Blum built his Blumhouse empire on low-budget horror films, from paranormal activity at The purge. Terrifying 2, a micro-budget killer clown movie, was the surprise hit of the year, grossing Cinedigm Entertainment Group $7.7 million, several times its production cost. One of the mainstays of the American Film Market, taking place this week in Santa Monica, has always been low-cost horror.

pearl

Mia Goth in pearl

Courtesy of Christopher Moss

What sets West and his gothic-fronted films apart is their rich cinematic flair. X is a loving homage to 70s grindhouse cinema, pearldraws inspiration from Hollywood’s Golden Age, with West managing to combine references to The Wizard of Oz and Douglas Sirk melodramas with a few bloody ax attacks. The plot of MaXXXine is being kept under wraps but West confirms that his aesthetic style will draw inspiration from ’80s video villains. These are movies for cinephiles, not just blood and gore fanatics.

With movies like Ari Aster’ Heredity and Midsommar and Robert Eggers Lighthouse, A24 has mastered the art of marketing this type of high-level cinephile horror to both die-hard horror movie fans and the more urban arthouse crowd.

For the X trilogy, West and A24 created a guerrilla marketing campaign, another staple of the ’70s indie industry, involving a series of surprise reveals. The existence of pearl was kept secret until the March 13 premiere X at South By Southwest, when A24, taking advantage of the media attention surrounding the festival, released the first teaser. They repeated the trick pearlThe Toronto Festival premiere on September 12, announcing plans for MaXXXine.

Ti West

Ti West

Countess Jemal/Getty Images

“Keeping the movies a secret for so long was part of the journey and part of the fun, for us and the audience,” West says. “If we had told the people of Toronto that there would be a MaXXXine teaser, that would have been a lot less exciting than what happened, which was to have the whole audience go, ‘Holy shit!, there’s a third movie!’ »

Just six months later X debuted, anticipation was so high for the prequel, Pearl memes were all over TikTok, with young women dressed in blood red impersonating the Goth ax murderer protagonist.

“Anything that could help the chatter and the marketing to get people excited to go to the movies, well, that was part of the vibe,” West says. “It was a way of keeping the mystique of the movies alive.”

West’s instant candor demonstrates, to all the filmmakers gathered at the AFM struggling to find new models for making and releasing theatrical films on a limited budget, that the way forward might involve turning to old independent pioneers to find inspiration.

“You have to find a way to event these movies,” West says, “[that’s] which brings people back to the movies. They don’t have to be $100 million movies to do that.

This story first appeared in the November 2 daily issue of The Hollywood Reporter at the American Film Market.

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Bowen O’Brien’s Short ‘Guilty Conscious’ Was Filmed Entirely in Vernon – Vernon News https://montecarlofilmfestival.com/bowen-obriens-short-guilty-conscious-was-filmed-entirely-in-vernon-vernon-news/ Sun, 30 Oct 2022 02:00:00 +0000 https://montecarlofilmfestival.com/bowen-obriens-short-guilty-conscious-was-filmed-entirely-in-vernon-vernon-news/

Horror Movie Awards

An Okanagan filmmaker took top honors at Horrorfest.

Bowen O’Brien’s short ‘Guilty Conscious’ won Best Picture as well as Best Story, Best Acting and Best Cinematography at the Kelowna event.

It’s the second time O’Brien has won top honors at the annual event, but the first time he’s been the main cast member.

Filmed entirely in Vernon, the film is about how someone’s spirit quickly crumbles after a relationship ends abruptly.

The film’s main character begins to have visions after taking responsibility for the death of his girlfriend in a tragic accident.

The Okanagan Society of Independent Filmmaking (OSIF) hosted the event in Kelowna and screened all the films to a packed house earlier this month.

It’s been a good year for the 19-year-old director from Vernon whose film, “The Gift,” won the Deja View Filmmaking Contest earlier this year along with Field of Screams’ Matthew Brown and Kelowna’s Tanya Keller.

“It’s amazing how the film scene in Kelowna and Vernon is growing and supporting local filmmakers,” O’Brien said. “OSIF has a strong following in Kelowna and we are very fortunate that the Okanagan Screen Arts Society has revived Vernon’s Towne Cinema to help support local filmmakers.”

Watch “Guilty Conscious” and other O’Brien films at the Bowen O’Brien Show on YouTube.

All HorrorFest 2022 films, as well as “Best of HorrorFest” films are now live.

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NOMA Partners with Distribution Platform CinemaAirLane Set to Launch in 2023 – Deadline https://montecarlofilmfestival.com/noma-partners-with-distribution-platform-cinemaairlane-set-to-launch-in-2023-deadline/ Thu, 27 Oct 2022 13:05:00 +0000 https://montecarlofilmfestival.com/noma-partners-with-distribution-platform-cinemaairlane-set-to-launch-in-2023-deadline/

EXCLUSIVE: Producer Arihiro Wada and director Taichi Ito have teamed up on CinemaAirLane, a new international distribution platform slated to launch in 2023, which will partner with international film studio NOMA.

The company’s primary focus will be to simplify global distribution and connect international filmmakers directly to US cinemas.

In its initial phase, CinemaAirLane will allow foreign language films (with English subtitles) or English language films from outside the United States to approach American cinemas. The service will then expand to its more advanced concept, a system that enables streamlined distribution between filmmakers and theaters.

The digital platform will also include functions that facilitate the marketing of films, including the distribution of press releases and the planning of advertising campaigns. To use the service, films must be available with English subtitles and have a poster, finished trailer and appropriate press footage.

The platform will release its beta version in 2023. Its website is now live and accepting waitlist registrations.

Arihiro Wada will act as CEO of CinemaAirLane. He is a producer and distributor best known for titles such as Opening Night, Laughing Lucky Cats and Two Komachis. He is also the general manager of the scenario presentation service Green-Light.

Taichi Ito (Lords of Chaos, Babel, USS Indianapolis) will serve as CinemaAirLane’s commercial partner. He is also CEO of EdLead, a Japanese film production company, and NOMA, a film studio currently producing a trilogy of films about the world of crypto.

Wada said, “I have produced and distributed many independent films in Japan, and I feel there is a problem. As it stands, the movies won’t be released in the US if you can’t find a distributor. CinemaAirLane changes that. It marks the digital transformation of global film distribution. We are grateful to partner with NOMA, whose support allows us to become one of the largest distribution platforms in the world while remaining an independent company. This is a whole new structure for the Web3 era. We look forward to discussing CinemaAirLane at AFM.

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Pzaz TV takes the world to the Raindance Film Festival https://montecarlofilmfestival.com/pzaz-tv-takes-the-world-to-the-raindance-film-festival/ Mon, 24 Oct 2022 10:20:26 +0000 https://montecarlofilmfestival.com/pzaz-tv-takes-the-world-to-the-raindance-film-festival/

The Raindance Film Festival is the UK’s largest independent film festival, showcasing world, international and English premieres of independent films and shorts from directors around the world.

Pzaz TV has partnered with Raindance to promote the Raindance 2022 festival lineup, which runs from October 26 to November 5, 2022, at select venues across London.

Maarten Dungen, who leads AI research at Pzaz, said: “Building bridges, connecting artists with audiences, helping to express visions and empowering different social groups to preserve their identity is what we are all here at Pzaz TV”.

Adding “It makes sense that we work with a prestigious organization like Raindance to enable people to share, discover and celebrate cultural diversity, while realizing shared values. What could be cooler than being a part of this…”

Pzaz TV has a bold plan to deliver a digital transformation gateway to film festivals. The gateway will include a promotional portal and a landing page where festivals can sell tickets. Dedicated to making things even better, Pzaz aims to make film festival content available on demand so that more people can enjoy the latest indie moves and shorts from the comfort of their armchair, and festivals can interact with new audiences and monetize.

Pzaz TV believes this service will boost the film festival industry by making it easier for audiences to find and buy tickets to film festivals around the world. This move is part of Pzaz TV’s goal to become the world’s leading pay-per-view provider. By offering this gateway, Pzaz TV hopes to attract more film festivals and expand its audience. A win-win for industry players and those looking for an authentic cinematic experience. This year’s Raindance Film Festival will also feature popular films that have made independent film history, including The Blair Witch Project, Oldboy, Memento and Pulp Fiction. Raindance will also focus on celebrating Black History Month in the UK by showing Black Girl, Daughters of the Dust, Nanny and Father’s Day.

Offering a wide range of free and paid entertainment, Pzaz TV champions independent content producers, delivering a culturally diverse television experience to audiences around the world. The platform offers users a new way to personalize their entertainment choices while removing the captive product pricing favored by other TV providers. Pzaz TV connects content publishers with passionate TV and music consumers anywhere, on any device. It is available for download on Google Play and the App Store.

Learn more about Pzaz at https://pzaz.tv/

Media Contact
Company Name: Pzaz TV
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Address:Studio B105 Fuel Tank, 8-12 Creekside
Town: London
Country: UK
Website: https://pzaz.tv/

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INDEPENDENT LENS: Tiktok, Boom. | KPBS Public Media https://montecarlofilmfestival.com/independent-lens-tiktok-boom-kpbs-public-media/ Fri, 21 Oct 2022 21:48:00 +0000 https://montecarlofilmfestival.com/independent-lens-tiktok-boom-kpbs-public-media/

Premieres Monday, October 24, 2022 at 11 p.m. on KPBS TV / PBS Video App

How does a teen dance app become a national security issue? From Emmy-nominated director Shalini Kantayya of the critically acclaimed film “Coded Bias,” “TikTok, Boom.” makes its broadcast debut on INDEPENDENT LENS.

INDEPENDENT LENS: Trailer | Tiktok, Boom.

“TikTok, Boom.” explores how a social media app, best known for its videos of dancing teenagers, became the flashpoint of a geopolitical controversy between two superpowers – the United States and China. This Sundance favorite explores the impact of an app that eclipsed Silicon Valley to become a global cultural phenomenon reshaping the world. A cast of Gen Z influencers are at the heart of the film, making it one of the most needed and empathetic films exploring what it means to be a digital native.

Content creator Jason Zhang does a live stream

“TikTok, Boom.” explores the journey of the landmark app from its beginnings as a music app, owned by Chinese artificial intelligence company ByteDance, to its explosion into global public consciousness, and delves into the security issues behind the platform, such as content moderation and free speech, and its effects on the mental health of young people.

Beat boxer Spencer X in Los Angeles

Beat boxer Spencer X in Los Angeles

Praised by The Wrap as “captivating” and by Variety as “lively, informative” “TikTok, Boom.” explores the many layers of the app, focusing on the platform’s three well-known Gen Z influencers and content creators: Feroza Aziz, a teenage Afghan American activist; Spencer X, a Chinese-American beatboxer from Ecuador; and Deja Foxx, a Filipina American political strategist and model.

Political strategist Deja Foxx in Southern California

Political strategist, Deja Foxx, in Southern California.

Each influencer shares their stories of how they were catapulted onto the platform and how their instant stardom on the app changed their life, affecting everything from their career to their mental health.

Adding to the stories of these creators are the insights of brave whistleblowers and notable experts in technology, politics and media, including:

Taken together, these expert interviews provide rare insight into issues of data collection, child online protection, and national security geopolitical tensions surrounding TikTok.
“TikTok, boom. focuses on TikTok’s rapid growth during the early months of the COVID-19 pandemic, following creators’ journeys on the platform as they intertwined with major political events, including the Black Lives movement Matter that swept the nation in 2020. Teen activists, influencers, and journalists have shed light on being “shadowbanned” on TikTok, a term that refers to the fact that its content is shown unless of users by the algorithm, i.e. being banned from the platform without formal notice.

TikTok influencer Deja Foxx and her sister in Southern California.

TikTok influencer Deja Foxx and her sister in Southern California.

As TikTok eclipses Facebook and Instagram as the world’s most downloaded social media app, the film delves into the geopolitical tensions between the United States and China, illuminating the causes and impacts of China’s proposed ban. President Trump’s app, and the impact it would have had on creators and their careers.

“TikTok’s story is about the future of social media itself and the growing tension between democratic youth culture and authoritarian data surveillance,” Kantayya said in a statement. “I’m thrilled to direct such a timely film focused on Gen Z influencers and how technology meets, amplifies and opposes our humanity.”

Nominated for the Grand Jury Prize at Sundance and was an official selection at SXSW, SF Film and HotDocs

TikTok influencer Feroza Aziz at the arcade

TikTok influencer Feroza Aziz at the arcade

Watch at your own pace:

Episodes are available on demand for a limited time after broadcast.

With the PBS video app, you can watch your favorite and local station shows. Download it for free on your favorite device. The app lets you catch up on recent episodes and discover award-winning shows.

CREDITS:

A Campfire Studios production in association with Olive Hill Media and Such Content. Director: Shalini Kantayya. Producers: Ross Dinerstein and Danni Mynard. Executive producers: Lois Vossen and Sally Jo Fifer.

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