[This story contains spoilers to the eighth episode of Poker Face, “The Orpheus Syndrome.”]
The guest stars of Poker Face have something in common. After fateful endings to their season one episodes, they aspire to come back and play a different character for season two.
But Cherry Jones acknowledges that, given the reception to the series (which currently has the rare 99 percent fresh rating on Rotten Tomatoes), that might be unlikely.
“I think they wanted to do sort of a rep thing of having guest stars repeat, like they did in Columbo. But, there will be so many people begging to be on this show,” Jones tells The Hollywood Reporter, citing one of the inspirations for the Rian Johnson-created series starring Natasha Lyonne, and speaking before its official season two renewal.
The Peacock murder mystery series released its biggest homage to Hollywood yet with the eighth installment in the 10-episode first season. “The Orpheus Syndrome” starred Cherry Jones as Laura,...
The guest stars of Poker Face have something in common. After fateful endings to their season one episodes, they aspire to come back and play a different character for season two.
But Cherry Jones acknowledges that, given the reception to the series (which currently has the rare 99 percent fresh rating on Rotten Tomatoes), that might be unlikely.
“I think they wanted to do sort of a rep thing of having guest stars repeat, like they did in Columbo. But, there will be so many people begging to be on this show,” Jones tells The Hollywood Reporter, citing one of the inspirations for the Rian Johnson-created series starring Natasha Lyonne, and speaking before its official season two renewal.
The Peacock murder mystery series released its biggest homage to Hollywood yet with the eighth installment in the 10-episode first season. “The Orpheus Syndrome” starred Cherry Jones as Laura,...
- 2/24/2023
- by Jackie Strause
- The Hollywood Reporter - Movie News
Jazz is an art form that can be examined any number of ways — historically, racially, structurally, even philosophically — but choosing one of those runs the risk of ignoring the equally-important rest. Sophie Huber’s thoughtful but unfocused documentary “Blue Note Records: Beyond the Notes” falls short primarily because it tries too much, examining history, modern-day impact and legacy all in one.
Nevertheless an engaging thumbnail overview of the record label’s heyday, its key players, and the descendants and disciples committed to carrying on its name and vision, “Beyond the Notes” succeeds better as an introduction to Blue Note and jazz in general than as an expert or in-depth examination of the musical genre or one of its most iconic distributors.
Part of the challenge is deciding where to start: With the musicians who pioneered the genre, or the earliest fans-turned visionaries who helped get them heard? Huber begins with Alfred Lion and Francis Wolff,...
Nevertheless an engaging thumbnail overview of the record label’s heyday, its key players, and the descendants and disciples committed to carrying on its name and vision, “Beyond the Notes” succeeds better as an introduction to Blue Note and jazz in general than as an expert or in-depth examination of the musical genre or one of its most iconic distributors.
Part of the challenge is deciding where to start: With the musicians who pioneered the genre, or the earliest fans-turned visionaries who helped get them heard? Huber begins with Alfred Lion and Francis Wolff,...
- 6/12/2019
- by Todd Gilchrist
- The Wrap
Musicians young and old drop a lot of heavy-duty jazz wisdom throughout Beyond the Notes, a new documentary about Blue Note Records that features commentary from the label’s Sixties stars such as Herbie Hancock and Wayne Shorter and new-school trailblazers like Robert Glasper and Ambrose Akinmusire. But the film’s single most eloquent statement might come from A Tribe Called Quest’s Ali Shaheed Muhammad who, reflecting on how Blue Note’s output fueled his own art through sampling, says that improvisation is akin to “finding a portal that...
- 6/12/2019
- by Hank Shteamer
- Rollingstone.com
Sophie Huber’s film, though sanctioned by the jazz record label, is no hagiography, interviewing key players and adding fantastic rostrum pictures of the era
This damn-near immaculate music documentary by Swiss film-maker Sophie Huber pays tribute to Blue Note Records, the iconic label most associated with mid-20th-century bebop jazz. Co-founded in 1939 by German-Jewish immigrants Alfred Lion and Francis Wolff, Blue Note became a home for artists such as Thelonious Monk, Art Blakey, Horace Silver, Herbie Hancock and Wayne Shorter (the last two are interviewed here). The label also issued key work by Miles Davis, Sidney Bechet and John Coltrane among others who largely recorded elsewhere.
Although clearly officially sanctioned by the label’s current owners this doesn’t feel like a slick, bland exercise in self-promotion. Instead, Huber crafts a respectful, crisply told but depth-plumbing history of the label, drawing from original recordings, vintage audio of studio chatter,...
This damn-near immaculate music documentary by Swiss film-maker Sophie Huber pays tribute to Blue Note Records, the iconic label most associated with mid-20th-century bebop jazz. Co-founded in 1939 by German-Jewish immigrants Alfred Lion and Francis Wolff, Blue Note became a home for artists such as Thelonious Monk, Art Blakey, Horace Silver, Herbie Hancock and Wayne Shorter (the last two are interviewed here). The label also issued key work by Miles Davis, Sidney Bechet and John Coltrane among others who largely recorded elsewhere.
Although clearly officially sanctioned by the label’s current owners this doesn’t feel like a slick, bland exercise in self-promotion. Instead, Huber crafts a respectful, crisply told but depth-plumbing history of the label, drawing from original recordings, vintage audio of studio chatter,...
- 3/15/2019
- by Leslie Felperin
- The Guardian - Film News
Prize supports upcoming Swiss film projects.
Swiss directors Germinal Roaux and Sophie Huber won the second Filmmaker Awards at this year’s Zurich Film Festival.
The prize, offered by the Association for the Promotion of Film in Switzerland, offers support to Swiss film projects in the production and post-production stages.
Roaux received $77,500 (CHF75,000) for his feature Fortuna, while Huber received $26,000 (CHF25,000) for her documentary The Blue Note Project.
The presentation took place at the Iwc gala dinner For The Love Of Cinema, with Uma Thurman presenting the prizes.
Produced by Ruth Waldburger of Vega Film, Fortuna depicts the plight of a 14-year-old teenage girl from Eritrea as she arrives in Switzerland.
Produced by Hercil Bundi and Susanne Guggenberger of Mira Film, Huber’s documentary tells the story of the legendary American jazz record label.
This year’s jury was made up of director Marc Forster, Zff artistic director Karl Spoerri and Iwc CEO Georges Kern.
Swiss directors Germinal Roaux and Sophie Huber won the second Filmmaker Awards at this year’s Zurich Film Festival.
The prize, offered by the Association for the Promotion of Film in Switzerland, offers support to Swiss film projects in the production and post-production stages.
Roaux received $77,500 (CHF75,000) for his feature Fortuna, while Huber received $26,000 (CHF25,000) for her documentary The Blue Note Project.
The presentation took place at the Iwc gala dinner For The Love Of Cinema, with Uma Thurman presenting the prizes.
Produced by Ruth Waldburger of Vega Film, Fortuna depicts the plight of a 14-year-old teenage girl from Eritrea as she arrives in Switzerland.
Produced by Hercil Bundi and Susanne Guggenberger of Mira Film, Huber’s documentary tells the story of the legendary American jazz record label.
This year’s jury was made up of director Marc Forster, Zff artistic director Karl Spoerri and Iwc CEO Georges Kern.
- 9/27/2016
- ScreenDaily
The wine, the women, the song… The great Harry Dean Stanton talks to Sean O'Hagan about jogging with Dylan, Rebecca de Mornay leaving him for Tom Cruise and why Paris, Texas is his greatest film
Harry Dean Stanton is singing "The Rose of Tralee". His wavering voice echoes across the rows of people gathered in the Village East cinema in New York, where a special screening of a new documentary about his life and work, Partly Fiction, has just finished. You can tell that the director, Sophie Huber, and the cinematographer, Seamus McGarvey, who are sitting beside him, are used to this sort of thing from Harry, but the rest of us are by turns delighted and a little bit nervous on his behalf. Now that he's 87, Stanton's voice is as unsteady as his gait, but he steers the old Irish ballad home in his inimitable manner and the audience responds with cheers and applause.
Harry Dean Stanton is singing "The Rose of Tralee". His wavering voice echoes across the rows of people gathered in the Village East cinema in New York, where a special screening of a new documentary about his life and work, Partly Fiction, has just finished. You can tell that the director, Sophie Huber, and the cinematographer, Seamus McGarvey, who are sitting beside him, are used to this sort of thing from Harry, but the rest of us are by turns delighted and a little bit nervous on his behalf. Now that he's 87, Stanton's voice is as unsteady as his gait, but he steers the old Irish ballad home in his inimitable manner and the audience responds with cheers and applause.
- 11/23/2013
- by Sean O'Hagan
- The Guardian - Film News
Glenn here. After decades of trying to attain the same critical and cultural awareness as feature films, it appears documentaries are now suffering from a case of too much of a good thing. We’re in a day and age where documentaries are so common that it’s impossible for the Academy’s documentary branch to keep up. Apparently 151 docos have been submitted - an average of three a week! - for this year’s Oscars and just like Diane Keaton, something’s gotta give.
Last year the Academy set up a secret online forum of sorts for documentary branchmembers so they could post recommendations of titles to help whittle down the number of contenders. “Nobody’s recommended that anthopological documentary about North Atlantic fishermen? Fine, I’ll just watch Blackfish.” I like the idea in concept, but Leviathan was highly acclaimed so what then? Admittedly, it would be nice...
Last year the Academy set up a secret online forum of sorts for documentary branchmembers so they could post recommendations of titles to help whittle down the number of contenders. “Nobody’s recommended that anthopological documentary about North Atlantic fishermen? Fine, I’ll just watch Blackfish.” I like the idea in concept, but Leviathan was highly acclaimed so what then? Admittedly, it would be nice...
- 10/10/2013
- by Glenn Dunks
- FilmExperience
When we think of famous actors, our minds automatically go to the likes of Hollywood A-list stars we’ve seen in every other major movie within the past few years. Sure, we’re riddled with the likes of beautiful people who, in some instances, encompass a certain amount of talent that warrant the amount of attention in the media they’re received in their careers, but there are so many other strong actors out there that get some time in the spotlight but don’t get the fame they deserve. One of those actors is Harry Dean Stanton, a character actor working in Hollywood for decades. He’s appeared in a myriad of films like [ Read More ]
The post Interview: Harry Dean Stanton And Sophie Huber On ‘Harry Dean Stanton: Partly Fiction’ appeared first on Shockya.com.
The post Interview: Harry Dean Stanton And Sophie Huber On ‘Harry Dean Stanton: Partly Fiction’ appeared first on Shockya.com.
- 9/26/2013
- by Melissa Molina
- ShockYa
.
Wearing multiple hats, Gil Scrine is arranging a national cinema tour for controversial film Pandora's Promise, distributing Australian and international documentaries on DVD and Video-on-Demand, and selling films and docs direct to consumers.
Cinema Ventures, Scrine.s not-for-profit distribution company, is launching Pandora.s Promise in Melbourne on October 8, followed on consecutive days by screenings in Adelaide, Perth, Hobart, Canberra, Sydney and Brisbane.
Us director Robert Stone.s feature-length documentary, which premiered at Sundance, argues that nuclear energy should be reconsidered as the primary source to meet the country.s energy needs while limiting emissions that contribute to climate change.
.Pandora.s Promise is a fascinating documentary about nuclear power that argues it is the true green energy,. said Austin Chronicle critic Louis Black. .It would be hard to imagine a film more controversial than this one. Sure to push opponents of nuclear power into all kinds of rages, the...
Wearing multiple hats, Gil Scrine is arranging a national cinema tour for controversial film Pandora's Promise, distributing Australian and international documentaries on DVD and Video-on-Demand, and selling films and docs direct to consumers.
Cinema Ventures, Scrine.s not-for-profit distribution company, is launching Pandora.s Promise in Melbourne on October 8, followed on consecutive days by screenings in Adelaide, Perth, Hobart, Canberra, Sydney and Brisbane.
Us director Robert Stone.s feature-length documentary, which premiered at Sundance, argues that nuclear energy should be reconsidered as the primary source to meet the country.s energy needs while limiting emissions that contribute to climate change.
.Pandora.s Promise is a fascinating documentary about nuclear power that argues it is the true green energy,. said Austin Chronicle critic Louis Black. .It would be hard to imagine a film more controversial than this one. Sure to push opponents of nuclear power into all kinds of rages, the...
- 9/24/2013
- by Don Groves
- IF.com.au
"Haven't a clue," Harry Dean Stanton tells me when I ask him how his life might have unfolded had he not gone into acting. "I'd probably have been a singer." That night, the legendary character actor would attend the New York premiere of "Harry Dean Stanton: Partly Fiction," a new documentary by Sophie Huber examining Stanton's life in the industry and his unique place in the catalog of great American actors. (The film is currently playing in select cities.) Throughout our interview, the reticent Stanton--known to his friends as Harry Dean--espoused a philosophy of Zen-like acceptance, a sustained focus on the here and now and a rejection of any thoughts about the future. But as we spoke, I found that while he initially responded to almost all my questions with a sort of casual self-negation, a portrait emerged of a man who seems to know exactly who he is...
- 9/20/2013
- by Jacob Combs
- Indiewire
The 6th annual Arizona Underground Film Festival might be beginning on the unluckiest day of the year — Friday the 13th — but the residents of Tucson are lucky for this 9-night extravaganza of wild and wooly cinema from all over the globe. The fest runs Sept. 13-21 at The Screening Room and other locations.
Opening Night films include the retro, music-fueled slasher flick Discopath by Renaud Gauthier and the Internet-based bloodbath Truth Or Dare, directed by scream queen Jessica Cameron making her filmmaking debut. The last film of the fest on the 21st is the cryptic post-apocalyptic thriller Dust of War, directed by Andrew Kightlinger.
The rest of the fest includes mind-bending fiction flicks like the cult-ish Fateful Findings by Neil Breen; the 90-minute, one-shot noir Worm by Andrew Bowser; Zach Clark’s twisted holiday movie White Reindeer; Drew Tobia’s surreal See You Next Tuesday; as well as challenging documentaries...
Opening Night films include the retro, music-fueled slasher flick Discopath by Renaud Gauthier and the Internet-based bloodbath Truth Or Dare, directed by scream queen Jessica Cameron making her filmmaking debut. The last film of the fest on the 21st is the cryptic post-apocalyptic thriller Dust of War, directed by Andrew Kightlinger.
The rest of the fest includes mind-bending fiction flicks like the cult-ish Fateful Findings by Neil Breen; the 90-minute, one-shot noir Worm by Andrew Bowser; Zach Clark’s twisted holiday movie White Reindeer; Drew Tobia’s surreal See You Next Tuesday; as well as challenging documentaries...
- 9/13/2013
- by Mike Everleth
- Underground Film Journal
Harry Dean Stanton: Partly Fiction
Directed by Sophie Huber
Switzerland, 2012
In keeping with the acting style of the subject of its focus, Sophie Huber’s Harry Dean Stanton: Partly Fiction stays away from extremes in its portrait of one of America’s greatest actors. There is affection, but it is understated and not glowing, while any melancholy elements are not over-stressed. The facts and opinions expressed, through Stanton and various collaborators, are simply allowed to be – free of added manipulation – in what amounts as a rather quiet documentary, excluding film clips with their own soundtracks and instances in which we get to see Stanton express his passion for performing music. Like the documentary’s most discussed film, Paris, Texas (1984), Partly Fiction is serene but also apt at emotional devastation, though, as in Wim Wenders’ masterpiece, sorrow and optimism are intertwined.
Mostly shot in crisp monochrome, courtesy of cinematographer Seamus McGarvey,...
Directed by Sophie Huber
Switzerland, 2012
In keeping with the acting style of the subject of its focus, Sophie Huber’s Harry Dean Stanton: Partly Fiction stays away from extremes in its portrait of one of America’s greatest actors. There is affection, but it is understated and not glowing, while any melancholy elements are not over-stressed. The facts and opinions expressed, through Stanton and various collaborators, are simply allowed to be – free of added manipulation – in what amounts as a rather quiet documentary, excluding film clips with their own soundtracks and instances in which we get to see Stanton express his passion for performing music. Like the documentary’s most discussed film, Paris, Texas (1984), Partly Fiction is serene but also apt at emotional devastation, though, as in Wim Wenders’ masterpiece, sorrow and optimism are intertwined.
Mostly shot in crisp monochrome, courtesy of cinematographer Seamus McGarvey,...
- 9/13/2013
- by Josh Slater-Williams
- SoundOnSight
Peering in: A Look into the Life of Harry Dean Stanton
It took director Sophie Huber one year to convince Harry Dean Stanton to be the subject of her documentary. He finally complied but his reluctance, his aversion to revealing himself, comes through his every word, through every long exhale from his cigarette. Or maybe that’s just who he is. Harry Dean Stanton: Partly Fiction paints an intricate portrait of a man who has lived life on his own terms, showing what has been gained, and what has been lost.
Stanton is in his 80s now, with over a half century of experience in Hollywood behind him. He began as a character actor and over the years won the affection of directors like David Lynch and Wim Wenders, the latter putting him in his singular prominent leading role, Paris, Texas. That film comes to act as a microcosm for Stanton and his personal life.
It took director Sophie Huber one year to convince Harry Dean Stanton to be the subject of her documentary. He finally complied but his reluctance, his aversion to revealing himself, comes through his every word, through every long exhale from his cigarette. Or maybe that’s just who he is. Harry Dean Stanton: Partly Fiction paints an intricate portrait of a man who has lived life on his own terms, showing what has been gained, and what has been lost.
Stanton is in his 80s now, with over a half century of experience in Hollywood behind him. He began as a character actor and over the years won the affection of directors like David Lynch and Wim Wenders, the latter putting him in his singular prominent leading role, Paris, Texas. That film comes to act as a microcosm for Stanton and his personal life.
- 9/11/2013
- by Jesse Klein
- IONCINEMA.com
Roger Ebert once famously wrote that no film featuring Harry Dean Stanton could be bad. While 1996's Down Periscope might prove that statement technically incorrect, Sophie Huber's Harry Dean Stanton: Partly Fiction makes a stirring case for the greatness of the now-87-year-old actor, whose particular blend of weary sorrow, no-nonsense feistiness, and philosophical cool has enhanced classics like Cool Hand Luke, Two-Lane Blacktop, Repo Man, and Paris, Texas, the last of which gave the legendary character actor his first leading role. Huber's documentary takes an expressionistic approach to portraiture, interweaving commentary from admiring friends and collaborators (Sam Shepard, Wim Wenders, Kris Kristofferson, David Lynch) with both smeary sho...
- 9/11/2013
- Village Voice
The 7th annual Sydney Underground Film Festival, which runs this year on September 5-8 at the Factory Theatre, opens with a real bang when they will screen cult filmmaker Alejandro Jodorowsky’s latest cinematic odyssey, The Dance of Reality. This is Jodorowsky’s first film in over twenty years and is an imaginative and playful quasi-autobiography.
The rest of the four-day celebration is packed with more film oddities and excursions into surreal and transgressive territory. One particular highlight that is not to be missed is Don Swaynos’ incredibly crowd-pleasing comedy Pictures of Superheroes, about a slacker cleaning woman’s descent into an absurd world she can’t escape. Read the Underground Film Journal’s review of Pictures of Superheroes here.
Other twisted fiction films screening include Drew Tobias’s sick and twisted See You Next Tuesday, Cody Calahan’s apocalyptic Antisocial and Lloyd Kaufman’s highly-anticipated sequel Return to Nuke ‘Em High: Vol.
The rest of the four-day celebration is packed with more film oddities and excursions into surreal and transgressive territory. One particular highlight that is not to be missed is Don Swaynos’ incredibly crowd-pleasing comedy Pictures of Superheroes, about a slacker cleaning woman’s descent into an absurd world she can’t escape. Read the Underground Film Journal’s review of Pictures of Superheroes here.
Other twisted fiction films screening include Drew Tobias’s sick and twisted See You Next Tuesday, Cody Calahan’s apocalyptic Antisocial and Lloyd Kaufman’s highly-anticipated sequel Return to Nuke ‘Em High: Vol.
- 8/15/2013
- by Mike Everleth
- Underground Film Journal
An enigmatic and perhaps occasionally overly deferential documentary about one of the all-time great character actors, Sophie Huber’s “Harry Dean Stanton: Partly Fiction,” is slow out of the gate, but gently, ever so gently, builds to a thoughtful portrait of a thoughtful man. Stanton, while never less than amiable, is clearly not an easy subject -- “I’ve been doing this for 50 fucking years, being photographed and making movies. After a while I got tired of it.” -- in fact he states up front that he doesn’t like to give much away. And while many of the other interviewees talk about that quality of stillness and silence being one of his great strengths, it does mean he’s not the most forthcoming or garrulous of biographees. But it also lends the stories, when they haltingly come, added impact, whether about his carousing days with ex-housemate and longtime friend...
- 7/7/2013
- by Jessica Kiang
- The Playlist
Harry Dean Stanton: Partly Fiction
Directed by Sophie Huber
Switzerland, 2012
In keeping with the acting style of the object of its focus, Sophie Huber’s Harry Dean Stanton: Partly Fiction stays away from extremes in its portrait of one of America’s greatest actors. There is affection, but it is understated and not glowing, while any melancholy elements are not over-stressed. The facts and opinions expressed, through Stanton and various collaborators, are simply allowed to be – free of added manipulation – in what amounts as a rather quiet documentary, excluding film clips with their own soundtracks and instances in which we get to see Stanton express his passion for performing music. Like the documentary’s most discussed film, Paris, Texas (1984), Partly Fiction is serene but also apt at emotional devastation, though as in Wim Wenders’ masterpiece, sorrow and optimism are intertwined.
Mostly shot in crisp monochrome, courtesy of cinematographer Seamus McGarvey,...
Directed by Sophie Huber
Switzerland, 2012
In keeping with the acting style of the object of its focus, Sophie Huber’s Harry Dean Stanton: Partly Fiction stays away from extremes in its portrait of one of America’s greatest actors. There is affection, but it is understated and not glowing, while any melancholy elements are not over-stressed. The facts and opinions expressed, through Stanton and various collaborators, are simply allowed to be – free of added manipulation – in what amounts as a rather quiet documentary, excluding film clips with their own soundtracks and instances in which we get to see Stanton express his passion for performing music. Like the documentary’s most discussed film, Paris, Texas (1984), Partly Fiction is serene but also apt at emotional devastation, though as in Wim Wenders’ masterpiece, sorrow and optimism are intertwined.
Mostly shot in crisp monochrome, courtesy of cinematographer Seamus McGarvey,...
- 6/28/2013
- by Josh Slater-Williams
- SoundOnSight
★★★★☆ One of cinema's silent heroes, Harry Dean Stanton has become a staple ingredient of many a film-lover's diet. The career of Hollywood's most pre-eminent character actor is presented in Sophie Huber's Harry Dean Stanton: Partly Fiction (2012), an illuminating portrait of an enigma whose honesty and charisma seeps off the screen. Stanton makes it perfectly apparent that this isn't going to be a confessional piece, yet Huber's unobtrusive approach to his impenetrable Kentucky veneer reveals a man whose gentle demeanour and expressive visage masks one of independent American cinema's most inspirational artists.
The one element of Stanton's life that shines brightest through his mysterious persona is a deep-seated love of music. Taught by his father to "keep going straight ahead until you hit something", it becomes hard to distinguish whether these musical intermissions are the punctuation marks in Stanton's life or the driving force behind it. Yet, through these musical...
The one element of Stanton's life that shines brightest through his mysterious persona is a deep-seated love of music. Taught by his father to "keep going straight ahead until you hit something", it becomes hard to distinguish whether these musical intermissions are the punctuation marks in Stanton's life or the driving force behind it. Yet, through these musical...
- 6/20/2013
- by CineVue UK
- CineVue
Last month saw the release of the full lineup for the 67th Edinburgh International Film Festival. In his second year as artistic director, Chris Fujiwara will be hoping to build on the success of 2012's resurgent incarnation of the festival. Whilst boasting eye-catching heavyweights such as opening night drama Breathe In, Sofia Coppola's The Bling Ring and the long-awaiting sequel to Monster Inc., Monsters University, the festival has always prided itself on nurturing new talent and this year's selection looks no different. The Michael Powell Award, dedicated to promoting and celebrating British cinema, is back once again and looking stronger than ever. Out of the eleven films in competition, two initially stand out.
The first is Sundance hit Leviathan, a striking, ambitious documentary about an Atlantic fishing trawler that's been described as an enthralling visual journey that's both hallucinatory and disorientating, yet gorgeously abstract. Joining Leviathan as an early...
The first is Sundance hit Leviathan, a striking, ambitious documentary about an Atlantic fishing trawler that's been described as an enthralling visual journey that's both hallucinatory and disorientating, yet gorgeously abstract. Joining Leviathan as an early...
- 6/19/2013
- by CineVue UK
- CineVue
Some of the best films of the 2012/2013 calender year from Richard Linklater, Harmony Korine, Joseph Gordon-Levitt, Andrew Bujalski, Jeff Nichols, David Gordon Green, Shane Carruth and Joshua Oppenheimer are among the headliner names for the 2013 edition of the South by Southwest Film Festival. With a little over 100 plus film line-up (a whopping 2000+ titles were submitted), almost 70 are world premieres: there is the highly anticipated sophomore film (that has been on our radar since it first went into production) with M. Blash’s (The Wait), Joe Swanberg who makes SXSW his second home will premiere Drinking Buddies, veteran indie filmmaker John Sayles saddles in with Go For Sisters, and rounding out the Narrative Spotlight section we’ve got The Bounceback from Bryan Poyser, Loves Her Gun from Geoff Marslett along with titles we thought might break into Park City, but found an Austin home instead with Jacob Vaughan’s Milo and...
- 2/1/2013
- by Eric Lavallee
- IONCINEMA.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.