German filmmaker Ulrike Ottinger has been making films for nearly 50 years now, creating experimental and often transgressive work that frequently walks the line between documentary reality and artistic truth. Nothing has fazed her in this time, even working in the bohemian heyday of the late Rainer Werner Fassbinder’s Berlin, but her latest film, in which she turns the camera on herself, proved to be the most challenging so far.
Making its Dutch premiere in IDFA’s Masters section—after debuting at the Berlin Film Festival, where she was honored with the Berlinale Camera—“Paris Calligrammes” finds the director reflecting on her own formative experiences as a young painter and photographer in Paris, where she lived from 1962 to early 1969. She moved there to learn etching, but, because of a voracious appetite for learning, she also attended lectures by anthropologist Claude Lévi-Strauss, philosopher Louis Althusser and sociologist Pierre Bourdieu at the Collège de France,...
Making its Dutch premiere in IDFA’s Masters section—after debuting at the Berlin Film Festival, where she was honored with the Berlinale Camera—“Paris Calligrammes” finds the director reflecting on her own formative experiences as a young painter and photographer in Paris, where she lived from 1962 to early 1969. She moved there to learn etching, but, because of a voracious appetite for learning, she also attended lectures by anthropologist Claude Lévi-Strauss, philosopher Louis Althusser and sociologist Pierre Bourdieu at the Collège de France,...
- 11/28/2020
- by Marta Balaga
- Variety Film + TV
Critic and programmer Pamela Cohn recently published her first book, Lucid Dreaming, a collection of extremely thoughtful and probing interviews with boundary-pushing non-fiction filmmakers. (Read an excerpt of the book’s conversation with Donal Foreman here.) And now an extension of the book, the Lucid Dreaming podcast, has just launched. The first guest is Penny Lane, well-known to Filmmaker readers for films like Our Nixon and Hail, Satan?, as well as for her occasional Notes on Real Life column. You can listen to Lane’s interview and subscribe so you don’t miss future episodes here.
- 7/23/2020
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Critic and programmer Pamela Cohn recently published her first book, Lucid Dreaming, a collection of extremely thoughtful and probing interviews with boundary-pushing non-fiction filmmakers. (Read an excerpt of the book’s conversation with Donal Foreman here.) And now an extension of the book, the Lucid Dreaming podcast, has just launched. The first guest is Penny Lane, well-known to Filmmaker readers for films like Our Nixon and Hail, Satan?, as well as for her occasional Notes on Real Life column. You can listen to Lane’s interview and subscribe so you don’t miss future episodes here.
- 7/23/2020
- by Scott Macaulay
- Filmmaker Magazine - Blog
In the doc world, Chris Hegedus and D.A. Pennebaker are a legendary filmmaking combo, and their presence has been felt at Idfa since the festival first began. The pair attended regularly over the years, but this year, sadly, only Hegedus was able to make the trip, having bade farewell to her longterm partner just a few months before. It was expected, then, that Hegedus’s Film Talk would be a sombre affair, but the filmmaker spoke brightly and articulately about the pair’s work together, opening with a fascinating clip from Pennebaker’s 1962 film “Jane,” a portrait/sketch of Jane Fonda’s disastrous attempt to conquer the Broadway stage, at the age of 25.
Speaking to writer Pamela Cohn, Hegedus said she came to the film world almost by accident. “When I grew up,” she said, “I didn’t really know that women could be filmmakers. I mean, I’d heard...
Speaking to writer Pamela Cohn, Hegedus said she came to the film world almost by accident. “When I grew up,” she said, “I didn’t really know that women could be filmmakers. I mean, I’d heard...
- 11/27/2019
- by Damon Wise
- Variety Film + TV
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