Read More: Watch: Petra Costa On 'Elena,' Brazilian Documentary Films and More For their first collaboration, directors Petra Costa and Lea Glob have developed a dark look into the mind of a pregnant actress and the challenges she faces when trying to succeed. In "Olmo and the Seagull," actress Olivia prepares for the starring role of Arkadina in a theatrical production of Chekhov's "The Seagull." As she begins to prepare for the role, she learns that she is pregnant. At first, she is ready to take on both the pregnancy and the character, but she soon faces setbacks that threaten her pregnancy and clash with her success as an actress. In "Black Swan" fashion, Olivia looks into the mirror and sees herself as both female characters of the play: Arkadina, the aging actress, and Nina, the increasingly chaotic actress. The film is set to screen at the 2015 Locarno...
- 7/31/2015
- by Kaeli Van Cott
- Indiewire
Elena, the 2012 essay film by Brazilian American director Petra Costa, is an act of conjuring, an effort to pin down and solidify a memory that the filmmaker possesses only in fragments and fleeting tricks of the light. It is essentially two stories in one. The first is that of Costa’s older sister Elena, who moved from São Paolo to New York City in hopes of making it as an actress and a dancer. Eventually felled by crippling depression, Elena committed suicide at the age of twenty. The other story is that of Petra herself, and her ability to piece together her childhood memories of her late sister. >> - Michael Sicinski...
- 12/17/2014
- Keyframe
Elena, the 2012 essay film by Brazilian American director Petra Costa, is an act of conjuring, an effort to pin down and solidify a memory that the filmmaker possesses only in fragments and fleeting tricks of the light. It is essentially two stories in one. The first is that of Costa’s older sister Elena, who moved from São Paolo to New York City in hopes of making it as an actress and a dancer. Eventually felled by crippling depression, Elena committed suicide at the age of twenty. The other story is that of Petra herself, and her ability to piece together her childhood memories of her late sister. >> - Michael Sicinski...
- 12/17/2014
- Fandor: Keyframe
Elena
Written by Petra Costa and Carolina Ziskind
Directed by Petra Costa
Brazil, 2012
The Brazilian documentary Elena is both a haunting mediation on mental illness and a rousing testament to the cathartic power of artistic expression. Like a dream that slowly devolves into a nightmare, the shadowy imagery and evocative soundscapes take us deep inside a family fueled by their creative passions. Director Petra Costa bravely tracks the demons that overwhelmed her older sister, Elena, only to find the same darkness lurking inside her. This is a challenging film that demands attention and patience, but rewards us with the unique vision of a fevered artist searching for answers.
Depression is something that movies never seem to get right. Perhaps it’s to avoid dragging viewers into a hopeless abyss, or sidestepping the painful truth that no one is immune to the despair. Whatever the reason, filmmakers invariably choose to glamorize depression,...
Written by Petra Costa and Carolina Ziskind
Directed by Petra Costa
Brazil, 2012
The Brazilian documentary Elena is both a haunting mediation on mental illness and a rousing testament to the cathartic power of artistic expression. Like a dream that slowly devolves into a nightmare, the shadowy imagery and evocative soundscapes take us deep inside a family fueled by their creative passions. Director Petra Costa bravely tracks the demons that overwhelmed her older sister, Elena, only to find the same darkness lurking inside her. This is a challenging film that demands attention and patience, but rewards us with the unique vision of a fevered artist searching for answers.
Depression is something that movies never seem to get right. Perhaps it’s to avoid dragging viewers into a hopeless abyss, or sidestepping the painful truth that no one is immune to the despair. Whatever the reason, filmmakers invariably choose to glamorize depression,...
- 8/7/2014
- by J.R. Kinnard
- SoundOnSight
For director Petra Costa, filmmaking is more than just an artistic expression, but an opportunity for intensely personal emotional dissection. With her most recent feature, Elena, Costa put her and her family back through the experience of losing her older sister, Elena, who took her own life after attempting a career in entertainment in the Big Apple back when Costa was just a little girl. Before finally reaching theaters domestically earlier this summer, the film had a successful festival run, beginning at Idfa back in 2012, on to the Brazilia Festival of Brazilian Cinema where it swept both the audience and jury awards and on through to the 2013 Hot Docs Film Festival where I had sat down with her to discuss how she manages to portray such a tragic personal story with such unabashed artistic conviction. My conversation with Petra can be found below (as well as my review of the...
- 7/28/2014
- by Jordan M. Smith
- IONCINEMA.com
Subconsciously every artist bares a part of his or her essence in each work. Fiction tends to be a safer canvas to paint one’s reality via fabricated situations and their characters. Such approach provides a comforting distance. Yet, some still prefer to bleed it all out without covers making use of non-fictional tools.
Brazilian filmmaker Petra Costa is searching for an elusive ghost hidden within home movies, voice recordings, and stories that became myths about someone she knew but lost with the passing of time. Her older sister Elena moved to New York to be an actress in her teens, a dream she shared with their mother, and which Petra would later follow. In her profoundly personal documentary, Costa creates an entrancing tapestry of images aiming to reconnect with her beloved sibling even in her absence.
Piecing together the moments they shared is made possible because of their family’s perennial fascination with the moving image. Elena had a camera, and with the help of young Petra they would bring to life childish stories product of their imagination. They were unaware that what they were really doing was documenting their lives. Those snippets of joy would become the foundation for Petra’s cinematic investigation to find her sister within herself.
Elena was an artist. She wanted to act, to dance, to sing, perhaps to help her mother live vicariously through her. She went on many unfruitful auditions, but her passion was underrated - at least for a while. It was impossible for her to envision life away from the stage. But as the failures kept piling up, her spirits weakened leaving her adrift with her self-destructive thoughts as only companions. While in the U.S. she recorded her impressions of everyday life, in her tone one can hear a decaying hope, which gradually leaves behind euphoria for apathy. Even when her family is around, her selective vision only allows her to concentrate on her inability to cope with life.
Exposing her own vulnerability, Petra discusses the mental health disorders that afflicted her and the quest to find her own identity in the shadow of Elena. “You look just like her” people would tell her, at once building a bridge between them and equally alienating their personalities. Through her narration Petra speaks directly to Elena. She tries to get answers from the vivid recordings of her performances and realizes that her silence is the loudest voice. It all moves with the alluring cadence of a love letter written with light.
The use of straightforward interviews is limited. Petras’s interpretation of the images conveys not a message but a powerful emotion. Near the end of the film, water becomes a purifying motif depicted in such ethereal manner it is hard not to be transfixed by it. In a spiritual river overflowing with love both Petra and her mother feel once again close to Elena. Despite refusing to follow conventions, the semi-experimental documentary succeeds at turning such specific family story into a compelling experience.
Charged with melancholic beauty “Elena” is a striking blow to heart that shines with fluid poetry. It deviates from the canons of documentary filmmaking to enter a dreamlike state governed by memories and art in its purest, most emotional form.
Brazilian filmmaker Petra Costa is searching for an elusive ghost hidden within home movies, voice recordings, and stories that became myths about someone she knew but lost with the passing of time. Her older sister Elena moved to New York to be an actress in her teens, a dream she shared with their mother, and which Petra would later follow. In her profoundly personal documentary, Costa creates an entrancing tapestry of images aiming to reconnect with her beloved sibling even in her absence.
Piecing together the moments they shared is made possible because of their family’s perennial fascination with the moving image. Elena had a camera, and with the help of young Petra they would bring to life childish stories product of their imagination. They were unaware that what they were really doing was documenting their lives. Those snippets of joy would become the foundation for Petra’s cinematic investigation to find her sister within herself.
Elena was an artist. She wanted to act, to dance, to sing, perhaps to help her mother live vicariously through her. She went on many unfruitful auditions, but her passion was underrated - at least for a while. It was impossible for her to envision life away from the stage. But as the failures kept piling up, her spirits weakened leaving her adrift with her self-destructive thoughts as only companions. While in the U.S. she recorded her impressions of everyday life, in her tone one can hear a decaying hope, which gradually leaves behind euphoria for apathy. Even when her family is around, her selective vision only allows her to concentrate on her inability to cope with life.
Exposing her own vulnerability, Petra discusses the mental health disorders that afflicted her and the quest to find her own identity in the shadow of Elena. “You look just like her” people would tell her, at once building a bridge between them and equally alienating their personalities. Through her narration Petra speaks directly to Elena. She tries to get answers from the vivid recordings of her performances and realizes that her silence is the loudest voice. It all moves with the alluring cadence of a love letter written with light.
The use of straightforward interviews is limited. Petras’s interpretation of the images conveys not a message but a powerful emotion. Near the end of the film, water becomes a purifying motif depicted in such ethereal manner it is hard not to be transfixed by it. In a spiritual river overflowing with love both Petra and her mother feel once again close to Elena. Despite refusing to follow conventions, the semi-experimental documentary succeeds at turning such specific family story into a compelling experience.
Charged with melancholic beauty “Elena” is a striking blow to heart that shines with fluid poetry. It deviates from the canons of documentary filmmaking to enter a dreamlike state governed by memories and art in its purest, most emotional form.
- 6/15/2014
- by Carlos Aguilar
- Sydney's Buzz
Float On: Costa Laments Sister In Intimate Portrait
Petra Costa has been trying to process the suicide of her older sister for over two decades now. The young docu director’s first feature, Elena, is a loving postmortem tone poem addressed to the departed as if to publicly remind her sister of her worth and to confront her for her cowardice. Bearing all the emotional brutality that follows the passing of a loved one, Costa’s film wraps raw intimacy with ethereal imitation to bring her sister back to life with lucid verve as a continued celebration of her lasting impact. In life, Elena was a Brazilian dancer turned movie bound New Yorker, dead set on becoming a star. Following in her sister’s footsteps, Petra has taken up the camera, performs before it and let’s her voice lay elegantly aloft the starkly personal collage she’s constructed.
This...
Petra Costa has been trying to process the suicide of her older sister for over two decades now. The young docu director’s first feature, Elena, is a loving postmortem tone poem addressed to the departed as if to publicly remind her sister of her worth and to confront her for her cowardice. Bearing all the emotional brutality that follows the passing of a loved one, Costa’s film wraps raw intimacy with ethereal imitation to bring her sister back to life with lucid verve as a continued celebration of her lasting impact. In life, Elena was a Brazilian dancer turned movie bound New Yorker, dead set on becoming a star. Following in her sister’s footsteps, Petra has taken up the camera, performs before it and let’s her voice lay elegantly aloft the starkly personal collage she’s constructed.
This...
- 6/4/2014
- by Jordan M. Smith
- IONCINEMA.com
Tim Robbins met Brazilian actress-turned-filmmaker Petra Costa at a party last year, towards the end of Berlinale. When Costa handed him a DVD to watch, Robbins wasn't too thrilled. As a member of the festival jury, he had just been made to watch twenty films -- the last thing he wanted to do was watch yet another. Nevertheless, upon returning home, Robbins dutifully watched the DVD and ended up pleasantly surprised. Robbins relays this anecdote at the beginning of a special featurette in which both he and fellow executive producer Fernando Meirelles, explain what made them decide to throw their support behind Costa's feature directorial debut, "Elena." Read More: Review: A Dreamy Suicide is a Masterful Debut in Petra Costa’s ‘Elena’ By combining footage from the film with excerpts from Robbins and Meirelles' on-camera interviews, the featurette constructs an academic framework around the film. Robbins and Meirelles' -- particularly...
- 5/30/2014
- by Shipra Gupta
- Indiewire
It's a difficult job to create a film with a subject that is so close to its maker without coming across as a little too precious. Indeed, there are many moments in Elena that could be regarded as self-indulgent. But no one can deny that Elena is a breathtakingly beautiful, one of a kind documentary. Elena tells a story about a 20-year-old Brazilian actress who comes to New York to pursue her acting career. She leaves behind her younger sister Petra and mom. She falls into hard times. More than twenty years later, Petra Costa, now an actress herself, a filmmaker and a dead ringer for her sister, traces her big sister's footsteps in New York, trying to reconstruct who Elena was and also to...
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- 5/29/2014
- Screen Anarchy
Floating women, like a sea of Ophelias, provide the punctuating image of Petra Costa's "Elena," a documentary that suggests a strand of opalescent memories strung on a thread of grief. Shot like a dream, spoken like an elegy, it takes nonfiction where it seldom wants to go – away from the comforting embrace of fact and into a realm of expressionistic possibility. That does not necessarily make it a masterwork — although "Elena" happens to be that — but it certainly puts a viewer off balance. And being slightly askew is a good way to watch it. "Elena" is not a mystery, which seems to be the sales pitch -- and presumably was in Brazil, where it has become one of that country's more successful nonfiction films. The tones, and tense, leave little doubt about the fate of the title character. From the opening moments, with the lights of Manhattan traffic dissolving...
- 5/29/2014
- by John Anderson
- Indiewire
How can one describe Petra Costa's film "Elena"? If it's just the facts, one could say that it's a documentary about Costa searching for answers and understanding about her sister Elena, who committed suicide when she was a child. And yes, it is that, but it is also so much more than that. It's a cinematic rendering of a memory; a visualization of a person long gone, made real again through ephemera. It's a journey through one's own darkness, a deeply personal poem of film that manages to also be incredibly humane and universal. This is avant-garde autobiographical filmmaking at its finest, and the results are stunningly beautiful, and achingly emotional within a lyrical and dreamlike aesthetic. Filmmaker John Grierson defined documentary filmmaking as "the creative treatment of actuality," which has come to be the most apt descriptor for the wide range of films about real life and reality.
- 5/28/2014
- by Katie Walsh
- The Playlist
A pained and gorgeous summoning, Petra Costa's haunted doc Elena dances with death, memory, and family, seducing viewers and then breaking their hearts.
That you know what's coming doesn't offer much relief. Costa's older sister, Elena, an actress and dancer seen in movingly decayed home video clips, lit out for New York from Brazil while Costa was still a child.
In the States, Elena, already a seasoned stage performer back home, fruitlessly tries to break into film. We see the recording of one promising audition: As in the footage of Elena's dancing in Sao Paulo theaters — flamenco, butoh, and one lulu of a routine where she's pursued offstage by rolling cable spools — the star that never quite was seems impossibly radiant, someone we can only look ...
That you know what's coming doesn't offer much relief. Costa's older sister, Elena, an actress and dancer seen in movingly decayed home video clips, lit out for New York from Brazil while Costa was still a child.
In the States, Elena, already a seasoned stage performer back home, fruitlessly tries to break into film. We see the recording of one promising audition: As in the footage of Elena's dancing in Sao Paulo theaters — flamenco, butoh, and one lulu of a routine where she's pursued offstage by rolling cable spools — the star that never quite was seems impossibly radiant, someone we can only look ...
- 5/28/2014
- Village Voice
An arresting trailer has arrived for Petra Costa's stunning-looking personal documentary "Elena." The film touches on a very painful subject for Costa, who investigates the disappearance of her older sister, who made the big move to New York when the director was only seven years old, only then to disappear, as letters home became more infrequent and then eventually ceased entirely. Here's the official synopsis, which goes into more depth on the twisty story:Elena, a young Brazilian woman, travels to New York with the same dream as her mother, to become a movie actress. She leaves behind her childhood spent in hiding during the years of the military dictatorship. She also leaves Petra, her seven year old sister. Two decades later, Petra also becomes an actress and goes to New York in search of Elena. She only has a few clues about her: home movies, newspaper clippings, a diary and letters.
- 5/9/2014
- by Beth Hanna
- Thompson on Hollywood
What happens when the dreams and aspirations of big city life just vanish into thin air, as if they had never existed? What becomes of that person and those memories and the life that was lived but never fulfilled? Those are the questions at the heart of Petra Costa's documentary "Elena." The film is a personal one for Costa, who investigates what happened to her sister Elena, who moved to New York City when the director was seven years old, with dreams of becoming an actress. But over the years calls and letters home slowed until they eventually stopped entirely, with Costa using her film as a means to investigate what happened to Elena. And it's powerful stuff, with our own Katie Walsh writing in her review that it's “stunningly beautiful and achingly emotional… consistently surprises and awes in its sensitivity and (as Herzog would say) ecstatic truths.” And...
- 5/9/2014
- by Kevin Jagernauth
- The Playlist
Fungus Among Us: Dosa Makes Friends With The Matsutake
Though the name Sara Dosa may be new to some, the fledgling director already has some striking credits to her name, having produced both Jacob Kornbluth’s disheartening Inequality for All and Petra Costa’s heartbreaking Elena. In her own sumptuous docu-debut, the heart-healing propensity of the wilderness is embraced by a pair of men whose disparate lives have been brought together in symbiosis by the solace of mushroom hunting in the thick overgrowth of Chemult, Oregon. Their minds soothed by the silence, the solitude and the rewards of finding the elusive and valuable matsutake growing underwood, Kouy, who lived through the horrors of the Khmer Rouge in Cambodia, and Roger, who served as a sniper in Vietnam, became unlikely friends after finding they share, not only a love of the forest, but the mental and physical repercussions of war. With sombrely tinged humor,...
Though the name Sara Dosa may be new to some, the fledgling director already has some striking credits to her name, having produced both Jacob Kornbluth’s disheartening Inequality for All and Petra Costa’s heartbreaking Elena. In her own sumptuous docu-debut, the heart-healing propensity of the wilderness is embraced by a pair of men whose disparate lives have been brought together in symbiosis by the solace of mushroom hunting in the thick overgrowth of Chemult, Oregon. Their minds soothed by the silence, the solitude and the rewards of finding the elusive and valuable matsutake growing underwood, Kouy, who lived through the horrors of the Khmer Rouge in Cambodia, and Roger, who served as a sniper in Vietnam, became unlikely friends after finding they share, not only a love of the forest, but the mental and physical repercussions of war. With sombrely tinged humor,...
- 5/7/2014
- by Jordan M. Smith
- IONCINEMA.com
In a joint press release issued today, Syndicado and Variance Films announced they will be co-handling the release of "Elena." The film will open at the IFC Center in New York City on May 30th and subsequently expand to the Laemmle Royal in Los Angeles. Although the press release mentions that the film will play in additional theaters around the United States and Canada, the specific venues have yet to be confirmed. The digital and home video release is planned to launch in September. Co-executive produced by Tim Robbins and "City of God" director Fernando Meirelles, "Elena" chronicles Petra Costa's search for her sister Elena -- with whom she lost touch twenty years prior after Elena left Brazil for the United States in order to pursue a career as an actress. "Elena" marks Costa's feature directorial debut and tells a story that transcends the physical borders between countries, as...
- 4/30/2014
- by Shipra Gupta
- Indiewire
Paladin and Accretion Films will distribute the psycho-thriller After on August 8 in the Us. Separately, Syndicado and Variance Films are teaming on the documentary Elena.
After marks the feature directorial debut of Pieter Gaspersz, who also produced with screenwriter Sabrina Gennarino.
The film will be go out day-and-date on digital and DVD through Virgil Films, who acquired all North American digital and home entertainment rights.
Kathleen Quinlan (pictured) stars in the family story alongside John Doman, Pablo Schreiber, Adam Scarimbolo, Diane Neal, Darrin Dewitt Henson, Bruno Gunn, Mandy Gonzalez, and Gennarino.
Elena screened at SXSW and will open on May 30 at New York City’s IFC Center before expanding to Los Angeles’ Laemmle Royal and additional markets across North America on June 13. Digital and home video release will follow in September.
Tim Robbins and Fernando Meirelles served as executive producers on the story of Petra, a Brazilian who moves to New York to follow her acting dreams...
After marks the feature directorial debut of Pieter Gaspersz, who also produced with screenwriter Sabrina Gennarino.
The film will be go out day-and-date on digital and DVD through Virgil Films, who acquired all North American digital and home entertainment rights.
Kathleen Quinlan (pictured) stars in the family story alongside John Doman, Pablo Schreiber, Adam Scarimbolo, Diane Neal, Darrin Dewitt Henson, Bruno Gunn, Mandy Gonzalez, and Gennarino.
Elena screened at SXSW and will open on May 30 at New York City’s IFC Center before expanding to Los Angeles’ Laemmle Royal and additional markets across North America on June 13. Digital and home video release will follow in September.
Tim Robbins and Fernando Meirelles served as executive producers on the story of Petra, a Brazilian who moves to New York to follow her acting dreams...
- 4/30/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Here we go. Unlike many other major festivals who favor an incremental approach, South by Southwest unloads 115 films from their extensive lineup (barring the midnight and shorts selections) in one fell swoop, so there’s plenty to parse through here. 68 of the featured films are directorial debuts, a number of which can be found in the Visions section, which housed my favorite discovery from last year’s festival: Petra Costa’s Elena. That’s not to say there aren’t a few familiar faces: Lawrence Michael Levine’s Wild Canaries will premiere in the Narrative Competition, while Festival Favorites boasts Sundance selections from a bevy of […]...
- 1/30/2014
- by Sarah Salovaara
- Filmmaker Magazine - Blog
Here we go. Unlike many other major festivals who favor an incremental approach, South by Southwest unloads 115 films from their extensive lineup (barring the midnight and shorts selections) in one fell swoop, so there’s plenty to parse through here. 68 of the featured films are directorial debuts, a number of which can be found in the Visions section, which housed my favorite discovery from last year’s festival: Petra Costa’s Elena. That’s not to say there aren’t a few familiar faces: Lawrence Michael Levine’s Wild Canaries will premiere in the Narrative Competition, while Festival Favorites boasts Sundance selections from a bevy of […]...
- 1/30/2014
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
French sales outfit Wide Management has added a slew of titles in recent months.
Tiff contemporary world cinema premiere Ningen, about a Japanese CEO under pressure to save his company, is the second feature from Noor directors Cagla Zencirci and Guillaume Giovanetti.
Portuguese drama Bobo, by Ines Oliveira, plays in the Tiff discovery programme. The feature follows two women who unite over their mutual desire to protect a child.
Vinko Bresan’s Karlovy Vary competition comedy The Priest’s Children has sold to a number of European territories while Jean-Louis Daniel’s Paris-set Shanghai Belle, also in-demand, tells the story of young models discovering a life of drugs, sex and prostitution.
Also on the slate are Snails in the Rain by Yariv Mozer, Letters of a Portuguese Nun, Rene Feret’s The Film to Come, and Us comedy Only in New York, in which a stand-up has a novel take on the Israel-Palestine conflict.
Wide has also...
Tiff contemporary world cinema premiere Ningen, about a Japanese CEO under pressure to save his company, is the second feature from Noor directors Cagla Zencirci and Guillaume Giovanetti.
Portuguese drama Bobo, by Ines Oliveira, plays in the Tiff discovery programme. The feature follows two women who unite over their mutual desire to protect a child.
Vinko Bresan’s Karlovy Vary competition comedy The Priest’s Children has sold to a number of European territories while Jean-Louis Daniel’s Paris-set Shanghai Belle, also in-demand, tells the story of young models discovering a life of drugs, sex and prostitution.
Also on the slate are Snails in the Rain by Yariv Mozer, Letters of a Portuguese Nun, Rene Feret’s The Film to Come, and Us comedy Only in New York, in which a stand-up has a novel take on the Israel-Palestine conflict.
Wide has also...
- 8/30/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
How can one describe Petra Costa's film "Elena"? If it's just the facts, one could say that it's a documentary about Costa searching for answers and understanding about her sister Elena, who committed suicide when she was a child. And yes, it is that, but it is also so much more than that. It's a cinematic rendering of a memory; a visualization of a person long gone, made real again through ephemera. It's a journey through one's own darkness, a deeply personal poem of film that manages to also be incredibly humane and universal. This is avant-garde autobiographical filmmaking at its finest, and the results are stunningly beautiful, and achingly emotional within a lyrical and dreamlike aesthetic. Filmmaker John Grierson defined documentary filmmaking as "the creative treatment of actuality," which has come to be the most apt descriptor for the wide range of films about real life and reality.
- 8/9/2013
- by Katie Walsh
- The Playlist
In the astounding and lyrical Elena, Petra Costa charts the journey of her charismatic, troubled older sister from their youth in Brazil to their year abroad in New York, where Elena is consumed by her pursuit of an acting career. Juggling found footage, voiceovers, interviews, and visual metaphors with effortless aplomb, Elena maintains the utmost intimacy despite the far-reaching chronology and geography of its subject. Elena is a love letter to her lost soul of a sister, and Costa’s gaze is as honest in its examination as its reverence. In fitting fashion, Costa recorded her responses to Filmmaker’s questions, with …...
- 3/9/2013
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
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
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