when Cary posted his story, I found several more details beyond what I included in the press release regarding other festivals some of the films had screened at and awards they won, etc. It’s like Cary actually spent some time researching and looking stuff up.
I’ve seen every zombie movie under the sun, and I can safely say: it doesn’t matter. They both work. Depends entirely on the kind of horror you want to draw from the scenario. Running zombies keep you on the edge of your seat, always alert. Slow zombies can be comedic, until suddenly they aren’t.
Those are the snowflakes, we were told. They, and others like them, in several cities across the country, far outnumbering the Trumpettes that turned out – paid or otherwise, for the inauguration festivities, staked a claim to the country they rightfully share in, refusing to be cowed, and insisting that there ideas would continue to be put forth, and fought for.
I am particularly inspired by filmmaker Harmony Korine, who in his long and short form narrative works ends up combining his own stories and opinions about living in the South.
Fortunately, to this day I have not been lynched by the AP Style Society. No one has picketed my house. Justina, my wife, has not had her invitations to the sewing circle rescinded. Okay, there is no sewing circle. And if there was one, I’d deliberately make some more grievous AP Style errors in order to get her kicked out because that would be totally rock n’ roll, right?
Is the Amazonianzation and Netflixication of independent film basically just the latest “reset” of what we used to think of as the hierarchy of studio films versus independent films?
We don’t need more Clooney, Kidman, Lawrence, Adams, Streep, Cruise coverage. Monkeys can do that by this point. We need to find the new talent in film, and TV, and VR, etc. We need to give the new voices a forum to discuss their work. We need to help people find the golden film needles in the haystack of VOD titles we scroll past on Amazon and Netflix now.
They live with a painful memory of a bygone past, yet they refuse to throw themselves back to the earlier time often associated with a point of no return, their hometown -which they felt they rebelled with a cause. To a certain extent, the film is indeed a reflection upon contemporary China at a crossroads.
Annabelle Dexter-Jones ’ CECILE ON THE PHONE is described in the Sundance Program Guide as:
We forgot about the outside world. No one came and went. No agents visiting. I didn’t even have one. We all stayed in a funky motel on the outskirts of Reno in rooms that circled the pool. We were like a little theater company in the heat of summer that went off to a small gambling town in the Wild West to tell a story centered around love. You can imagine how contagious that could be.
