And while the city is known for its food, fashion, and design, I think part of what makes Copenhagen feel so special is how closely connected it is to nature and open space-something worth keeping in mind when planning a visit here.
As the minute hand crept towards midnight, Shane Hatton lay awake in his hotel room in Lviv in Ukraine as sleep continued to escape him.
The small, lightweight, inexpensive camcorder was a great liberator for filmmaking. Not only did it mark a significant leap in accessibility, it also made it easier for filmmakers to achieve the kind of raw, immediate visual language that had been established by directors like Spike Jonze in Video Days (1991).
Finbar Sullivan was a student at the London Screen Academy and produced music videos for drill rap artists under the name Sully Shot It. Sullivan said his son was 'not a gang member', but a 'groovy 21-year-old who loved movies and making films'.
VOID stands for Video Object and Interaction Deletion. It's a VLM (vision-language model) that can not only erase objects from a scene but can also inpaint how remaining objects in the scene should behave without the influence of whatever was excised.
Kluge was an accomplished director of intellectually rewarding, if at times oblique filmic essays, and an ever-productive writer of short fiction. He played a key role in organising the rule-breaking New German Cinema movement that brought forth better-known auteurs such as Rainer Werner Fassbinder and Werner Herzog.
When I was about 13 or 14, I knew I was a poet. And then, of course, I knew I had to make films. Although I had hardly ever seen any films. The very first time I had noticed that there was such a thing like movies was when I was 11.
But rather than walk away from his creative calling, Driven said he pivoted - teaching himself videography and landing his first paid job through a Craigslist post filming Caribbean DJ, and DJ Mad Out. "That opportunity introduced him to New York's Caribbean music scene, where he went on to work with artists such as Shaggy, Ding Dong and Kranium," she said. "Those early experiences sharpened Hillmedo's eye for authenticity, capturing Caribbean culture not as spectacle, but as lived reality," she added.
When a movie ends, Jim Jarmusch almost always gets sick. Which illness varies it could be a cold, the flu, or worse. The phenomenon has taken place for years. In his filmography, the director tends to post more questions than answers. In contrast, when it comes to his health, he has arrived at a clear conclusion: It's fucking hard to make a movie. And that's equally true if it's good or bad. It requires a lot of resistance and concentration.
Before he was a filmmaker, David Lynch was a painter and, if you're familiar with his esoteric filmmaking practice - peppered as it is with some of cinema's most indelible imagery - it all makes a lot of sense. A year after the auteur's passing, a newly opened show at Pace Gallery's Berlin space, Die Tankestelle, foregrounds Lynch's career-spanning fine art practice and its inextricable link to his cinematic oeuvre.
Counterculture auteur David Lynch He directed off-kilter cinematic classics in the 1980s and 1990s, including Blue Velvet, Wild at Heart and Mulholland Drive, and he co-created the groundbreaking TV series Twin Peaks. David Lynch's surreal, sinister vision, he said, came from a happy 1950s childhood in Boise, Idaho, that was punctuated by startling glimpses of violence. An eye-catching figure known for his messy pompadour, Lynch was also a longtime devotee of transcendental meditation. Read Kyle Norris' remembrance.
Born in Beijing, in 1982, she wound up at New York University's film school, where she studied under Spike Lee. Starting in 2015, she directed three small-scale, slow-burn features set in the American heartland: "Songs My Brothers Taught Me," "The Rider," and "Nomadland." All three capture the expansive beauty of the West-in particular South Dakota, with its moonlike badlands and wide, grassy plains-while using local nonprofessional actors to achieve documentary-like naturalism.
Though I haven't loved all their films, Norwegian director Joachim Trier and his writing collaborator Eskil Vogt remains among the hopes of the medium-an accomplished team whose work is intelligent, involving, thematically ambitious but very human in scale. Their latest Sentimental Value won the Grand Prix at Cannes, and it again largely revolves around Renate Reinsve, the star of their last effort The Worst Person in the World.
At December's event, you can expect talks from Charlotte Mei, a London-based contemporary artist, painter and illustrator who has worked with Sony Music, Hermés, Panasonic and the New York Times, as well as having her work exhibited in London, Hong Kong, Berlin and New York. She'll be talking about the evolution of her work which has gone through considerable changes. We'll also be joined by the creator of A View,
The right way to describe the project and our reasons behind it will reveal itself through process. Let's slow down. Let's open the windows. In the afternoon, the air from the windows is so soft and gentle. The crows are back, talking to the dog again, and the other birds are singing in the trees. They are all a part of this. The best way to write this would be
"We made this in an academic space," Magbanua says. "To have it be screened and experienced in a space surrounded by professionals and people who are established, seasoned and esteemed, it's really surreal, because we were just making this in a classroom a couple months ago."
In "Nouvelle Vague," a new film from the director Richard Linklater, an impassioned young movie critic expresses his belief in what cinema could be-and frets about what he himself may never be. It's 1959, and the critic is Jean-Luc Godard, a soon-to-be leader of the French New Wave, a nascent movement of journalists who are trading in their typewriters for film cameras, aiming to ignite a cinematic revolution. But Godard, unlike some of his comrades, has yet to direct his first picture.
In a sad case of tragic irony, a 34-year-old filmmaker struck and killed by a driver who blew a red light in Brooklyn last Sunday was the son of a famous Dominican documentarian - who was also killed in a car accident seven years ago.
Tim Blake Nelson is a celebrated actor, writer, and director. His nearly 100 screen credits include The Thin Red Line, Lincoln, The Ballad of Buster Scruggs, Watchmen, and O Brother, Where Art Thou? For his latest, the independent film Bang Bang, he plays an aging boxer whose glory days are long past. On this episode, he details how his process has changed by comparing the patience he has now to his approach for O Brother, Where Art Thou? where "fear inspired hubris" fueled him.
"I've always really loved storytelling. When I discovered I was queer at a very young age, the YouTube film community was a huge kind of anchor for me, which inspired me to go more into film. But I also think just generally, I've always had a love of movies."
