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March 17, 2019

Horse Drama ‘Mustang’ Sprints Ahead of Star-Crossed ‘The Aftermath’

Plenty of new movies are hitting arthouses. Two prime players platformed high-profile films, but neither Sundance opener “Mustang” (Focus Features) nor “The Aftermath” (Fox Searchlight) passed the $20,000 per-theater average that stands as a minimum gauge for long-term specialized success. Like last week’s opener “Gloria Bell” (A24) –which expanded decently this weekend–both are aimed at the older demo who can be counted on to turn up in theaters as films broaden.

With the awards season in the rearview, it’s been a while since so many quality subtitled films are on display at once. Sure, an Oscar nomination helps to brand a foreign-language film, but several movies are holding their own anyway, especially starry family drama “Everybody Knows” (Focus), headlined by Javier Bardem and Penelope Cruz.


Mustang (Focus) – Metacritic: 76; Festivals include: Sundance 2019

$76,000 in 4 theaters; PTA: $19,000

Like last year’s “The Sisters Brothers,” this English-language drama set in the (contemporary) American West is actually a French production. Belgian actor Matthias Schoenaerts plays an angry, isolated Nevada prison convict who learns to tame wild horses. Laure de Clermont-Tonnerre’s well-reviewed film took the top spot in respective Landmark cinemas in New York and Los Angeles.

What comes next: The film will quickly expand to about 50 theaters this week.

Keira Knightley in "The Aftermath"

Keira Knightley in “The Aftermath”

Fox Searchlight

The Aftermath (Fox Searchlight)- Metacritic: 41; Festivals include: Glasgow 2019

$57,500 in 5 theaters; PTA: $11,500

Star power couldn’t overcome low-end reviews for James Kent’s post-World War II love triangle about a British official (Jason Clarke) and wife (Keira Knightley) taking over the home of a German architect (Alexander Skarsgard) as both families cope with loss. This marks the final release by the very successful Fox Searchlight before it continues as a separate unit under Disney ownership.

What comes next: This could still pull support from older audiences as it gets the usual high-end handling from its distributor.

“Ash Is Purest White”

Ash Is Purest White (Cohen)- Metacritic: 83; Festivals include: Cannes, Toronto, New York 2019

$45,150 in 7 theaters; PTA: $6,450

Jia Zhang-ke is a contemporary cinematic master, but has never gained the status of a mainstream domestic arthouse auteur. His latest film has scored a more elevated release, including an atypical booking at Los Angeles’ prime Arclight Hollywood (where it ranked #5 for the weekend). Predictably New Yorkers supported its two best runs, and the film also performed in San Francisco. These are respectable initial numbers for such a rarefied film, but don’t suggest wider interest.

What comes next: Cohen will push this into other top cities per its usual support of high qualities films.

“The Hummingbird Project”

The Hummingbird Project (The Orchard) – Metacritic: 53; Festivals include: South by Southwest 2019

$36,027 in 4 theaters; PTA: $9,007

With strong New York/Los Angeles theater placement and three major names (Jesse Eisenberg, Alexander Skarsgard, and Salma Hayek), this Wall Street-set thriller weathered mediocre reviews to get some sampling in its initial theaters.

What comes next: Additional top cities add this Friday, with a wider release on April 5.

Combat Obscura (Oscilloscope) – Metacritic: 55; Festivals include: True/False 2017; also available on Video on Demand

$15,500 in 10 theaters; PTA: $1,550

This documentary about a photographer who develops PTSD after his own reaction to wartime experiences played in several cities to complement its home viewing premiere this weekend. It placed second to “Free Solo” over the weekend among ITunes documentaries.

What comes next: Mostly non-theatrical viewing.


“Gloria Bell”


Week Two

Gloria Bell (A24)

$393,835 in 39 theaters (+35); PTA: $10,124; Cumulative: $584,390

Following its strong recent platform openings last week, this remake of the Chilean “Gloria” with the same director and Julianne Moore in the role of a middle-aged woman breaking loose socially continues to show interest. Its appeal to a post-awards older audience, with fewer options at the moment, should help propel it to more positive results as it expands wider.

The Kid (Lionsgate)

$270,000 in 268 theaters (no change); PTA: $: 1,007; Cumulative: $1,053,000

Vincent D’Onofrio’s Western with Ethan Hawke and Chris Pratt dropped just under 50 percent its second weekend in limited national release.

Ongoing/Expanding (grosses over $50,000)

Green Book (Universal) Week 18; also on Video on Demand

$1,280,000 in 1,370 theaters (-777); Cumulative: $82,620,000

Over $13 million has been added to the Best Picture-winner’s gross since Oscar night. That’s a decent result despite home availability. “Green Book” marks the biggest after-victory result in many years.

Apollo 11 (Neon) Week 3

$1,226,000 in 588 theaters (+183); Cumulative: $5,541,000

This well-reviewed visually stunning film featuring restoration of the footage from the first moon landing added theaters again, with decent results which cannot match its initial IMAX-only locations.

Fighting With My Family (MGM) Week 5

$1,109,0001 in 1,580 theaters (-875); Cumulative: $20,901,000

This Dwayne Johnson-backed biopic of an English pro wrestling family is getting a decent result with support for very wide play. But its per-theater response at this point is minor.



Wild Bunch

Climax (A24) Week 3

$197,419 in 217 theaters (+189); Cumulative: $566,183

Gaspar Noe’s bravura wild party experience is getting a quick wider push. The results aren’t close to the initial positive limited-release reaction.

Everybody Knows (Focus) Week 6

$269,000 in 248 theaters (-35); Cumulative: $2,319,000

Iranian director Asghar Farhadi’s Spanish film could hit $3 million. “The Past,” which won the Foreign Language Oscar five years ago, only did about half as much. Stars help.

The Wedding Guest (IFC) Week 3

$116,178 in 94 theaters (+63); Cumulative: $230,006

Michael Winterbottom’s India thriller starring Dev Patel expanded to mixed results in its third week.

The Favourite (Fox Searchlight) Week 17; also available on Video on Demand

$115,000 in 143 theaters (-75); Cumulative: $34,048,000

Olivia Colman’s Best Actress win propelled Yorgos Lanthimos’ historical romp to an extra $2 million-plus in gross — even though it’s parallel to home-viewing choices.

Stan & Ollie (Sony Pictures Classics) Week 12

$114,665 in 230 theaters (+169); Cumulative: $5,289,000

Continued interest late in its run for this Laurel & Hardy comeback attempt biopic.

Transit (Music Box) Week 3

$114,576 in 42 theaters (+36); Cumulative: $225,192

This significant expansion of Christian Petzold’s well-reviewed romantic thriller about a political exile is keeping pace with the successful “Shoplifters” a few months ago.

They Shall Not Grow Old (Warner Bros.) Week 9

$(est.) 90,000 in 150 theaters (-63); Cumulative: $(est.) 17,520,000

Peter Jackson’s restored World War I-footage film continues to add to its unexpectedly high total. It remains just about even to the equally successful Oscar-winning “Free Solo.”

Arctic (Bleecker Street) Week 7

$82,630 in 97 theaters (-111); Cumulative: $2,163,000

Mads Mikkelsen’s post-plane crash fight for survival wraps up its modest run.

“Birds of Passage”

Birds of Passage (The Orchard) Week 5

$80,247 in 97 theaters (+47); Cumulative: $355,142

This Colombian decades-spanning story of the drug trade’s impact on an indigenous community has gotten reviews near the best of any release this year. But in a crowded post-awards field it continues to struggle to get the response it deserves.

Never Look Away (Sony Pictures Classics) Week  8

$78,543 in 59 theaters (-18); Cumulative: $993,242

Though only a small fraction of the director’s very successful “The Lives of Others,” this three-hour German Oscar-nominee will soon become the latest subtitled release to pass the $1 million mark. That has been rare of late.

Free Solo (Greenwich) Week 25; also available on Video on Demand

$75,050 in 72 theaters (-47; Cumulative: $17,358,000

Nearing the half year mark of its theatrical run, this Oscar-winning documentary is still adding to its terrific total.

Also noted:

Capernaum (Sony Pictures Classics) – $37,417 in 32 theaters; Cumulative: $1,524,000

To Dust (Good Deed) – $22,196 in 21 theaters; Cumulative: $

Ruben Brandt, Collector (Sony Pictures Classics) – $19,233 in 36 theaters; Cumulative: $75,722

The Iron Orchard (Santa Rita) – $11,183 in 11 theaters; Cumulative: $184,565

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Source: IndieWire film

March 17, 2019

Rachel Bloom Wants to Turn J.K. Rowling’s Latest ‘Harry Potter’ Retcon Into a Porno

As she is wont to do, “Harry Potter” author J.K. Rowling has added some after-the-fact details to her wizarding world. Speaking about Dumbledore and Grindelwald’s relationship on the upcoming “Fantastic Beasts: The Crimes of Grindelwald” Blu-ray, Rowling reportedly calls their bond “incredibly intense. It was passionate, and it was a love relationship.”

“But as happens in any relationship, gay or straight or whatever label we want to put on it, one never knows really what the other person is feeling,” she says. “You can’t know, you can believe you know.”

“Crazy Ex-Girlfriend” creator Rachel Bloom quickly seized on this latest revelation, taking to Twitter to announce that she will “fully fund this pornographic film.” Then the details:


Dumbledore’s sexuality was never explicitly mentioned in the books, and Rowling revealed that he was gay after all seven tomes had been published. “I’m less interested in the sexual side — though I believe there is a sexual dimension to this relationship — than I am in the sense of the emotions they felt for each other, which ultimately is the most fascinating thing about all human relationship,” the author also says on the Blu-ray featurette.

“The Crimes of Grindelwald” itself does not actually address this aspect of their relationship.

Source: IndieWire film

March 17, 2019

Aaron Paul Plays Coy About ‘Breaking Bad’ Movie, Says ‘It Has to Star Jesse’

The “Breaking Bad” movie is all but confirmed, not that Aaron Paul is admitting it. The actor, who won three Emmys for his performance as Jesse Pinkman on the revered AMC drama, appeared at the Sun Valley Film Festival this weekend, and though he wasn’t in Idaho to discuss his signature role he was inevitably asked about it.

“Rumors are funny — I once heard a rumor that I was being cast as Han Solo,” Paul said during Variety’s Coffee Talk event. “I haven’t heard anything about the ‘Breaking Bad’ movie, but if there is one and it comes together I’d love to be a part of it…if it were to happen, yes, I would love to do it.”

As for what such a project would entail, Paul was more forthcoming: “In case you haven’t caught up on the TV series, Walter dies, so…it has to star Jesse,” he said.

Bryan Cranston’s involvement in the film has not been confirmed one way or the other, though he has gone further than his co-star in saying that the movie itself is happening. A movie called “Greenbrier” was scheduled to film in Albuquerque (where “Breaking Bad” was set) from November to February, according to the New Mexico Film Office, and the official description of the film says it “tracks the escape of a kidnapped man and his quest for freedom.” Astute fans of the show have surmised that this is likely the follow-up movie in question, as Paul’s character was held captive by neo-Nazis who utilized his meth-making abilities.

Source: IndieWire film

March 17, 2019

Asian Film Awards: ‘Shoplifters’ and ‘Burning’ Triumph in Hong Kong

Shoplifters” and “Burning” were the big winners at the 13th Asian Film Awards, with Hirokazu Kore-eda’s family drama winning Best Picture and Lee Chang-dong being named Best Director for his cerebral thriller. “Shadow” led all films by taking home four prizes, with Zhang Yimou’s epic period piece winning four technical awards: Best Production Design, Best Costume Design, Best Cinematography, and Best Editing.

Samal Yeslyamova received Best Actress laurels for her performance in “Ayka,” just as she did at Cannes last year, with “The Blood of Wolves” star Yakusho Kōji joining her as Best Actor. “Burning” only left the ceremony with one of the eight prizes for which it was nominated, but Lee received a Lifetime Achievement award as well. Full list of winners:

Best Picture

Best Director
Lee Chang-dong, “Burning”

Best Actor
Yakusho Kōji, “The Blood of Wolves”

Best Actress
Samal Yeslyamova, “Ayka”

Best Supporting Actor
Zhang Yu, “Dying to Survive”

Best Supporting Actress
Kara Wai, “Tracey”

Best Newcomer
Johnny Huang Jingyu, “Operation Red Sea”

Best New Director
Oliver Chan Siu Kuen, “Still Human”

Best Production Design
Ma Kwong Wing, “Shadow”

Best Visual Effects
Alex Lim Hung Fung, “Project Gutenberg”

AFA Rising Star Award
Park Seo-joon

Best Costume Design
Chen Minzheng, “Shadow”

AFA Next Generation Award
Kim Jae-joong

Best Cinematography
Zhao Xiangding, “Shadow”

Best Editing
Tsukamato Shinya, “Killing”

Excellence In Asian Cinema Award
Yakusho Kōji

Best Screenplay
Jia Zhangke, “Ash Is Purest White”

Best Original Music
Hosono Haruomi, “Shoplifters”

2018 Highest Grossing Asian Film
“Operation Red Sea”

Best Sound
Yang Jiang, Zhao Nan, “Shadow”

Lifetime Achievement Award
Lee Chang-dong

The ceremony took place at TVB City in Hong Kong.

Source: IndieWire film

March 17, 2019

‘Pet Sematary’ Review: A Chilling Take on Stephen King That Can’t Live Up to Its Source Material — SXSW

Pet Sematary” was and remains one of Stephen King’s most devastating horror novels — a meditation on grief, guilt, and the distinct way the two are intrinsically linked. King almost didn’t release his novel; his wife Tabitha and his friend Peter Straub thought it was too upsetting, and so it sat on a shelf until King needed a novel to complete his contract with Doubleday. In 1983, “Pet Sematary” was released, and just six years later it hit the mainstream with a film directed by Mary Lambert. Almost 30 years after Lambert’s film, directors Kevin Kolsch and Dennis Widmyer (“Starry Eyes”) have collaborated on a new adaptation of King’s novel that succeeds in some areas where the 1989 version failed while ultimately failing to deliver an ending that resonates as deeply as its source material.

Louis (Jason Clarke) and Rachel Creed (Amy Seimetz) have just relocated with their two children from the big city to the quiet, rural Maine town of Ludlow, where they hope to establish a sense of normalcy. As a doctor, Louis has worked the night shift for years, tending to some of the most horrific and brutal emergencies. This move should be a nice change of pace for the family, and especially their children — eight-year-old Ellie (Jete Laurence) and toddler Gage (Hugo and Lucas Lavoie) — but almost immediately the family is hit with tragedy when their cat, Church, is hit by one of the fuel trucks that speed recklessly down the county road in front of their home.

On the advice of their neighbor, a friendly widower named Jud Crandall (John Lithgow), Louis buries Church in a secret area beyond the local “pet sematary,” where children often lay their pets to rest in eerily ritualistic fashion. But then Church comes back. He’s not the same. By now most viewers are undoubtedly familiar with how this goes: Sometimes dead is better. And yet when tragedy strikes the family again, Louis fails to adhere to this lesson.

Pet Sematary

Jason Clarke and John Lithgow in “Pet Sematary”

Paramount Pictures

Kolsch and Widmyer, working from a screenplay by Jeff Buhler, engage with those expectations directly. King’s fanbase is vast, and there are few horror-film fans who have not seen Lambert’s 1989 film — a classic despite the tonal discrepancies between the late ’80s and today. The new version of “Pet Sematary” is both darkly humorous and quite chilling, modernizing some of the cheesier emotional beats of that earlier adaptation. For much of the runtime, the directing duo confront grief and guilt in a manner that resonates deeply; familiar as viewers may be with the source material and Lambert’s take on it, Kolsch and Widmyer manage to subvert those expectations to deliver an unnerving exploration of death and its emotional effects. That approach may appear heavy-handed to fans of both the novel and the 1989 movie — as are winks and nods to King’s bibliography — but this “Pet Sematary” is more effective than the previous adaptation, at least until the climax.

It’s in the third act that Kolsch and Widmyer’s ambitions get the best of them. The macabre poignance of the first two-thirds of the film swiftly devolves into silliness, ending on a note that is neither heartbreaking nor horrific. That’s a shame, given the 80 or so minutes that preceded it. Seimetz and Clarke anchor the film as the grief-stricken parents, and the former in particular grounds some of the story’s wackier concepts — like the flashbacks involving the death of her sister. Those scenes are leaps and bounds better than they were in Lambert’s version, and help illuminate Rachel’s struggles with the concept of death.

That character development is key to understanding her ongoing arguments with Louis over how to explain Church’s disappearance to young Ellie. Similarly more effective in this iteration is the brutal death and subsequent reappearance of a college student named Victor Pasquale (Obssa Ahmed). Louis’ guilt takes on an additional, subtle dimension in this version: Victor is black, and the script pays closer attention to the Native American origins of the supernatural cemetery in question. As such, Louis’ post-mortem guilt concerns not only his failures as a husband and father, but as a white man.

Unfortunately, many of these headier ideas are lost in the film’s final moments, as “Pet Sematary” spirals into the realm of the cartoonish with an ending that feels more like a punchline than a gut punch.

Grade: B-

“Pet Semetary” premiered at South by Southwest. Paramount Pictures will release it on April 5.

Source: IndieWire film

March 16, 2019

Keynote Speaker T Bone Burnett Admonishes SXSW Community of Data Nightmare [Video]

“Satan is a very great electric engineer.” – Keynote Speaker T Bone Burnett at SXSW 2019, referencing media theorist Marshall McLuhen

Just moments before Facebook and Instagram went down for hours on Wednesday, March 13, 10-time Grammy-winning producer, songwriter, and Keynote Speaker T Bone Burnett sounded the alarms about the dangers of deregulated tech platforms. The music industry icon wasted no time discussing his legacy, and fully utilized the ballroom stage to fire a shot across the bow at technologists that he described as “lacking humanity”.

“I will stay with the artists. Artists contain the accumulated knowledge of generations. Artists create conscience. The artists are our only hope.”

For the SXSW community, who had been deep in conversations, many of which were centered around an optimism of future technologies throughout the week, Burnett’s remarks were a welcome shock to the senses.

“There are laws against phone tapping, yet on the internet, all communications are tapped, at all times, with impunity.”

After delivering a thorough analysis of the malicious disarray of our current tech industry peppered with well-placed jabs at industry luminaries, who he referred to as “surveillance capitalists” and “digital gangsters”, Burnett recited the poetry of Czeslaw Milosz and made an important call to action, “The goal of art is to create conscience. You are equal to the task.”

Watch Now

Dive into SXSW 2019 Photo Galleries from March 8-17 including sessions, screenings, showcases, and more. And as always, follow us on Facebook, Twitter, Instagram, and SXSW News to stay current with all things SXSW.

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T Bone Burnett – Photo by Adrianne Schroeder

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Source: SxSW Music

March 16, 2019

The 2019 Grulke Prize Winners

SXSW is pleased to announce the winners for this year’s Grulke Prize.

The award, now in its seventh year, was developed in honor of our friend and colleague Creative Director Brent Grulke, who passed away on August 13, 2012.

Brent’s love of music and the spirit of the festival is reflected in the three Prize categories: Developing U.S. Act, Developing Non U.S. Act and Career Act.

The Developing Act Prizes are for artists who are breaking new ground with their creativity and show the most promise in achieving their career goals. The Career Act Prize is for an established artist who appeared at SXSW to reinvent themselves or launch a new project.

Last year’s winners were Starcrawler, Jade Bird, and Todd Rundgren.

2019 Grulke Prize Winners

Pink Sweat$ - Photo by Hubert Vestil/Getty Images for SXSW

The Grulke Prize winner for Developing U.S. Act is Pink Sweat$. Based in Philadelphia, the artist/songwriter/producer’ music is rooted in R&B and Soul, stripping back the typical genre-specific production to showcase melodic intricacy and lyrical prowess. He began making music at the age of 19 as a demo vocalist. Soon after he found himself working at the legendary Sigma Sounds Studios, where he began his career as a songwriter and began to develop his career in music. He has worked with a wide range of today’s popular artists, but is now ready to take center-stage himself.

Angie McMahon - Photo by Renee Dominguez

The Grulke Prize winner for Developing Non-U.S. Act is Angie McMahon. Having recently completed her first Australian headline tour, McMahon is releasing her debut album in 2019, drawing inspiration from artists like Bruce Springsteen, Lianne La Havas and Big Thief. She writes and performs across the full dynamic spectrum, shifting between gravelly intimacy and pounding rock, and her performances at SXSW bounced between whisper-quiet tones and cathartic rock roars. Early singles feature honest songwriting and romantic melodies, with songs that ruminate on life, love, and pasta.

The Chills - Photo by Michael Loccisano/Getty Images for SXSW

The Grulke Prize winner for Career Act is The Chills. Hailing from Dunedin, New Zealand and fronted by the rare talent of Martin Phillipps, the band originally formed in 1980. Featuring various people over the years, Phillipps is the only remaining original member. Always a cult favorite internationally, The Chills led the charts in their native New Zealand with rock singles “Pink Frost” and “Wet Blanket”. The Chills are currently performing in support of their 2018 album Snow Bound and SXSW World Premiere Documentary Feature The Chills: The Triumph & Tragedy of Martin Phillipps.

Jurors for the Grulke Prize include music critics, industry professionals, and SXSW staff, many of whom knew and worked with Brent over the years.

Top to bottom:
Pink Sweat$ – Photo by Hubert Vestil/Getty Images for SXSW
Angie McMahon – Photo by Renee Dominguez
The Chills – Photo by Michael Loccisano/Getty Images for SXSW

The post The 2019 Grulke Prize Winners appeared first on SXSW.

Source: SxSW Music

March 16, 2019

Passion for Pasta & Seafood: The Mediterranean Diet is Good for You & Good for the Planet

Barilla Dinner

Dine anywhere along the Mediterranean coast and you’ll find fresh seafood served with pasta is par for the course (pun intended). That’s because they’re both star players in the regional diet, which emphasizes eating unprocessed, plant-based foods and lean proteins.

As an Italian, family-owned company, Barilla is a passionate advocate of the Mediterranean diet and lifestyle — and a fierce proponent of producing and eating food that is both good for people and good for the planet. Fortunately, those things naturally go hand in hand: The Barilla Center for Food & Nutrition Foundation double food and environmental pyramid shows that foods with a lower environmental impact — such as responsibly farmed seafood and plant-based foods like pasta — are also recommended by nutritionists for their health benefits.

On Monday, TV host, chef, author and entrepreneur Andrew Zimmern led “The Future of Food: Aquaculture,” a SXSW panel discussion of how marine farming can help feed the world’s burgeoning population without depleting the planet’s resources. Later that evening, at dinner sponsored in part by Barilla, the concept was brought to delicious life by Chef Paul Bartolotta, who prepared a Barilla Collezione pasta seafood dish for Zimmern, his fellow panelists and other guests.

For healthy pasta recipes and to learn more about the Mediterranean diet and Barilla’s Good for You, Good for the Planet initiatives, follow @BarillaUS and visit Passion for Pasta on Barilla.com

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Source: SxSW Film

March 16, 2019

The 2019 SXSW Film Festival Announces Audience Award Winners

The SXSW Conference and Festivals announced the Audience Award winners from the Narrative Feature Competition, Documentary Feature Competition, Narrative Spotlight, Documentary Spotlight, Visions, Midnighters, Episodic Premieres, Global, Festival Favorites and Design Award categories. Headliners and 24 Beats Per Second Audience Award winners will be announced on Monday, March 18. Audience Award results for all categories were certified by the accounting firm of Maxwell Locke & Ritter.

The Audience Awards follow the previously announced 2019 Jury Awards, which included Grand Jury Winners Alice for Narrative Feature and For Sama for Documentary Feature.

Check out screening times for winners here.

2019 SXSW Film Festival Audience Award Winners:

Narrative Feature Competition

Audience Award Winner: Saint Frances
Director: Alex Thompson

Documentary Feature Competition

Audience Award Winner: For Sama
Directors: Waad al-Kateab, Edward Watts

Narrative Spotlight

Audience Award Winner: The Peanut Butter Falcon
Directors: Tyler Nilson, Michael Schwartz

Documentary Spotlight

Audience Award Winner: Running With Beto
Director: David Modigliani


Audience Award Winner: The Garden Left Behind
Director: Flavio Alves


Audience Award Winner: Boyz In The Wood
Director: Ninian Doff

Episodic Premiere

Audience Award Winner: Ramy
Show Runner: Bridget Bedard


Audience Award Winner: Cachada: The Opportunity
Director: Marlén Viñayo

Festival Favorites:

Audience Award Winner: Raise Hell: The Life & Times of Molly Ivins
Director: Janice Engel

SXSW Film Design Awards:

Excellence in Title Design

Audience Award Winner: Spider-man: Into The Spider-verse
Directors: Brian Mah, James Ramirez

Virtual Cinema Jury Award Winners

The 25 projects in the Virtual Cinema, which ran Monday March 11 through Wednesday March 13, were eligible for 360° Video: Documentary,, 360° Video: Narrative, Interactive, Storytelling, Best Use of Immersive Arts, plus special jury awards.. The 2019 Virtual Cinema jury was composed of Eliza McNitt, Laura Mingail, and Lori​ Schwartz.

360° Video: Documentary – Send Me Home
Director: Cassandra Evanisko

360° Video: Narrative – Metro Veinte: Cita Ciega
Director: Maria Belen Poncio

Interactive – Runnin’
Director: Kiira Benzing

Storytelling – Gloomy Eyes
Director: Jorge Tereso, Fernando Maldonado

Best Use of Immersive Arts – Home After War
Director: Gayatri Parameswaran

Special Jury Recognition: The Future of Experience – Traverse
Director: Jessica Brillhart

Saint Frances – Special Jury Recognition for Breakthrough Voice Award – Photo by Matt Winkelmeyer/Getty Images for SXSW

The post The 2019 SXSW Film Festival Announces Audience Award Winners appeared first on SXSW.

Source: SxSW Film

March 16, 2019

Keynote Kathy Griffin with Kara Swisher at SXSW 2019 [Video]

At the 2019 SXSW Conference, two-time Emmy and Grammy award-winning comedian Kathy Griffin took the stage for candid and uncensored Keynote conversation with Recode editor-at-large and New York Times contributing opinion writer Kara Swisher. Griffin’s first visit to SXSW was certainly a memorable one!

On stage, Griffin and Swisher discuss her new documentary, Kathy Griffin: A Hell of a Story, which world premiered at the 2019 SXSW Film Festival. Then they dive deep into the last 18 months of Griffin’s career from death threats to being the subject of two federal investigations. Throughout this period of controversy, Griffin talks about how she became the target for harassment. During the Keynote, she opens up to the SXSW audience about re-building her career and unapologetically delivers her opinions.

“At 58, I just thought, if you’re not going to take a stand now, what the f*ck are you waiting for?”

Despite the serious topics at hand, Griffin keeps the audience hysterically laughing and Swisher on her toes. Preview the Keynote above and then watch the entire Convergence Keynote with Kathy Griffin and Kara Swisher as well as other SXSW 2019 videos on our YouTube channel.

Watch Now

Dive into our SXSW Photo Galleries to see what the event is all about including sessions, screenings, showcases, and more. Be sure to follow us on Facebook, Twitter, Instagram, and SXSW News to keep up with all things SXSW.

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Featured Image by Ismael Quintanilla/Getty Images for SXSW

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Source: SxSW Film