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October 4, 2017

Filmmaker In Focus: Whiskey Fist and Hot Dog Hands [Video]

Whiskey Fist and Hot Dog Hands screened in the 2017 SXSW Film Festival shorts program. While these titles are intrigue enough, take a closer look with our Q&A with the directors below. Be sure to take a few minutes to watch these quirky shorts, your day is bound to be more interesting if you do!

Whiskey Fist

Gillian Wallace Horvat is a Los Angeles-based filmmaker, writer, and film programmer. Her short Kiss Kiss Fingerbang won the Grand Jury Prize in the Midnighters category at the 2015 SXSW Film Festival. She also lends her voice talents to Hot Dog Hands.

Whiskey Fist from Gillian W Horvat on Vimeo.

Q: Tell us a little about your film?

GH: Whiskey Fist is a short film that uses absurd and vulgar comedy to probe the sensitive social sphincter holding back a much-needed dialogue on the obstacles to empathy between genders. It’s set in the world of “branding”, where our protagonist, Justin, is an intern. Young Justin seems in certain danger of assimilating his misogynistic environment and becoming a douchebag. But one night a mysterious blonde impregnates him with a bottle of high-end whiskey – magical realism ensues.

Q: What motivated you to tell this story?

GH: I can neither confirm nor deny that my assault on the advertising space was inspired by a contest held by an alcohol company that offered emerging filmmakers the chance to tell their stories by asking them to create a 7 page pitch that the company would own in perpetuity for no compensation. It sounded like a great opportunity, but I decided to make my own film instead.

Q: What do you want the audience to take away from this film?

GH: The only way to ensure equality between men and women is for both sexes to see one another as peers. Part of that is understanding biology, and the ethics and responsibilities that are concomitant. The majority of politicians at the state and federal level are still men. I feel in my heart that if they made the effort to empathize with the reality of female bodies they would make the right decisions about allowing women access to health care, supporting maternity leave, and legislating wage parity.

Hot Dog Hands

Matt Reynolds grew up just north of San Francisco. His animations have screened internationally at numerous film festivals. His short, Bottom Feeders, premiered at SXSW in 2015. In 2016, he received his MFA in Experimental Animation from CalArts. Reynolds also designed and animated our 2017 film festival bumpers.

Hot Dog Hands from Matt Reynolds on Vimeo.

Q: Tell us a little about your film?

MR: This was a bonkers idea for a cartoon about a woman who can’t stop growing fingers.

Q: What motivated you to tell this story?

MR: I think the most fun film projects are those that start from an absurd premise, and here I was trying to connect a woman growing fingers to an underground community of retired postal workers.

Q: What do you want the audience to take away from this film?

MR: Your weirder ideas are the better ones.

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The post Filmmaker In Focus: Whiskey Fist and Hot Dog Hands [Video] appeared first on SXSW.

Source: SxSW Film

October 4, 2017

How to apply the “Dominating Attribute” visual principle

Watch clip


  • Client: Swedish bank and one-click payment system Klarna.
  • Agency: Nord DDB and directed by The Perlorian Brothers.
  • Platform: Instagram.
  • Backstory: As part of a larger campaign that started last year, and in support of Klarna’s new Website launch, Nord DDB repurposed this video clip on Instagram last month, and created a viral sensation (31k views, and 300 comments).

Why does it work?

  • Brand attribute: The clip works because it takes one dominating feature and taking it to the extreme to demo the key value benefit of the product. In this case, how smooth payments can be using the service – and blow it up to the extreme by using a swimming “mermaid” Afghan dog. The same principle was successfully used in the famed Blendtec’s Will it Blend YouTube campaign.
  • Emotion: The target emotion is a sheer surprise, coupled with pet always-high likability factor.
  • Repurposing: Great illustration of how to recycle content from a longer commercial that was syndicated on TV to Instagram.
  • Trigger caption: The Instagram caption is: When you’re swimming into the weekend like… #noworries is a great example of how to prime your audience to respond. And indeed, their audience completed the story in their heads with a ton of interpretative comments.
  • Business objective: Speaking about the customer’s “Road of Trials,” this clip demonstrates how you can stage wow moments for your audience, at the top funnel to drive positive brand awareness leveraging Instagram.
  • Relevancy to VSI Framework: Transform your meta-story into a mini visual story that matches your buyer’s stage in the journey and platform culture (Story Making > Story Visualizing > Story Telling in our framework). Klarna’s meta-story commitment to SMOOTH payments is effectively visualized to trigger emotional resonance and then story-told leveraging Instagram’s visual grammar.

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Source: Visual Storytelling

October 3, 2017

Final Call for SouthBites Trailer Park Applications

SouthBites Trailer Park 2017

Hey, food trucks! The application deadline for SouthBites Trailer Park is fast approaching! If you want to bring your food truck and its fantastic fare to SXSW 2018, then you must apply by the deadline, October 15.

The SouthBites Trailer Park is always a hit with SXSW attendees. Last year, thousands of hungry conference- and festival-goers headed to the Trailer Park daily where 14 food trucks offered up a collection of cuisine that included tacos, fried chicken and waffles, lobster, empanadas, tamales, noodles, and more.

Apply Now

This year, the Trailer Park will expand to feature live performances by official Showcasing Artists at the first ever SouthBites Trailer Park Stage.

So don’t miss your chance to share your delicious food with thousands of attendees while being a part of SXSW 2018! To learn more about this opportunity and be considered for a spot on the lot, fill out the SouthBites Vendor Application Form.

Photo by Merrick Ales

The post Final Call for SouthBites Trailer Park Applications appeared first on SXSW.

Source: SxSW Film

October 2, 2017

Social media terms 'jargon-busted' for teens

<b>A set of jargon-busting guides that teach children about their rights on social media sites has been published.</b><p>Children’s Commissioner Anne Longfield said Facebook, Instagram, Snapchat, WhatsApp and YouTube had “not done enough” to clarify their policies.<p>She simplified the websites’ terms and …
Source: CW’s Flipboard Feed

October 1, 2017

‘The Leisure Seeker’ Trailer: Helen Mirren and Donald Sutherland Go for One Last Ride — Watch

Sony Pictures Classics released the trailer for “The Leisure Seeker,” which reminds us that road trips aren’t just for young ‘uns. Helen Mirren and Donald Sutherland star in Paolo Virzì’s English-language debut. Watch below.

Here’s the synopsis: “Traveling in their family Leisure Seeker vintage recreational vehicle, John and Ella Spencer take one last road trip from Boston to the Hemingway House in the Florida Keys before his Alzheimer’s and her cancer can catch up with them.” Mirren and Sutherland haven’t shared the screen since 1990’s “Bethune: The Making of a Hero.”

Kristy Mitchell, Christian McKay, Robert Praigo, and Janel Moloney co-star in the film, which premiered in Venice and will be released in theaters on January 19, 2018.

Source: IndieWire film

October 1, 2017

Tim Roth Got Drunk with Quentin Tarantino, and That’s Why He’s in ‘Reservoir Dogs’ — Watch

Tim Roth has collaborated with Quentin Tarantino for as long as Tarantino’s been making movies, but that very nearly wasn’t the case. The star of “Reservoir Dogs,” “Pulp Fiction,” and “The Hateful Eight” explains on “Entertainment Weekly: The Show” that he initially refused to audition because he’s “crap” at reading for roles. How did they solve this problem? By getting drunk.

“Within 20 pages, I was going, ‘Oh, I want to be in this,’” Roth says of his first impression of the screenplay. “It’s so beautifully written. It’s so keenly and intelligently written, and it’s also very funny.” However, after meeting with Tarantino and Harvey Keitel, who starred in and co-produced “Reservoir Dogs,” Roth still wasn’t into the idea of auditioning.

Keitel left, and Roth and Tarantino went to a bar; on the way back to Roth’s apartment, they stopped at a liquor store for more booze — “and proceeded to read the entire script… every part in it about 10 times because we were hammered by then. And that’s how I got the job.” Watch his full interview below.

Source: IndieWire film

October 1, 2017

Harry Dean Stanton’s Next-to-Last Film ‘Lucky’ Leads Crowded Specialty Box Office

Nearly 30 specialized films debuted in New York and/or Los Angeles this week. And with Yom Kippur falling right during the weekend, it meant most potentially high-end titles avoided the date (unlike last weekend).

Perhaps the highest-profile among them, “Our Souls at Night” starring Robert Redford and Jane Fonda, is debuting on Netflix film at the same time it played a few scattered big city play dates (grosses are not available).

Among those that opened, “Lucky” (Magnolia), Harry Dean Stanton’s second to last acting role, opened ahead of the rest. The initial limited full week (prior to its one-day showings) of “Pearl Jam: Let’s Play Two” (Abramorama) showed some strength, while “Mark Felt: The Man Who Brought Down the White House” (Sony Pictures Classics) fared less well in its limited showings. An exclusive opening in Los Angeles of the surfer documentary “Take Every Wave” (IFC) in Los Angeles was impressive, more so as it is also available on Video on Demand.

Of greater interest is the limited expansion of “Victoria and Abdul” and much wider one for “The Battle of the Sexes” (Fox Searchlight), two top tier titles starting the fall onslaught. The former in fewer theaters continues to show significant promise. The latter in over 1,000 theaters was a leap of faith in going as wide as it has, with positive initial results but the determination of its future will be better seen next week.


Lucky (Magnolia) – Metacritic: 79; Festivals include: South by Southwest, Locarno 2017

$46,000 in 5 theaters; PTA: $9,200

The film nabbed decent reviews for its prime New York/Los Angeles dates, but even had Harry Dean Stanton not died two weeks ago, the iconic actor was playing an elderly man who knows his days are numbered, and scoring the best reviews of his career would have been the focus and draw for this film in any case. It landed top theater placement, with numbers that showed a good Saturday increase. Still, the under $10,000 PTA suggest this is a niche, not crossover, item.

What comes next: 10 more cities add on this Friday before a wider release.

Pearl Jam: Let’s Play Two (Abramorama)  – Metacritic: 75

$55,274 in 7 theaters; PTA: $11,055

A concert film with a context, with the band playing at Wrigley Field during the Cubs’ historic 2016 season (Eddie Vedder’s fandom is front and center), opened in five cities for full week engagements. This  release (200 additional Wednesday night engagements lie immediately ahead) is the latest successful hybrid event release (mostly music related, with “The Beatles: Eight Days a Week” the high point) that Abramorama initiated some years ago and is now more common.

What comes next: These decent numbers should be followed by much larger ones midweek.

Liam Neeson in Mark Felt The Man Who Brought Down the White House

“Mark Felt: The Man Who Brought Down the White House”

Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics) – Metacritic: 47; Festivals include: Toronto

$35,138 in 5 theaters; PTA (per theater average): $7,028

Mediocre reviews and outright pans doomed this dramatization of the real life Deep Throat starring Liam Neeson as Mark Felt, who served as the source for Woodward and Bernstein during Watergate. For the theaters and effort supporting this release, these are rock bottom numbers.

What comes next: Three more cities open next week with the usual SPC full country specialized release ahead.

Take Every Wave: The Life of Laird Hamilton (IFC)   Festivals include: Sundance, Seattle 2017; also available on Video on Demand

$13,819 in 1 theater; PTA: $13,819

Veteran documentary director Rory Kennedy’s latest got an initial Los Angeles awards qualfiying date for this recap of the life and career of surfer Laird Hamilton. The result is impressive, boosted by a strong Los Angeles Times review which emphasized the visual appeal of the film. Films like this often have a strong initial day with a second day falloff (hardcore fans tend to turn out early), but this went up Saturday, which suggests potential deeper appeal. What makes it more impressive is its concurrent Video on Demand availability.

What comes next: The plans had been for limited theatrical play, but this gross could encourage more interest. Two New York theaters open this Friday.

Te Ata (Paladin)  – Festivals include: San Diego 2016

$28,640 in 14 theaters; PTA: $2,046

This first-ever Chickasaw Nation-produced feature (about a renowned early 20th Century storyteller) was released initially in Oklahoma to respectable results for a regional release.

What comes next: Around 50 additional theaters from Arkansas to the West Coast open this Friday.

BATTLE OF THE SEXES (2017)Emma StonePhoto Credit: Melinda Sue Gordon/Twentieth Century Fox

“Battle of the Sexes”

Melinda Sue Gordon/Twentieth Century Fox

Week Two

Battle of the Sexes (Fox Searchlight)

$4,073,000 in 1,213 theaters (+1,192); PTA: $2,803; Cumulative: $4,073,000

The wisdom of the rapid expansion for this retelling of the Billie Jean King/Bobby Riggs tennis exhibition will be clearer after next weekend. The initial result is positive (including a #6 placement overall on an off weekend), if somewhat below other Searchlight expansions, with a 32 per cent uptick for Saturday. The key is going to be how positive the response is. If they gambled correctly, the results should be seen shortly. With its commercial elements (including Emma Stone and Steve Carrell in lead roles), this still has a chance to be an early fall crossover success.

Stronger (Roadside Attractions)

$986,560 in 645 theaters (+72); PTA: $1,530; Cumulative: $3,229,000

The mediocre opening for this Jake Gyllenhaal Boston Marathon bombing survivor was followed by a more normal second weekend. But the film need signs of good word of mouth to sustain this for a much longer run. This isn’t showing that, with a $5 million ultimate total gross in view but not much more.

Judi Dench victoria and abdul

“Victoria and Abdul”

Screenshot/Focus Features

Victoria & Abdul (Focus)

$1,031,000 in 77 theaters (+73); PTA: $13,393; Cumulative: $1,252,000

This is one of the better second weekend expansions from Focus in recent years (ahead of, for example, their Oscar contender “Loving” last year). The Stephen Frears charmer starring Dame Judi Dench showed a very strong 56 per cent increase on Saturday. This will expand to 700 theaters this Friday, and looks well positioned to see a decent crossover result.

Loving Vincent (Good Deed)

$52,886 in 4 theaters (+3); PTA: $13,322; Cumulative: $89,692

An excellent second weekend for this intriguing animation of Van Gogh’s paintings, with a second Manhattan location and two Los Angeles theaters added to the mix. This looks like it could end up above several other higher profile established distributor releases.



Unrest (Independent)

$12,096 in 6 theaters (+5); PTA: $2,016; Cumulative: $25,689

This documentary about chronic fatigue syndrome (from the perspective of a directed afflicted by it) expanded to three more cities its second weekend to modest but consistent results.

Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters)

Wind River (Weinstein) Week 9

$600,159 in 892 theaters (-539); Cumulative: $32,790,000

The last stages for this impressive run for a contemporary drama which benefited from the timing and breadth of its release to reach the second best initial limited release specialized film of 2017.

"Brad's Status"

“Brad’s Status”

Brad’s Status (Annapurna) Week 3

$404,000 in 453 theaters (no change); Cumulative: $1,770,000

Positive reviews and Ben Stillman’s presence are doing little to sustain Mike White’s Amazon Studio pickup, a midlife introspective father/son story. The gross dropped 58 per cent with the same theater count, with Yom Kippur a factor but still a very weak performance.

Viceroy’s House (IFC) Week 5

$108,624 in 108 theaters (-8); Cumulative: $910,739

This period historical drama set in 1947 India is holding on at at minor level, with little more than a $1 million total likely.

Columbus (Superlative) Week 9

$53,640 in 49 theaters (-8); Cumulative: $836,491

Inching its way to a potentially impressive $1 million total for this true American independent film. The quiet Indiana-set drama continues to do steady business across the country.

Also noted:

Dolores (PBS) – $46,695 in 27 theaters; Cumulative: $345,685

The Big Sick (Lionsgate) – $45,000 in 81 theaters; Cumulative: $42,788,000

Rebel in the Rye (IFC) – $26,548 in 72 theaters; Cumulative: $327,765

California Typewriter (Gravitas Ventures) – $18,075 in 20 theaters; Cumulative: $185,516

Beach Rats (Neon) – $17,495 in 20 theaters; Cumulative: $437,354

Ingrid Goes West (Neon) – $13,950 in 48 theaters; Cumulative: $3,003,000


Source: IndieWire film

October 1, 2017

‘It’ Anime: Pennywise the Clown Is Just as Creepy in Animated Form — Watch

It” has set several box-office records, and there will be a sequel in fall 2019. In the meantime, those obsessed with the newest adaptation of Stephen King’s novel can avail themselves of an anime designed by Mike Anderson (also known as Mikuloctopus) and animated by Kevin Duran.

“Besides the fact that I thought the new Pennywise design already had a very ‘anime’ feel to it, I thought the concepts and subject matter of Stephen King’s book would be perfect for anime,” Anderson told Entertainment Weekly.

“There seem to be fewer limits in anime. Crazy concepts and unique storytelling are almost expected. The King novel delves into mythologies and settings that a live-action movie may not have the time or budget to fully realize. And even if they could, it may not appeal to mass audiences. Taking It to an anime series would ground the story in a genre where traveling between dimensions and giant monsters are more accepted.”

The project wasn’t without its problems, as Anderson notes that he was “pretty upset that [Duran] didn’t ask me to use the artwork at all” before animating it. Watch it below.



Source: IndieWire film

October 1, 2017

Screen Talk Live at NYFF: We Debate the Future of Movies With a Lincoln Center Audience

Major fall season film festivals attract audiences who love movies, and the crowds that fill theaters might suggest a promising future for the medium. Then again, they represent a pretty small sampling of the country, and declining box office figures tell a much darker story about the theatrical market. But is there a way to connect the dots between the communal aspect of the film festival environment and the dire situation facing theaters around the country?

That’s one of the big picture questions tackled by Eric Kohn and Anne Thompson in this episode of Screen Talk, recorded in front of a live audience during the 2017 New York Film Festival. The pair also discussed highlights from the lineup, why “Blade Runner 2049” didn’t make the cut, and took audience questions.

Listen to the full episode below.


Screen Talk is available on iTunes.

You can subscribe here or via RSS. Share your feedback with Thompson and Kohn on Twitter or sound off in the comments. Browse previous installments here, review the show on  and be sure to let us know if you’d like to hear the hosts address specific issues in upcoming editions of Screen Talk. Check out the rest of IndieWire’s podcasts on iTunes right here.

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Source: IndieWire film

September 30, 2017

What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie

The most interesting thing about Herzog and De Meuron’s newly opened concert hall, the Elbphilharmonie, isn’t its wave-like facade, which rises above …
Source: CW’s Flipboard Feed