Wristcutters: A Love Story is a film about exactly what it says it is about - love found among people who have committed suicide as they take a road trip through purgatory. Writer/director Goran Dukic's dark comedy-romance has received a ton of acclaim since its 2006 Sundance Film Festival debut. The film stars the wonderful Patrick Fugit (of Almost Famous fame) and Shannyn Sossamon (an actress who is always threatening to break out but never quite does) and won best feature honors at the Gen Art Film Festival, earned a nomination for Best Film Not Playing at a Theater Near You at the 2006 IFP Gotham Awards and noms for best first feature and best first screenplay at the Independent Spirit Awards in February. So this film, though up until now has not had a huge amount of buzz, is being distributed this July by After Dark Releasing - a non exclusive distribution partner of Lionsgate - has been around the block or two among audiences and the response overall has been largely positive.

After Dark Releasing, you might remember is the distributor of Captivity a film starring Elisha Cuthbert whose ad campaign had to be pulled because of the intense protest billboards depicting Elisha being tortured and killed. It has been a long while since the indies have provoked the ire of "the establishment" in the way that these two campaigns have. The last one I recall was for Vincent Gallo's Brown Bunny which depicted Chloe Sevigny giving Old Vince a blowjob. In any case, what is more than interesting about the brouhaha about Wristcutters: A Love Story is that the ad campaign is that the public or anyone of the protesting groups have yet to see it. It is a "proposed" campaign that MAY feature - "images of people jumping off a bridge, electrocuting and hanging themselves, they would be displayed as traffic-style stop or yield signs with a barring-style circle and line over the illustrations, along with hearts to reference the film's romantic story line." Proposed!

Besides the obvious increased buzz on this film that this protest is creating - controversy may turn away some audiences but more often than not. it increases them - the company releasing the film has a chance to engage those people who may have been on the fence. The whole thing is a genius marketing ploy. I wish I had thought of it.

From one perspective it is reminiscent of the pressure that the studios get from groups when films are deemed to "sexual" usually. Interestingly, there is rarely protest about a film being too violent. Indies have been courting very good favor with audiences and with "the establishment" because of films like Little Miss Sunshine and Crash. In my opinion, not a good thing as indies are around to provoke and challenge the status quo not be part of it. Maybe with the controversy surrounding the ad campaign for Wristcutters: A Love Story, indies may be back in business.

Keeping it indie,

Julie

Tribeca Film Festival has selected 32 projects for Tribeca All Access, a program designed to help foster relationships between film industry executives and filmmakers from traditionally underrepresented communities.

Now in its fourth year, Tribeca All Access does just what its name promises—gives filmmakers direct contact with over 100 potential investors, development executives, producers and agents, for exclusive one-on-one meetings. Tribeca has selected a diverse group of arts, including members of African American, Latino, Asian American, Native American, and Pacific Islander communities. The film genres are just as diverse, ranging from romantic comedies to documentaries.

Here’s just a few of the projects chosen:

The Flicker’s Dance- Writer/Director - Priyanka Kumar
Cast: Joe Mantegna, William Mapother, Ione Skye
Confined to his house because of his illness, a boy refuses to give up his love of the outdoors and unexpectedly changes the lives of those around him.

Rain for Kabul- Screenwriter - Soo Hugh
The lives of a celebrated journalist working on a story of detainee prison abuse and an American aid worker in Kabul collide when one of them goes missing.

The Foolishness of God: Desmond Tutu and Forgiveness
Director - Karen Hayes, Producer - Darin Kuhlmann
An in depth examination of Desmond Tutu’s life and work with a focus on his controversial message of forgiveness and reconciliation.


In addition, this year will show off a few of the alumni of the 2005 TAA program, who work will premiere at the 2007 Festival, held April 25-29. Director Benson Lee will premiere his documentary, Planet B-Boy, a film that captures the world championship break dancing. Director Jeffrey Morgan presents Lillie & Leander: A Legacy of Violence, a feature-length documentary that examines what happens when a woman stumbles upon an explosive family secret that hints at decades of racially charged murders.

For a list of the films chosen for the program, visit www.tribecafilmfestival.org.

Long live indie film,
Michelle

I know that it sounds strange as the argument would be that any assistance - especially financial - is a good thing for independent filmmakers. But the longer I spend with foreign filmmakers and I am sorry to say the Brits are the worst at this - the more I think that public funding bodies like the UK Film Council and the various and sundry screen agencies are=ound Britain - make filmmakers more than a bit lazy. The constant whinge from UK filmmakers is that they didn't get the money that someone else did and that money - listen up you US filmmakers - is upwards of $100,000! I mean can you imagine. Truly. I had the distinct displeasure at being involved in a seminar with some indie UK filmmakers last week where I was there to speak to the US perspective, festivals and marketing, etc. One after another filmmaker got up and whinged and whinged about the fact that the UK does not do ENOUGH to support filmmakers who are not privileged like Richard Curtis, Michael Winterbottom, Stephen Frears, etc. because THEY did not get any money from the UK Film Council for their film. I sat and sat and then just had to give them some home truths about how freaking lucky they are to be living in a country where the government not only supports the arts but funds it - to a degree that although is not to the extent of countries like France but still is substantially more than the US - the richest and most powerful country in the world. Though by no means a perfect system and one that suits everyone, it is something. I had to remind the group that had they been indie filmmakers in the US, they would have gotten nothing - not even if they were Steven Speilberg.

The laziness is so apparent is scares me to think what the future holds for these filmmakers who are looking for things - especially money - to be handed to them on a lovely silver platter. Not only do filmmakers here get help with funding production, distribution and some marketing, but they get training. There are a million and one different training orgs that teach everything from how to be a grip to editing. You be lucky if you got that for less than the price of a car in the US.

By no means do I need to say that all UK filmmakers are like this but more and more I see a nasty little trend developing where instead of the hunger and desperation - that I miss ever so slightly - there is instead a laissez faire attitude to making a film here that I do not think fosters good work. If you know that is going to be easy, you do not try as hard. You do not take any risks. Good work, especially art work, comes from risk and hunger and to be truthful desperation. You push yourself to make the scene work in any way you can. You are creative with props and with design. You work as if your life depended on it. These things, to be sure, have produced crap but in between the crap, there have been some gems.

Interestingly, this phenom of laziness does not seem to be happening in other countries in Europe where the governments are very supportive of film from funding to tax breaks to distribution. It only seems to be spurring those filmmakers to do better. Does this prove the recent theory that like the US, the UK is falling behind because it has fallen in love with itself? I hope not.

Keeping it indie,

Julie

It seems like every day I hear about a new technology that will enable you to watch independent film in the comfort of your own home. Apple TV, VOD, DVD, On Demand... you can watch a film on your cellphone! But for me, a self-proclaimed cinephile, the best way to see a film is on the big screen. When I talk about my love for movies, the films itself are just a part of the experience. I have my favorite spot in the theater: fifth row center (or back a bit further, depending on the size of the theater). I like to lean way down in my seat so the only thing I see if the moving pictures in front of me. I don't like people who talk in the theater, not just because it's rude, but because it takes me out of the experience.

So, this is my preference. But... I'm a busy woman and lately I've found it's hard to get to the theater as frequently as I would prefer. I live in Chicago and many of the films I want to see don't play here as soon as they might in New York or Los Angeles. So lately, I've been watching many films at home using On Demand. I discovered the "IFC in Theaters" section by mistake really. If you haven't heard about it, it's on Comcast and it's my new favorite thing. I've been able to check out Land of Plenty, Exterminating Angels (pictured), and An Unreasonable Man, three films that have yet to play in my area.

Last week, I checked out Wild Tigers I Have Known, a film by Cam Archer that I've been tracking on the film circuit. It's a lovely film about a sexually confused teenager. Not completely narrative, but not quite experimental, it became quite clear to me why this film received a nomination for Best Cinematography. But watching the film on my 19 inch TV screen, I knew I was missing out on my wall-to-wall experience. If I want to duplicate my cinema surroundings, I guess i can do a few things at home. Get a better stereo and hook up surround sound. I can buy a large screen flat TV. Put black shades on the windows to block out all the lights. Lock the kitties in the bathroom. But even then, will the experience be the same?

I have to admit, I have been watching more films since I discovered this little portal of indie in my home. I finally am getting to see some of these little charms that don't get big releases. If they aren't playing in a big city like Chicago, there are certainly tons of others in small town that also don't have access to these films. I guess it comes down to deciding what is more important? Seeing the film, or seeing a film in the theater. And for me, I will take what I can get.

Long live indie film,
Michelle

Albert Gore, Jr is probably the most famous and seemingly influential President of the United States that has never actually been President of the United States. Depending on what side of the political fence that you sit on, Al Gore won the 2004 Presidential election. But, as we all know, the what the people want to happen and what actually happens are often very polar opposites so what has happened is a President who is not and looks like never will be President who has a global influence. Unless you have been living under the proverbial rock, Al Gore is the star of a documentary directed by Davis Guggenheim and produced by Laurie David and Lawrence Bender called AN INCONVENIENT TRUTH. This film has not only captured the pulse of the US but has had a global impact on audiences and the powers that be who can actually have a direct effect on climate change. The film, very much Mr Gore himself, is pretty straightforward and no frills but manages to distill a very complicated problem into simple layman's terms so much so that not only was the film nominated for this year's Academy Awards - it won! How cool is that! One billion people watched Al Gore accept an Oscar for a film about global climate change. Think about that for a moment.

In an effort to foster his citizen action, a few years ago, Al Gore launched Current TV, a viewer created content site - "The TV Network By the People Who Watch It" - that is less videos of baby's first steps as it is a mini CNN for politically and socially conscious youth. Videos are created and uploaded by 17 to 30 year olds about things like community action campaigns, green issues and political injustice. To make the site seem less of a downer, there is also a fair amount of indie music videos and performances by hip bands like Deathcab for Cutie, Coldwar Kids and The Shins and popular culture stuff culled from other sites. Watching the news and current events video content, one wonders why CNN is not knocking on some of these kids doors as their content is often more compelling and balanced than what is being done for the so- called professionals. In few cities in the US, Current TV is on local cable channels but in most places the only place to watch is online.

Running since 2005 in the US, Current TV is coming to the UK and Ireland and will air on BSkyB - a Fox owned and operated broadcast outlet. With 30% of the content on the network viewer created, I wonder if UK "kids" will warm up to the socially, environmentally and politically action oriented content that has been produced in the US or will a bit of backlash occur as Al has gotten into bed here with Sir Richard Branson. Though the goal of the Green contest they are running for the best solution for climate change, is a commendable one. Many here in the UK question Branson's Green cred. Whether the partnership with Branson will affect Current TV remains to be seen as unlike with AN INCONVENIENT TRUTH, Al's association with the channel are not always apparent here.

Either way, I think that Current TV coming to the UK is a great thing. Especially as it is the antithesis to myspace and youtube which have swept the UK like the rest of the planet.

Keeping it indie,

Julie