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208 209 210 <style> 211 212 .portfolio-post-2259 .portfolio-block-wrap { 213 margin: 0 calc( -0px/2 ); 214 } 215 216 .portfolio-post-2259 .portfolio-block-wrap.swiper-wrapper { 217 margin: 0; 218 } 219 220 .portfolio-post-2259 .portfolio-block-wrap.justify { 221 margin: 0; 222 } 223 224 .portfolio-post-2259 .grid-template .portfolio-block-item .item-wrap, 225 .portfolio-post-2259 .grid-template .portfolio-block-item.item-wrap { 226 padding-right: calc( 0px/2 ); 227 padding-left: calc( 0px/2 ); 228 margin-bottom: 0px; 229 } 230 231 .portfolio-post-2259 #portfolio-filter { 232 text-align: left; 233 } 234 235 236 237 238 239 240 241 .portfolio-post-2259 .navigation-paging { 242 text-align: left; 243 } 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 .portfolio-post-2259 [class^='imghvr-blocks'] figcaption, 276 .portfolio-post-2259 [class*=' imghvr-blocks'] figcaption, 277 .portfolio-post-2259 [class^='imghvr-strip-shutter'] figcaption, 278 .portfolio-post-2259 [class*=' imghvr-strip-shutter'] figcaption, 279 .portfolio-post-2259 [class^='imghvr-strip-horiz'] figcaption, 280 .portfolio-post-2259 [class*=' imghvr-strip-horiz'] figcaption, 281 .portfolio-post-2259 [class^='imghvr-strip-vert'] figcaption, 282 .portfolio-post-2259 [class*=' imghvr-strip-vert'] figcaption, 283 .portfolio-post-2259 [class^='imghvr-pixel'] figcaption, 284 .portfolio-post-2259 [class*=' imghvr-pixel'] figcaption, 285 .portfolio-post-2259 [class^='imghvr-blinds'] figcaption, 286 .portfolio-post-2259 [class*=' imghvr-blinds'] figcaption, 287 .portfolio-post-2259 [class^='imghvr-border-reveal'] figcaption, 288 .portfolio-post-2259 [class*=' imghvr-border-reveal'] figcaption { 289 background-color: transparent; 290 } 291 292 293 294 295 296 297 298 299 300 301 302 303 .portfolio-post-2259 .filter-wraper { 304 margin-bottom: 0px; 305 } 306 307 308 .portfolio-post-1133 .portfolio-block-wrap { 309 margin: 0 calc( -0px/2 ); 310 } 311 312 .portfolio-post-1133 .portfolio-block-wrap.swiper-wrapper { 313 margin: 0; 314 } 315 316 .portfolio-post-1133 .portfolio-block-wrap.justify { 317 margin: 0; 318 } 319 320 .portfolio-post-1133 .grid-template .portfolio-block-item .item-wrap, 321 .portfolio-post-1133 .grid-template .portfolio-block-item.item-wrap {
322 padding-right: calc( 0px/2 ); 323 padding-left: calc( 0px/2 ); 324 margin-bottom: 0px; 325 } 326 327 .portfolio-post-1133 #portfolio-filter { 328 text-align: left; 329 } 330 331 332 333 334 335 336 337 .portfolio-post-1133 .navigation-paging { 338 text-align: left; 339 } 340 341 342 343 344 345 346 347 348 349 350 351 .portfolio-post-1133 .fact-list li { 352 color: #FFFFFF; 353 } 354 .portfolio-post-1133 figcaption span { 355 color: #FFFFFF; 356 } 357 358 .portfolio-post-1133 .special-dua .slide__side { 359 color: #FFFFFF; 360 } 361 .portfolio-post-1133 .special-hiji .caption { 362 color: #FFFFFF; 363 } 364 .portfolio-post-1133 .slider-sabelas .grid__item--title { 365 color: #FFFFFF; 366 } 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 .portfolio-post-1133 [class^='imghvr-blocks'] figcaption, 388 .portfolio-post-1133 [class*=' imghvr-blocks'] figcaption, 389 .portfolio-post-1133 [class^='imghvr-strip-shutter'] figcaption, 390 .portfolio-post-1133 [class*=' imghvr-strip-shutter'] figcaption, 391 .portfolio-post-1133 [class^='imghvr-strip-horiz'] figcaption, 392 .portfolio-post-1133 [class*=' imghvr-strip-horiz'] figcaption, 393 .portfolio-post-1133 [class^='imghvr-strip-vert'] figcaption, 394 .portfolio-post-1133 [class*=' imghvr-strip-vert'] figcaption, 395 .portfolio-post-1133 [class^='imghvr-pixel'] figcaption, 396 .portfolio-post-1133 [class*=' imghvr-pixel'] figcaption, 397 .portfolio-post-1133 [class^='imghvr-blinds'] figcaption, 398 .portfolio-post-1133 [class*=' imghvr-blinds'] figcaption, 399 .portfolio-post-1133 [class^='imghvr-border-reveal'] figcaption, 400 .portfolio-post-1133 [class*=' imghvr-border-reveal'] figcaption { 401 background-color: transparent; 402 } 403 404 405 406 407 408 409 410 411 412 413 414 415 .portfolio-post-1133 .filter-wraper { 416 margin-bottom: 0px; 417 } 418 419 420 .portfolio-post-967 .portfolio-block-wrap { 421 margin: 0 calc( -0px/2 ); 422 } 423 424 .portfolio-post-967 .portfolio-block-wrap.swiper-wrapper { 425 margin: 0; 426 } 427 428 .portfolio-post-967 .portfolio-block-wrap.justify { 429 margin: 0; 430 } 431 432 .portfolio-post-967 .grid-template .portfolio-block-item .item-wrap, 433 .portfolio-post-967 .grid-template .portfolio-block-item.item-wrap {
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809 </div> 810 </div> 811 </div> 812 </div> 813 </section> 814 <section class="elementor-section elementor-top-section elementor-element elementor-element-a010191 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="a010191" data-element_type="section" data-e-type="section"> 815 <div class="elementor-container elementor-column-gap-default"> 816 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-73f0409" data-id="73f0409" data-element_type="column" data-e-type="column"> 817 <div class="elementor-widget-wrap elementor-element-populated"> 818 <div class="elementor-element elementor-element-a0f402e elementor-widget elementor-widget-heading" data-id="a0f402e" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 819 <div class="elementor-widget-container"> 820 <h2 class="elementor-heading-title elementor-size-default">Actor takes role that imitates real-life immigration struggles</h2> </div> 821 </div> 822 <div class="elementor-element elementor-element-1dcbeb9 elementor-widget elementor-widget-text-editor" data-id="1dcbeb9" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 823 <div class="elementor-widget-container"> 824 <p class="video-info-module__text--subtitle__vod">Actor Ezekiel Pacheco takes on a role that resembles some of the immigration struggles he faces in real life. ABC’s Armando Garcia sits with him to discuss his first lead role in “At The Gates.”</p><p>February 9, 2024</p> </div> 825 </div> 826 <div class="elementor-element elementor-element-f3ffc09 elementor-widget elementor-widget-image" data-id="f3ffc09" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 827 <div class="elementor-widget-container"> 828 <a href="https://abcnews.go.com/Entertainment/video/actor-takes-role-imitates-real-life-immigration-struggles-107086346" target="_blank"> 829 <img fetchpriority="high" decoding="async" width="640" height="222" src="https://picturehouse.com/wp-content/uploads/2024/02/ABC_News_logo_2021.svg.png" class="attachment-medium_large size-medium_large wp-image-4505" alt="" srcset="https://picturehouse.com/wp-content/uploads/2024/02/ABC_News_logo_2021.svg.png 640w, https://picturehouse.com/wp-content/uploads/2024/02/ABC_News_logo_2021.svg-300x104.png 300w, https://picturehouse.com/wp-content/uploads/2024/02/ABC_News_logo_2021.svg-500x173.png 500w" sizes="(max-width: 640px) 100vw, 640px" /> </a> 830 </div> 831 </div> 832 <div class="elementor-element elementor-element-b39b1ab elementor-widget elementor-widget-html" data-id="b39b1ab" data-element_type="widget" data-e-type="widget" data-widget_type="html.default"> 833 <div class="elementor-widget-container"> 834 <iframe width="640" height="640" src="https://abcnews.go.com/video/embed?id=107086346" allowfullscreen frameborder="0"></iframe> </div> 835 </div> 836 </div> 837 </div> 838 </div> 839 </section> 840 <section class="elementor-section elementor-top-section elementor-element elementor-element-c079c48 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="c079c48" data-element_type="section" data-e-type="section"> 841 <div class="elementor-container elementor-column-gap-default"> 842 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-be74680" data-id="be74680" data-element_type="column" data-e-type="column"> 843 <div class="elementor-widget-wrap elementor-element-populated"> 844 <div class="elementor-element elementor-element-818cf77 elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="818cf77" data-element_type="widget" data-e-type="widget" data-widget_type="divider.default"> 845 <div class="elementor-widget-container"> 846 <div class="elementor-divider"> 847 <span class="elementor-divider-separator"> 848 </span> 849 </div> 850 </div> 851 </div> 852 <div class="elementor-element elementor-element-29330ca elementor-widget elementor-widget-heading" data-id="29330ca" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 853 <div class="elementor-widget-container"> 854 <h2 class="elementor-heading-title elementor-size-default">Picturehouse Sets Spring Release For Documentary âCarol Doda Topless At The Condorâ</h2> </div>
855 </div> 856 <div class="elementor-element elementor-element-9194020 elementor-widget elementor-widget-text-editor" data-id="9194020" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 857 <div class="elementor-widget-container"> 858 <p>By Anthony D’Alessandro</p><p>January 26, 2024</p> </div> 859 </div> 860 <div class="elementor-element elementor-element-756f559 elementor-widget elementor-widget-image" data-id="756f559" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 861 <div class="elementor-widget-container"> 862 <a href="https://www.kpcw.org/show/the-sundance-reel/2024-01-20/industry-execs-offer-insight-on-the-film-industry-future-of-sundance" target="_blank"> 863 <img decoding="async" width="225" height="225" src="https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent.png" class="attachment-medium_large size-medium_large wp-image-1986" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent.png 225w, https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent-150x150.png 150w" sizes="(max-width: 225px) 100vw, 225px" /> </a> 864 </div> 865 </div> 866 </div> 867 </div> 868 </div> 869 </section> 870 <section class="elementor-section elementor-top-section elementor-element elementor-element-0acd3d9 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="0acd3d9" data-element_type="section" data-e-type="section"> 871 <div class="elementor-container elementor-column-gap-default"> 872 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-c979e62" data-id="c979e62" data-element_type="column" data-e-type="column"> 873 <div class="elementor-widget-wrap elementor-element-populated"> 874 <div class="elementor-element elementor-element-1eac5dc elementor-widget elementor-widget-image" data-id="1eac5dc" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 875 <div class="elementor-widget-container"> 876 <figure class="wp-caption"> 877 <img decoding="async" width="681" height="383" src="https://picturehouse.com/wp-content/uploads/2024/02/Carol-Doda_a79353.webp" class="attachment-large size-large wp-image-4516" alt="" srcset="https://picturehouse.com/wp-content/uploads/2024/02/Carol-Doda_a79353.webp 681w, https://picturehouse.com/wp-content/uploads/2024/02/Carol-Doda_a79353-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2024/02/Carol-Doda_a79353-500x281.webp 500w" sizes="(max-width: 681px) 100vw, 681px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 878 </figure> 879 </div> 880 </div> 881 </div> 882 </div> 883 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-44d1430" data-id="44d1430" data-element_type="column" data-e-type="column"> 884 <div class="elementor-widget-wrap elementor-element-populated"> 885 <div class="elementor-element elementor-element-f83eb12 elementor-widget elementor-widget-text-editor" data-id="f83eb12" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 886 <div class="elementor-widget-container"> 887 <p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m "><strong>EXCLUSIVE: </strong>Picturehouse will release the documentary, <em>Carol Doda Topless at the Condor, </em>exclusively in theaters on March 22 in New York and San Francisco, followed by a March 29 debut in LA, with a further breakout to 40-plus markets.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The doc, from San Francisco filmmakers Marlo McKenzie and Jonathan Parker, premiered at the 2023 Telluride Film Festival and the Mill Valley Film Festival. The nonfiction feature follows a daring young woman who fired one of the first shots in the sexual revolution of the 1960s and became an international sex symbol and a San Francisco tourist attraction second only to the Golden Gate Bridge. Doda went from cocktail waitress to international icon and defender of sexual freedom. Pic was produced by Metallica co-founder and drummer Lars Ulrich. </p><p>The docu is based in part on <em>Three Nights at the Condor</em>, a memoir by Benita Mattioli, the wife of Condor co-owner Pete Mattioli. <em>Carol Doda Topless at the Condor</em> brings together a compelling array of Dodaâs contemporaries, including dancers, club owners, bartenders and others, who share their first-hand experiences. The film also features interviews with academics who have studied Dodaâs role in redefining attitudes toward female nudity, as well as candid interviews with Doda herself.   </p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">â<em>Carol Doda</em> is a provocative story and a nostalgic love letter to San Francisco in the â60s,â says Bob Berney, CEO of Picturehouse. âMarlo and Jonathan take the audience back to the days before the Summer of Love and the sexual revolution, using amazing archival footage of the city that essentially makes it another character in the film. We are pleased to once again collaborate with Lars Ulrich, after previously releasing Metallicaâs groundbreaking film THROUGH THE NEVER.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">âI was drawn to Carol Dodaâs story because of her courage,â says co-director McKenzie. âShe was a trailblazing entrepreneur who took risks to achieve her dreams. There were consequences for her choices, and she faced them with charm and humor. Carol helped move culture towards accepting nudity as a part of the human experience that can be embraced and delighted in.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">Co-director Parker adds: âI knew Carol personally. She was such an important part of San Franciscoâs cultural history, which had an impact on the whole country. I wanted to make sure her story was told. At a time when there werenât a lot of options for women, Carol created a career for herself that resonated on many levels. She had charisma. She had courage. And I believe she loved what she did.â</p> </div>
888 </div> 889 </div> 890 </div> 891 </div> 892 </section> 893 <section class="elementor-section elementor-top-section elementor-element elementor-element-5e554b8 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="5e554b8" data-element_type="section" data-e-type="section"> 894 <div class="elementor-container elementor-column-gap-default"> 895 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-5f60e61" data-id="5f60e61" data-element_type="column" data-e-type="column"> 896 <div class="elementor-widget-wrap elementor-element-populated"> 897 <div class="elementor-element elementor-element-41772a1 elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="41772a1" data-element_type="widget" data-e-type="widget" data-widget_type="divider.default"> 898 <div class="elementor-widget-container"> 899 <div class="elementor-divider"> 900 <span class="elementor-divider-separator"> 901 </span> 902 </div> 903 </div> 904 </div> 905 <div class="elementor-element elementor-element-b0e1a36 elementor-widget elementor-widget-heading" data-id="b0e1a36" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 906 <div class="elementor-widget-container"> 907 <h2 class="elementor-heading-title elementor-size-default">Industry execs offer insight on the film industry, future of Sundance</h2> </div> 908 </div> 909 <div class="elementor-element elementor-element-6943f10 elementor-widget elementor-widget-text-editor" data-id="6943f10" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 910 <div class="elementor-widget-container"> 911 <div class="RSEP-authorName"><span class="RSEP-authorBy">By Rick Brough, </span></div><div class="RSEP-contributors">David D’Arcy</div><p>February 9, 2024</p><p>Industry executives John Sloss, Bob Berney, and Richard Lorber discuss the state of the film industry and how it has changed with regards to buying and selling at festivals. They also talk about the films they are most excited about for this year’s Sundance, then give their thoughts on the future of the festival.</p> </div> 912 </div> 913 <div class="elementor-element elementor-element-c73b243 elementor-widget elementor-widget-image" data-id="c73b243" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 914 <div class="elementor-widget-container"> 915 <a href="https://www.kpcw.org/show/the-sundance-reel/2024-01-20/industry-execs-offer-insight-on-the-film-industry-future-of-sundance" target="_blank"> 916 <img loading="lazy" decoding="async" width="312" height="120" src="https://picturehouse.com/wp-content/uploads/2024/02/npr.brightspotcdn.webp" class="attachment-medium_large size-medium_large wp-image-4521" alt="" srcset="https://picturehouse.com/wp-content/uploads/2024/02/npr.brightspotcdn.webp 312w, https://picturehouse.com/wp-content/uploads/2024/02/npr.brightspotcdn-300x115.webp 300w" sizes="(max-width: 312px) 100vw, 312px" /> </a> 917 </div> 918 </div> 919 <div class="elementor-element elementor-element-6866f9d elementor-align-center elementor-widget elementor-widget-button" data-id="6866f9d" data-element_type="widget" data-e-type="widget" data-widget_type="button.default"> 920 <div class="elementor-widget-container"> 921 <div class="elementor-button-wrapper"> 922 <a class="elementor-button elementor-button-link elementor-size-sm" href="https://www.kpcw.org/show/the-sundance-reel/2024-01-20/industry-execs-offer-insight-on-the-film-industry-future-of-sundance" target="_blank"> 923 <span class="elementor-button-content-wrapper"> 924 <span class="elementor-button-text">Listen At KPCW</span> 925 </span> 926 </a> 927 </div> 928 </div> 929 </div> 930 </div> 931 </div> 932 </div> 933 </section> 934 <section class="elementor-section elementor-top-section elementor-element elementor-element-808936b elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="808936b" data-element_type="section" data-e-type="section"> 935 <div class="elementor-container elementor-column-gap-default"> 936 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-fac9f29" data-id="fac9f29" data-element_type="column" data-e-type="column"> 937 <div class="elementor-widget-wrap elementor-element-populated"> 938 <div class="elementor-element elementor-element-317ea69 elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="317ea69" data-element_type="widget" data-e-type="widget" data-widget_type="divider.default"> 939 <div class="elementor-widget-container"> 940 <div class="elementor-divider"> 941 <span class="elementor-divider-separator"> 942 </span> 943 </div> 944 </div>
945 </div> 946 <div class="elementor-element elementor-element-670c335 elementor-widget elementor-widget-heading" data-id="670c335" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 947 <div class="elementor-widget-container"> 948 <h2 class="elementor-heading-title elementor-size-default">Christopher Nolan Charms Sundance, Denies Being âIndependent Filmmakerâ and Recalls How âNo One Wantedâ Seminal Film âMementoâ</h2> </div> 949 </div> 950 <div class="elementor-element elementor-element-77105e4 elementor-widget elementor-widget-text-editor" data-id="77105e4" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 951 <div class="elementor-widget-container"> 952 <p>By Chris Gardner</p><p>January 19, 2024</p> </div> 953 </div> 954 <div class="elementor-element elementor-element-6e2c0ef elementor-widget elementor-widget-image" data-id="6e2c0ef" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 955 <div class="elementor-widget-container"> 956 <a href="https://www.hollywoodreporter.com/news/general-news/christopher-nolan-sundance-memento-oppenheimer-1235792713/" target="_blank"> 957 <img loading="lazy" decoding="async" width="571" height="174" src="https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo.png" class="attachment-medium_large size-medium_large wp-image-4227" alt="" srcset="https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo.png 571w, https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo-300x91.png 300w, https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo-500x152.png 500w" sizes="(max-width: 571px) 100vw, 571px" /> </a> 958 </div> 959 </div> 960 </div> 961 </div> 962 </div> 963 </section> 964 <section class="elementor-section elementor-top-section elementor-element elementor-element-e649415 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="e649415" data-element_type="section" data-e-type="section"> 965 <div class="elementor-container elementor-column-gap-default"> 966 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-7fd8517" data-id="7fd8517" data-element_type="column" data-e-type="column"> 967 <div class="elementor-widget-wrap elementor-element-populated"> 968 <div class="elementor-element elementor-element-a31ab07 elementor-widget elementor-widget-image" data-id="a31ab07" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 969 <div class="elementor-widget-container"> 970 <figure class="wp-caption"> 971 <img loading="lazy" decoding="async" width="800" height="451" src="https://picturehouse.com/wp-content/uploads/2024/02/Robert-Downey-Jr.-Christopher-Nolan-2024-Sundance-getty-H-2024-1024x577.webp" class="attachment-large size-large wp-image-4534" alt="" srcset="https://picturehouse.com/wp-content/uploads/2024/02/Robert-Downey-Jr.-Christopher-Nolan-2024-Sundance-getty-H-2024-1024x577.webp 1024w, https://picturehouse.com/wp-content/uploads/2024/02/Robert-Downey-Jr.-Christopher-Nolan-2024-Sundance-getty-H-2024-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2024/02/Robert-Downey-Jr.-Christopher-Nolan-2024-Sundance-getty-H-2024-768x433.webp 768w, https://picturehouse.com/wp-content/uploads/2024/02/Robert-Downey-Jr.-Christopher-Nolan-2024-Sundance-getty-H-2024-500x282.webp 500w, https://picturehouse.com/wp-content/uploads/2024/02/Robert-Downey-Jr.-Christopher-Nolan-2024-Sundance-getty-H-2024.webp 1296w" sizes="(max-width: 800px) 100vw, 800px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 972 </figure> 973 </div> 974 </div> 975 </div> 976 </div> 977 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-6c558d6" data-id="6c558d6" data-element_type="column" data-e-type="column"> 978 <div class="elementor-widget-wrap elementor-element-populated"> 979 <div class="elementor-element elementor-element-0d7eef8 elementor-widget elementor-widget-text-editor" data-id="0d7eef8" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 980 <div class="elementor-widget-container"> 981 <p class="paragraph larva // a-font-body-m ">For some artists, the duties and demands of awards attention can be a lifelong dream come true. For others, itâs a slog. Or worse. Christopher Nolan may fall in the latter category, based on what his <em>Oppenheimer</em> star Robert Downey Jr. said from the stage on Thursday night in Park City during the Sundance Film Festivalâs opening night gala.</p><p class="paragraph larva // a-font-body-m ">âDuring this wildly social season, in the wake of resounding global reaction to the <em>Oppenheimer</em> phenomenon, Chris and I shared a vulnerable moment of existential query. He placed his hand on my shoulder, got a little misty and whispered, âIâm beginning to wonder, is it possible: Death by schmoozing?â Adulation, congratulations, celebration, being thanked and honored is as desirable to him as being tarred, feathered and pilloried.â</p><p class="paragraph larva // a-font-body-m ">If thatâs true, Nolan didnât show it nor did he flinch during his time inside the DeJoria Center in nearby Kamas, Utah, where he was honored with an inaugural Sundance Institute Trailblazer Award. In fact, he held the capacity crowd in the palm of his hand while delivering the nightâs longest speech, clocking in at more than 10 minutes. It was bookended with an anecdote about a call with Comcast boss Brian Roberts over the fate of <em>Oppenheimer</em> and mixed in with an intellectual examination of what it truly means to be an independent filmmaker.</p><p class="paragraph larva // a-font-body-m ">Of the latter subject, Nolan asked, âWas I ever an independent filmmaker?â He thinks not. âIâve never been an independent filmmaker because I donât think you can be. I think painters are independent. I think poets can be independent. As filmmakers, weâre so depen
981dent on other people.â</p><p class="paragraph larva // a-font-body-m ">He used <em>Memento</em> as a prime example. âA lot of people know that <em>Memento</em> came to Sundance. A lot of people know that it was a hit, and it enabled so much more that came after it for us. But not a lot of people know that what really happened with that film is we finished it and then somebody, not me, had the bright idea of screening for all of the independent distributors at the same time to try and sell the film, get a bidding war going or whatever. And they all passed,â he said of the 2000 film starring Guy Pearce as an amnesia-rattled man attempting to find his wifeâs killer. âNo one wanted the film. In the year or so after that, we were in terrible limbo, we never knew whether anyone would ever see this film.â</p><p class="paragraph larva // a-font-body-m ">Nolan then detailed the heroes of the story, citing Aaron Ryder and Bob Berney among them as champions of his vision, who helped set up a new distribution avenue for it through Newmarket Films. He credited Berney with suggesting they bring the film to Sundance, and used the anecdote to credit festivals for offering filmmakers the chance to merge with moviegoers.</p><p class="paragraph larva // a-font-body-m ">âIf you can get your film here, itâll fill the seats and youâll connect with an audience. They wonât always see eye to eye with you or whatever, but youâll be experiencing that pride of ownership. If that little fire that you already had in you that could get you to the festival gets fanned, the flame grows bigger. You carry that when you climb down the mountain, then you go and become part of a cog in a much bigger machine.â</p><p class="paragraph larva // a-font-body-m ">Speaking of, Nolan eventually circled back to that phone call he and Emma Thomas had with Roberts, âwaiting for the head of Comcast to get on the line.â He wasnât optimistic about the conversation because they were thinking, âWeâve just sold his studio, a three-hour film about quantum physics and the apocalypse, and itâs R rated. I donât know, maybe somebody finally figured out what weâd done or whatever.â</p><p class="paragraph larva // a-font-body-m ">But to his surprise, Roberts hopped on the call and âsaid something that was completely shocking.â The Comcast chief told Nolan that he and his father were skiing in Deer Valley in 2001, and on a whim decided to check out a film at the Sundance Film Festival by an unknown director. Yep, it was <em>Memento</em>.</p><p class="paragraph larva // a-font-body-m ">âIn that moment I could hear Emmaâs relief on the other end of the phone, and in my relief, a couple of things occurred to us. One, weâre probably going to be OK, this is going to work out. He liked the film just as he did in his day. But also, I mean, itâs a quarter of a century later and Iâm still being fucking discovered by Sundance. What point do I get to move on? But all of that was by way of saying that the experience you have here as a filmmaker is unique in all the world and carry it with you through your whole career. I could not be more grateful for the experience that I had here 23 years ago and for getting this award tonight. It means the world to me.â</p><p class="paragraph larva // a-font-body-m ">Downey, an awards season standout who seems to be enjoying his <em>Oppenheimer</em> run and the swirl of events, brought the comic relief tonight as heâs known to do. About Nolan, he said, âConfidentially, he needs his spirits lifted. Heâs a bit blue because a terrible tragedy has befallen him, and I donât need to bring this up, Emma, I know itâs very personal. He has become recognizable on the street, and he recoils as though from a hot flame from this new and most unwelcome reality.â</p><p class="paragraph larva // a-font-body-m ">Itâs not necessarily a surprise, especially here in Park City, where heâs heralded as a hero. Downey noted that 23 years ago, Nolan with his brother Jonah, took home the Waldo Salt Screenwriting Award for <em>Memento</em> from the festival. And he went on to deliver such films as <em>Insomnia, The Dark Knight </em>trilogy<em>, The Prestige, Inception, Interstellar, Dunkirk</em> and <em>Tenet</em>. Downey also praised Nolanâs work on <em>Oppenheimer</em> by calling it âbasically Hollywood backwardsâ with ânary a drop of creative compromise, ahead of schedule, under budget.â (Itâs also cleaned up during awards season, even receiving a new round of BAFTA nominations earlier today.)</p><p class="paragraph larva // a-font-body-m ">
981Much is made of Nolanâs on-set rules, and Downey called it âa monastic and devotional energy,â with the closest comparison being âa hundred people making a watch. Iâve never experienced anything like it.â</p><p class="paragraph larva // a-font-body-m ">Downey also paid tribute to Emma Thomas, Nolanâs longtime producing partner and wife, who âenergetically, somehow both apologizes for and reinforces the necessity of every creative decision and the level of respect they give and require is frankly astonishing.â He continued: âBecause they lead from the front, you faithfully follow, and because she blocks for him, heâs free to be as independent a voice as has ever existed in cinema, while telling stories that remind us of the interdependency of the human experience.â</p><p class="paragraph larva // a-font-body-m ">The galaâs other big experiences came courtesy of <em>Past Lives</em> filmmaker Celine Song who received a Vanguard Award for fiction presented by Acura and her producer Christine Vachon of Killer Films; Maite Alberdi taking home a Vanguard Award for nonfiction presented by Acura and presenter Jodie Foster; and Sundance Institute board member Pat Mitchell earning a Vanguard Award for philanthropy (and two standing ovations) from Mary Robinson, first female president of Ireland.</p><p class="paragraph larva // a-font-body-m ">Among those in attendance were Darren Aronofsky, Jason Blum, Jennifer Grey, Rory Kennedy, Roger Ross Williams, Danny Ramirez, Ondi Timoner, LÃo Mehiel and others. Amy Redford read a special message written by her father, Sundance chief Robert Redford, who offered apologies for missing the festivities and praise for his longtime friend Mitchell.</p><p class="paragraph larva // a-font-body-m ">âSimply put, Pat is a force for good, a catalyst for positive change, somebody who has dedicated her time, her expertise, and her energy to making a difference by using the power of media and storytelling to shine a light on the people and the issues and the challenges of our time.â</p><p class="paragraph larva // a-font-body-m ">Then there was Kristen Stewart who was honored by actor pal Jesse Eisenberg with a Visionary Award. She said the trophy arrived at the perfect moment (âIt is so well-timed. I need thisâ) as sheâs trying to get a new movie off the ground while here celebrating the debut of two new ones, <em>Love Me</em> and <em>Love Lies Bleeding.</em> âThank you for lighting a fire under my ass and letting me know my whole life implicitly and explicitly that it is possible. Sundance is the fucking shit. I love being here.â</p> </div> 982 </div> 983 </div> 984 </div> 985 </div> 986 </section> 987 <section class="elementor-section elementor-top-section elementor-element elementor-element-21fee6b elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="21fee6b" data-element_type="section" data-e-type="section"> 988 <div class="elementor-container elementor-column-gap-default"> 989 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-2b6e747" data-id="2b6e747" data-element_type="column" data-e-type="column"> 990 <div class="elementor-widget-wrap elementor-element-populated"> 991 <div class="elementor-element elementor-element-50c0e8b elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="50c0e8b" data-element_type="widget" data-e-type="widget" data-widget_type="divider.default"> 992 <div class="elementor-widget-container"> 993 <div class="elementor-divider"> 994 <span class="elementor-divider-separator"> 995 </span> 996 </div> 997 </div> 998 </div> 999 <div class="elementor-element elementor-element-d4eae15 elementor-widget elementor-widget-heading" data-id="d4eae15" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1000 <div class="elementor-widget-container"> 1001 <h2 class="elementor-heading-title elementor-size-default">NatGeoâs âThe Territoryâ, About Indigenous Brazilian Groupâs Daring Fight To Protect Their Land, Wins Emmy For Exceptional Merit</h2> </div>
1002 </div> 1003 <div class="elementor-element elementor-element-82d75a0 elementor-widget elementor-widget-text-editor" data-id="82d75a0" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1004 <div class="elementor-widget-container"> 1005 <p>By Matthew Carey</p><p>January 7, 2024</p> </div> 1006 </div> 1007 <div class="elementor-element elementor-element-ac5331f elementor-widget elementor-widget-image" data-id="ac5331f" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1008 <div class="elementor-widget-container"> 1009 <a href="https://deadline.com/2024/01/creative-arts-emmys-the-territory-exceptional-merit-in-documentary-filmmaking-award-1235698731/?fbclid=IwAR15O3PM7mm8f5D-fWdnvmwQ-OFFGX-2y3_y_NBfBJ8O2NVtrMuPJlaNmH4" target="_blank"> 1010 <img decoding="async" width="225" height="225" src="https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent.png" class="attachment-medium_large size-medium_large wp-image-1986" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent.png 225w, https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent-150x150.png 150w" sizes="(max-width: 225px) 100vw, 225px" /> </a> 1011 </div> 1012 </div> 1013 </div> 1014 </div> 1015 </div> 1016 </section> 1017 <section class="elementor-section elementor-top-section elementor-element elementor-element-1c07891 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="1c07891" data-element_type="section" data-e-type="section"> 1018 <div class="elementor-container elementor-column-gap-default"> 1019 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-6bdfeb0" data-id="6bdfeb0" data-element_type="column" data-e-type="column"> 1020 <div class="elementor-widget-wrap elementor-element-populated"> 1021 <div class="elementor-element elementor-element-a73a23a elementor-widget elementor-widget-image" data-id="a73a23a" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1022 <div class="elementor-widget-container"> 1023 <figure class="wp-caption"> 1024 <img loading="lazy" decoding="async" width="681" height="383" src="https://picturehouse.com/wp-content/uploads/2024/01/Alex-Pritz-and-The-Territory-winners.webp" class="attachment-large size-large wp-image-4492" alt="" srcset="https://picturehouse.com/wp-content/uploads/2024/01/Alex-Pritz-and-The-Territory-winners.webp 681w, https://picturehouse.com/wp-content/uploads/2024/01/Alex-Pritz-and-The-Territory-winners-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2024/01/Alex-Pritz-and-The-Territory-winners-500x281.webp 500w" sizes="(max-width: 681px) 100vw, 681px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 1025 </figure> 1026 </div> 1027 </div> 1028 </div> 1029 </div> 1030 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-6f406b4" data-id="6f406b4" data-element_type="column" data-e-type="column"> 1031 <div class="elementor-widget-wrap elementor-element-populated"> 1032 <div class="elementor-element elementor-element-ea10ae4 elementor-widget elementor-widget-text-editor" data-id="ea10ae4" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1033 <div class="elementor-widget-container"> 1034 <p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The makers of National Geographicâs <em>The Territory</em> are celebrating their win at the Creative Arts Emmy Awards for Exceptional Merit in Documentary Filmmaking, one of the most prestigious awards in nonfiction.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The prize, voted on by a special jury, was shared by director-producer Alex Pritz, producers Darren Aronofsky, Sigrid Dyekjær, Will N. Miller, Gabriel Uchida, and Lizzie Gillett, and executive producer Txai SuruÃ. Their film centers on the Indigenous Uru-eu-wau-wau people, who face constant assault as they try to protect their territory within Brazilâs Amazon rainforest from invasion by outsiders. As Deadline previously wrote about the film, those invaders are âengaged in burning down great swaths of the rainforest for mining, logging, clearing land for cattle and homesteading.â</p><p>The film also underscores whatâs at stake with each acre of Brazilian rainforest that goes up in smoke â it is the ecological health of the Earth that hangs in the balance.</p><p>âTo receive the recognition of our peers, alongside such an incredible group of nominees, is an unbelievable honor,â Pritz told Deadline after his Emmy win. âWe share this award with communities around the world who are standing up in defense of our planetâs continued habitability and fighting for a better future.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">Among those who attended the Creative Arts Emmy Awards ceremony Sunday night were Neidinha Bandeira, a defender of the Uru-eu-wau-wau who is one of the main characters in the documentary. She previously told Deadline, âThe Uru-eu-wau-wau Indigenous territory is important for the whole planet, because of its nature and biodiversity and because itâs fighting climate change.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">Bitaté Uru-eu-wau-wau, an emerging leader of his Indigenous group, also attended the Emmy ceremony. He participated in the film and has taken an active role teaching his people how to shoot and edit video so that they can be better represented in media narratives about their land.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">In an interview with Deadline last year, Bitaté said of <em>The Territory</em>, âIt brings to the forefront the fight of my people. It displays for the world the situation we live in. We know that the challenge that we face â that we have always faced in our territory â is being represented now to the world beyond Brazil. People are talking about it. I feel very good about that.â He added, âWe are also calling on the government of Brazil to protect all of our regions and our communities. We need help not only here in my community, but throughout all of our Indigenous territories.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m "><em>The Territory</em> features exceptional photography, both aerials allowing viewers to see how much of the rainforest is being chewed up, and the life that exists under the remaining canopy, down to the almost imperceptible movements of insects.</p><p>âI really wanted visually to be able to move between the big and the small, because this story is about the climate and about the planet and these really huge forces, the rise of populist authoritarianism and these huge themes â manifest destiny,â Pritz told Deadline previously. âBut itâs also about the individual characters⦠and we wanted to make a film that was able to move between the macro level forces and the micro level people and regional conflicts that encapsulates it. Trying to build a visual language where we can move between satellite imagery of the continent where you see, over 30 years, how many trees have been lost and what this really looks like and then go all the way down to like one caterpillar and really just focus on that.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">Fellow nominees in the Exceptional Merit in Documentary Filmmaking category included <em>Last Flight Home</em>, directed and produced by Ondi Timoner and produced by David Turner; <em>The Accused: Damned Or Devoted?</em>, directed and produced by Mohammed Ali Naqvi, and <em>Aftershock</em>, directed and produced by Paula Eiselt and Tonya Lewis Lee.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">According to the TV Academy, the purpose of the Exceptional Merit in Documentary Filmmaking Award âis to both honor and encourage profound social impact, significant innovation of form, and remarkable mastery of filmmaking technique.â As the TV Academyâs rules note, âAll applicants for candidacy in this juried award [are] required to submit a written statement that expresses the programâs qualifications as a Documentary Film with Exceptional Merit.â</p> </div>
1035 </div> 1036 </div> 1037 </div> 1038 </div> 1039 </section> 1040 <section class="elementor-section elementor-top-section elementor-element elementor-element-4512cb2 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="4512cb2" data-element_type="section" data-e-type="section"> 1041 <div class="elementor-container elementor-column-gap-default"> 1042 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-1c3771f" data-id="1c3771f" data-element_type="column" data-e-type="column"> 1043 <div class="elementor-widget-wrap elementor-element-populated"> 1044 <div class="elementor-element elementor-element-60e8cac elementor-widget elementor-widget-heading" data-id="60e8cac" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1045 <div class="elementor-widget-container"> 1046 <h2 class="elementor-heading-title elementor-size-default">Picturehouse Sets Fall Release For âAt The Gatesâ</h2> </div> 1047 </div> 1048 <div class="elementor-element elementor-element-7dd344e elementor-widget elementor-widget-text-editor" data-id="7dd344e" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1049 <div class="elementor-widget-container"> 1050 By Anthony D’Alessandro 1051 1052October 4, 2023 </div> 1053 </div> 1054 <div class="elementor-element elementor-element-95126a1 elementor-widget elementor-widget-image" data-id="95126a1" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1055 <div class="elementor-widget-container"> 1056 <a href="https://deadline.com/2023/10/picturehouse-at-the-gates-theatrical-release-date-1235564135/" target="_blank"> 1057 <img decoding="async" width="225" height="225" src="https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent.png" class="attachment-medium_large size-medium_large wp-image-1986" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent.png 225w, https://picturehouse.com/wp-content/uploads/2021/12/deadline-transparent-150x150.png 150w" sizes="(max-width: 225px) 100vw, 225px" /> </a> 1058 </div> 1059 </div> 1060 </div> 1061 </div> 1062 </div> 1063 </section> 1064 <section class="elementor-section elementor-top-section elementor-element elementor-element-47ae829 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="47ae829" data-element_type="section" data-e-type="section"> 1065 <div class="elementor-container elementor-column-gap-default"> 1066 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-864b5e3" data-id="864b5e3" data-element_type="column" data-e-type="column"> 1067 <div class="elementor-widget-wrap elementor-element-populated"> 1068 <div class="elementor-element elementor-element-78f5ad7 elementor-widget elementor-widget-image" data-id="78f5ad7" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1069 <div class="elementor-widget-container"> 1070 <figure class="wp-caption"> 1071 <img loading="lazy" decoding="async" width="681" height="383" src="https://picturehouse.com/wp-content/uploads/2023/10/ATG-014.jpg.webp" class="attachment-large size-large wp-image-4343" alt="" srcset="https://picturehouse.com/wp-content/uploads/2023/10/ATG-014.jpg.webp 681w, https://picturehouse.com/wp-content/uploads/2023/10/ATG-014.jpg-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2023/10/ATG-014.jpg-500x281.webp 500w" sizes="(max-width: 681px) 100vw, 681px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 1072 </figure> 1073 </div> 1074 </div> 1075 </div> 1076 </div> 1077 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-c1d4887" data-id="c1d4887" data-element_type="column" data-e-type="column"> 1078 <div class="elementor-widget-wrap elementor-element-populated"> 1079 <div class="elementor-element elementor-element-d13396d elementor-widget elementor-widget-text-editor" data-id="d13396d" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1080 <div class="elementor-widget-container"> 1081 <p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">Augustus Meleo Bernsteinâs new movie <em>At the Gates </em>is getting a November 3 theatrical release date in New York and L
1081os Angeles from Picturehouse.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The Beacon Pictures and Five Towers production stars Miranda Otto, Noah Wyle, Ezekiel Pacheco, Vanessa Benavente and Sadie Stanley. Bernstein wrote and directed in his feature debut.</p><p>In the movie, Ana (Benavente), a housekeeper from El Salvador, brings her teenage son Nico (Pacheco) to help her clean an affluent familyâs Los Angeles home. But after being told by her employers Marianne (Otto) and Peter Barris (Wyle) that immigration officers are searching for her, she accepts the invitation to shelter in their house until the crisis blows over. As days go by and the interactions between the two families become increasingly tense, Nico begins to question their hostsâ true intentions.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The picâs theatrical rollout follows several festival stops including New York Latino Film Festival, where it won the Best U.S. Narrative Prize, the Woodstock Film Festival, and SCAD Savannah Film Festival.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">â<em>At the Gates</em> is a gripping combination of noir and political commentary that creates a tense and emotional ride,â says Bob Berney, CEO of Picturehouse. âSet in what could be the not-too-distant future, the film asks how far you would go to protect your family.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">Bernstein also produced along with Jhanvi Motla and Paulo Torre. The filmâs cinematographer is Alan Torres, and Julia Newman composed the score. Executive producers are Colleen Camp, Berney, Armyan Bernstein and Rodrigo Garcia.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">âI believe in the power of film to make social change,â Augustus Meleo Bernstein said. âI have tried to make a film with a lot of heart that is also a thrilling, captivating experience.â</p><p>Read the article on <a href="https://deadline.com/2023/10/picturehouse-at-the-gates-theatrical-release-date-1235564135/" target="_blank" rel="noopener">deadline.com</a>.</p> </div> 1082 </div> 1083 </div> 1084 </div> 1085 </div> 1086 </section> 1087 <section class="elementor-section elementor-top-section elementor-element elementor-element-dfa75f5 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="dfa75f5" data-element_type="section" data-e-type="section"> 1088 <div class="elementor-container elementor-column-gap-default"> 1089 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-73ba690" data-id="73ba690" data-element_type="column" data-e-type="column"> 1090 <div class="elementor-widget-wrap elementor-element-populated"> 1091 <div class="elementor-element elementor-element-0018f25 elementor-widget elementor-widget-heading" data-id="0018f25" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1092 <div class="elementor-widget-container"> 1093 <h2 class="elementor-heading-title elementor-size-default">"PANâS LABYRINTH, MANCHESTER BY THE SEA, Y TU MAMA TAMBIAN, BRIGHT STAR are four of The Hollywood Reporter's critic picks for the best 50 films of the 21st Century (so far)."</h2> </div> 1094 </div> 1095 <div class="elementor-element elementor-element-05c5a01 elementor-widget elementor-widget-text-editor" data-id="05c5a01" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1096 <div class="elementor-widget-container"> 1097 <p>By Jon Frosch, David Rooney, Sheri Linden, Lovia Gyarkye, Leslie Felperin, Jordan Mintzer</p><p>April 6, 2023</p> </div> 1098 </div> 1099 <div class="elementor-element elementor-element-d0f5787 elementor-widget elementor-widget-image" data-id="d0f5787" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1100 <div class="elementor-widget-container"> 1101 <a href="https://variety.com/2022/awards/awards/pga-awards-documentary-nominees-2023-1235457282/" target="_blank"> 1102 <img loading="lazy" decoding="async" width="571" height="174" src="https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo.png" class="attachment-medium_large size-medium_large wp-image-4227" alt="" srcset="https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo.png 571w, https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo-300x91.png 300w, https://picturehouse.com/wp-content/uploads/2023/07/The-hollywood-reporter-vector-logo-500x152.png 500w" sizes="(max-width: 571px) 100v
1102w, 571px" /> </a> 1103 </div> 1104 </div> 1105 </div> 1106 </div> 1107 </div> 1108 </section> 1109 <section class="elementor-section elementor-top-section elementor-element elementor-element-bad8b9c elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="bad8b9c" data-element_type="section" data-e-type="section"> 1110 <div class="elementor-container elementor-column-gap-default"> 1111 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-42dcc8f" data-id="42dcc8f" data-element_type="column" data-e-type="column"> 1112 <div class="elementor-widget-wrap elementor-element-populated"> 1113 <div class="elementor-element elementor-element-ef31b2d elementor-widget elementor-widget-image" data-id="ef31b2d" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1114 <div class="elementor-widget-container"> 1115 <figure class="wp-caption"> 1116 <img loading="lazy" decoding="async" width="800" height="451" src="https://picturehouse.com/wp-content/uploads/2023/07/2023_03-top50movies-splash-2-FINAL-1024x577.webp" class="attachment-large size-large wp-image-4228" alt="" srcset="https://picturehouse.com/wp-content/uploads/2023/07/2023_03-top50movies-splash-2-FINAL-1024x577.webp 1024w, https://picturehouse.com/wp-content/uploads/2023/07/2023_03-top50movies-splash-2-FINAL-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2023/07/2023_03-top50movies-splash-2-FINAL-768x433.webp 768w, https://picturehouse.com/wp-content/uploads/2023/07/2023_03-top50movies-splash-2-FINAL-500x282.webp 500w, https://picturehouse.com/wp-content/uploads/2023/07/2023_03-top50movies-splash-2-FINAL.webp 1296w" sizes="(max-width: 800px) 100vw, 800px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 1117 </figure> 1118 </div> 1119 </div> 1120 </div> 1121 </div> 1122 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-4796815" data-id="4796815" data-element_type="column" data-e-type="column"> 1123 <div class="elementor-widget-wrap elementor-element-populated"> 1124 <div class="elementor-element elementor-element-88ca74c elementor-widget elementor-widget-text-editor" data-id="88ca74c" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1125 <div class="elementor-widget-container"> 1126 <p class="paragraph larva // a-font-body-m ">Why now? Why not?</p><p class="paragraph larva // a-font-body-m ">Sure, weâve yet to hit the quarter-century mark, when these sorts of lists tend to start landing. But weâve arguably already lived through 100 yearsâ worth of upheaval, progress, pain, destruction, hope and heartache in the world â not to mention the film industry â since 2000. We thought it as good a time as any to look back at the films that have, to us, stood the ever-unfolding test of time.</p><p class="paragraph larva // a-font-body-m ">In the spirit of transparency, our methodology went something like this: We all offered up titles we thought were worthy of consideration (an initial list of well over 100 movies). Everyone voted âyeaâ or ânayâ on each of those titles. The films with the most yeas â about 80 â advanced to the next round. Everyone scored each title from 0 to 3. We tallied up the points, and then hashed it out from there. Countless emails and a few long Zoom meetings later, we had our list.</p><p class="paragraph larva // a-font-body-m ">Our only parameters: All six of us had to love, like or at least respect every film on the list. And we did not consider anything from 2022; it just felt too soon (translation: after the forever-long awards season, we needed a breather from talking about <em>Tár</em>, <em>Everything Everywhere All at Once</em> and the rest of âem).</p><p class="paragraph larva // a-font-body-m ">Picking the movies we love the most, while being mindful of variety and inclusivity, significance and staying power, was difficult (we know: worldâs smallest violin). We wanted our list to reflect the breadth of world cinema and of our tastes, but we also didnât want to placate or pander or allow fear of Film Twitter or Outrage Twitter (or any Twitter) to weigh on our process.</p><p class="paragraph larva // a-font-body-m ">That doesnât mean we werenât plagued by doubts along the way. What are we missing? Who are we leaving out? Why this movie and n
1126ot that one? We know certain omissions and selections are bound to incite eye rolls, grumbles and maybe a shriek or two.</p><p class="paragraph larva // a-font-body-m ">But we tried to stay true to our love of movies, these movies, and others that didnât make the cut. (Remember, itâs only 50!) The final list is a reflection of that love, but also of a system that favors certain stories and storytellers at the expense of others. If the list is not a model of representational balance, call us out â we can take it â but also continue to call out an industry that hasnât given us a more diverse landscape of voices to love, hate and argue over.</p><p class="paragraph larva // a-font-body-m ">The most conspicuous, surprising (including to us) and, surely to some readers, infuriating, thing about our list is how many masters are missing. After all our deliberating, point tallying, reconsidering, revoting, retallying and re-deliberating, none of the following directors cracked the top 50 films or 15 honorable mentions: Clint Eastwood, Steven Spielberg, Martin Scorsese, Terrence Malick, Spike Lee, Gus Van Sant, Jean-Luc Godard, David Cronenberg, Michael Mann, Quentin Tarantino, Steven Soderbergh, Alexander Payne, Jim Jarmusch, James Gray, Jia Zhangke, Abbas Kiarostami, Jafar Panahi, Asghar Farhadi, Apichatpong Weerasethakul and Hou Hsiao-Hsien. Ditto polarizing though prolific auteurs like Woody Allen, Roman Polanski and Lars von Trier.</p><p class="paragraph larva // a-font-body-m ">This wasnât the result of any kind of âout with the old, in with the newâ intention. In some cases â Scorsese, Spike, Godard â we felt their best work was pre-21st century. In Spielbergâs case, there were several films that had love (including <em>Minority Report</em> and <em>West Side Story</em>), but none that united all six of us in full-throated enthusiasm. In other cases, as in Eastwoodâs <em>Million Dollar Baby</em>, Malickâs <em>The New World</em> and <em>The Tree of Life</em>, and Tarantinoâs <em>Once Upon a Time in Hollywood</em>, there were ardent supporters but also just-as-ardent detractors.</p><p class="paragraph larva // a-font-body-m ">In other words, we didnât reverse-engineer the list by starting with great directors and pulling from their filmographies; we allowed the titles to emerge organically, via memory and good old-fashioned brainstorming. (Five directors â or six if you count the Coens separately â ended up with two films apiece on the list: Jane Campion, Joel and Ethan Coen, Alfonso Cuarón, David Fincher and Richard Linklater. For more stats and specifics about the results, read this breakdown.)</p><p class="paragraph larva // a-font-body-m ">Straight-up studio comedy, action, sci-fi and horror are largely, though not entirely, absent from our final selections (cue the cries of film-critic elitism). We love those genres, we swear! Movies like <em>Borat</em>, <em>The 40-Year-Old Virgin</em>, <em>Collateral</em>, <em>The Bourne Ultimatum</em>, <em>Master and Commander</em> and, yes, <em>Anchorman: The Legend of Ron Burgundy</em> were all in contention at one point or another. But the scarcity of this type of entertainment on our list reflects what we see as a certain creative impoverishment in those genres over the past few decades. The lack of risk-taking in mainstream filmmaking, the sameness and safeness of so much of that âproduct,â results in few of those movies lingering in the mind for longer than their runtimes.</p><p class="paragraph larva // a-font-body-m ">We could go on and on about the shortcomings of our work here â not enough animation! â but thatâs what we count on you for! Without further ado, here are what we consider the 50 best films of the 21st century so far.</p><p>(<a href="https://www.hollywoodreporter.com/lists/best-movies-21st-century/" target="_blank" rel="noopener">Read the list on hollywoodreporter.com</a>)</p> </div> 1127 </div> 1128 </div> 1129 </div> 1130 </div> 1131 </section> 1132 <section class="elementor-section elementor-top-section elementor-element elementor-element-57133e5 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="57133e5" data-element_type="section" data-e-type="section"> 1133 <div class="elementor-container elementor-column-gap-default"> 1134 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-3d55524" data-id="3d55524" data-element_type="column" data-e-type="column"> 1135 <div class="elementor-widget-wrap elementor-element-populated"> 1136 <div class="elementor-element elementor-element-140f02f elementor-widget elementor-widget-heading" data-id="140f02f" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1137 <div class="elementor-widget-container"> 1138 <h2 class="elementor-heading-title elementor-size-default">My Big Fat Greek Wedding's Slow Rollout Strategy Worked Like A Charm</h2> </div>
1139 </div> 1140 <div class="elementor-element elementor-element-36c2f83 elementor-widget elementor-widget-text-editor" data-id="36c2f83" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1141 <div class="elementor-widget-container"> 1142 <p>By Deepayan Sengupta<span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;"><br /></span><span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;">May 11, 2023</span></p> </div> 1143 </div> 1144 <div class="elementor-element elementor-element-9c4fb97 elementor-widget elementor-widget-image" data-id="9c4fb97" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1145 <div class="elementor-widget-container"> 1146 <a href="https://www.looper.com/1284111/my-big-fat-greek-weddings-slow-rollout-strategy-worked-charm/" target="_blank"> 1147 <img loading="lazy" decoding="async" width="300" height="98" src="https://picturehouse.com/wp-content/uploads/2023/07/looper-logo-4AE92BFF48-seeklogo.com_.png" class="attachment-medium_large size-medium_large wp-image-4244" alt="" /> </a> 1148 </div> 1149 </div> 1150 </div> 1151 </div> 1152 </div> 1153 </section> 1154 <section class="elementor-section elementor-top-section elementor-element elementor-element-2380021 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="2380021" data-element_type="section" data-e-type="section"> 1155 <div class="elementor-container elementor-column-gap-default"> 1156 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-ece1220" data-id="ece1220" data-element_type="column" data-e-type="column"> 1157 <div class="elementor-widget-wrap elementor-element-populated"> 1158 <div class="elementor-element elementor-element-f51a167 elementor-widget elementor-widget-image" data-id="f51a167" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1159 <div class="elementor-widget-container"> 1160 <figure class="wp-caption"> 1161 <img loading="lazy" decoding="async" width="780" height="438" src="https://picturehouse.com/wp-content/uploads/2023/07/intro-1683863242.webp" class="attachment-large size-large wp-image-4245" alt="" srcset="https://picturehouse.com/wp-content/uploads/2023/07/intro-1683863242.webp 780w, https://picturehouse.com/wp-content/uploads/2023/07/intro-1683863242-300x168.webp 300w, https://picturehouse.com/wp-content/uploads/2023/07/intro-1683863242-768x431.webp 768w, https://picturehouse.com/wp-content/uploads/2023/07/intro-1683863242-500x281.webp 500w" sizes="(max-width: 780px) 100vw, 780px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 1162 </figure> 1163 </div> 1164 </div> 1165 </div> 1166 </div> 1167 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-87cb953" data-id="87cb953" data-element_type="column" data-e-type="column"> 1168 <div class="elementor-widget-wrap elementor-element-populated"> 1169 <div class="elementor-element elementor-element-2462f4a elementor-widget elementor-widget-text-editor" data-id="2462f4a" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1170 <div class="elementor-widget-container"> 1171 <p>To commemorate the 20-year anniversary of the hit romantic comedy “My Big Fat Greek Wedding,” The Ringer did an oral history of the film. Part of the conversation revolved around the movie’s distribution strategy, noting that the slow rollout was a deliberate choice that reaped dividends.</p><p>One of the reasons was to ensure the film didn’t get lost in wide release amidst blockbuster juggernauts such as Sam Raimi’s “Spider-Man.” However, Bob Berney, who was the head of distribution for IFC at the time, also had another reason for the strategy. In an early screening, he witnessed a member of the audience fall out of her seat in laughter, leading to her breaking her hip and needing medical attention.</p><p>
1171Berney decided that was the atmosphere in which the movie would best thrive, and aimed for small screenings that had a much better chance of selling out, leading to a communal experience where the laughter would spread throughout the audience.</p><p>“We all together made a conscious decision to keep it special, keep it limited, keep it sold out,” Berney said. “We always felt like if we expanded, it may have done well, but it could have just easily fallen off before it became so widely known.” The film’s distribution peaked at around 1,000 screens, far lower than big-budget films would get. The film’s limited release helped boost its popularity to the point that IFC ran out of film prints and had to tell theater owners to call back the next week for more copies.</p><p>The rollout strategy allowed “My Big Fat Greek Wedding” to be a success where other movies would have faltered. A key indicator of the film’s success was that it continued making money in theaters even after it had been sold to airlines to be shown as an in-flight movie. It ultimately made over $240 million domestically.</p><p>Jonathan Sehring, who was the president of IFC Films at the time that “My Big Fat Greek Wedding” was released, told The Ringer that it’s unlikely that the film’s theatrical success would be replicated in today’s streaming environment. Streaming services, he noticed, allow for a guaranteed immediate profit, which is less risky than taking the movie to theaters.</p><p>Bob Berney noted that the extended theatrical release of the film is also unlikely in the modern distribution environment. He noted that “My Big Fat Greek Wedding” would not have had the opportunity to grow gradually today, as the box office returns from the first two weekends are the markers of success and the present climate does not give movies a chance to grow and find their audience.</p><p>Berney said that the quick turnaround from a theatrical release to a streaming or VOD release would also have hindered the cult classic, especially with studios who use the films to market their own streaming services. The mix of these factors makes it unlikely that a film could find success today the way “My Big Fat Greek Wedding” did.</p><p>Read article on <a href="https://www.looper.com/1284111/my-big-fat-greek-weddings-slow-rollout-strategy-worked-charm/" target="_blank" rel="noopener">looper.com</a>.</p> </div> 1172 </div> 1173 </div> 1174 </div> 1175 </div> 1176 </section> 1177 <section class="elementor-section elementor-top-section elementor-element elementor-element-4375fd7 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="4375fd7" data-element_type="section" data-e-type="section"> 1178 <div class="elementor-container elementor-column-gap-default"> 1179 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-e3547e7" data-id="e3547e7" data-element_type="column" data-e-type="column"> 1180 <div class="elementor-widget-wrap elementor-element-populated"> 1181 <div class="elementor-element elementor-element-228dda6 elementor-widget elementor-widget-heading" data-id="228dda6" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1182 <div class="elementor-widget-container"> 1183 <h2 class="elementor-heading-title elementor-size-default">National Geographic Dominates PGA Award Documentary Film Nominees With âFire of Love,â âRetrogradeâ and âThe Territoryâ</h2> </div> 1184 </div> 1185 <div class="elementor-element elementor-element-337497e elementor-widget elementor-widget-text-editor" data-id="337497e" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1186 <div class="elementor-widget-container"> 1187 <p>By <span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;">Clayton Davis<br /></span><span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif;
1187 font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;">Dec. 12, 2022</span></p> </div> 1188 </div> 1189 <div class="elementor-element elementor-element-9c8a291 elementor-widget elementor-widget-image" data-id="9c8a291" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1190 <div class="elementor-widget-container"> 1191 <a href="https://variety.com/2022/awards/awards/pga-awards-documentary-nominees-2023-1235457282/" target="_blank"> 1192 <img loading="lazy" decoding="async" width="768" height="232" src="https://picturehouse.com/wp-content/uploads/2021/10/Variety_logo.svg-768x232.png" class="attachment-medium_large size-medium_large wp-image-4109" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/10/Variety_logo.svg-768x232.png 768w, https://picturehouse.com/wp-content/uploads/2021/10/Variety_logo.svg-300x91.png 300w, https://picturehouse.com/wp-content/uploads/2021/10/Variety_logo.svg-1024x309.png 1024w, https://picturehouse.com/wp-content/uploads/2021/10/Variety_logo.svg-1536x464.png 1536w, https://picturehouse.com/wp-content/uploads/2021/10/Variety_logo.svg-2048x618.png 2048w, https://picturehouse.com/wp-content/uploads/2021/10/Variety_logo.svg-500x151.png 500w" sizes="(max-width: 768px) 100vw, 768px" /> </a> 1193 </div> 1194 </div> 1195 </div> 1196 </div> 1197 </div> 1198 </section> 1199 <section class="elementor-section elementor-top-section elementor-element elementor-element-c43d496 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="c43d496" data-element_type="section" data-e-type="section"> 1200 <div class="elementor-container elementor-column-gap-default"> 1201 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-94e8797" data-id="94e8797" data-element_type="column" data-e-type="column"> 1202 <div class="elementor-widget-wrap elementor-element-populated"> 1203 <div class="elementor-element elementor-element-1d6abc9 elementor-widget elementor-widget-image" data-id="1d6abc9" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1204 <div class="elementor-widget-container"> 1205 <figure class="wp-caption"> 1206 <img loading="lazy" decoding="async" width="681" height="383" src="https://picturehouse.com/wp-content/uploads/2022/12/Retrograde-Fire-of-Love-The-Territory.webp" class="attachment-large size-large wp-image-4202" alt="" srcset="https://picturehouse.com/wp-content/uploads/2022/12/Retrograde-Fire-of-Love-The-Territory.webp 681w, https://picturehouse.com/wp-content/uploads/2022/12/Retrograde-Fire-of-Love-The-Territory-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2022/12/Retrograde-Fire-of-Love-The-Territory-500x281.webp 500w" sizes="(max-width: 681px) 100vw, 681px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 1207 </figure> 1208 </div> 1209 </div> 1210 </div> 1211 </div> 1212 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-75ff85f" data-id="75ff85f" data-element_type="column" data-e-type="column"> 1213 <div class="elementor-widget-wrap elementor-element-populated"> 1214 <div class="elementor-element elementor-element-2c08108 elementor-widget elementor-widget-text-editor" data-id="2c08108" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1215 <div class="elementor-widget-container"> 1216 <p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">National Geographic Films dominated the 2023 Documentary Motion Picture nominees for the upcoming 34th Producers Guild Awards. The studio landed three of the seven spots with âFire of Loveâ from Sara Dosa, âRetrogradeâ from Matthew Heineman and âThe Territoryâ from Alex Pritz.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">In addition to the Nat Geo trio, other nominees included HBOâs âAll That Breathes,â Netflixâs âDescendant,â CNN and Warner Brosâ âNavalnyâ and Showtimeâs âNothing Compares.â All seven are in the discussion for Oscar recognition this year.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The Producers Guild Awards honors excellence in motion picture and television productions, as well as the most notable names in the industry who are shaping the producing profession.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">PGA nominees for docs havenât had the best track record of translating to Oscar attention, which differs from the narrative feature category. However, it strongly correlates to appearing on the Oscar doc shortlist of 15 films, which began voting today. Last year, seven of the eight PGA nominees made it to the shortlist, and four were ultimately nominated by the Academy â âAscension,â âFlee,â âWriting with Fireâ and winner âSummer of Soul (â¦Or, When the Revolution Could Not Be Televised).â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">
1216When it comes to winners, in the last decade, four PGA winners became Oscar winners â âSearching for Sugar Manâ (2012) âAmyâ (2015), âO.J.: Made in Americaâ (2016), âMy Octopus Teacherâ (2020) and the aforementioned âSummer of Soul.â</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The nominees for sports, childrenâs and short form television programs will be announced on Friday, Dec. 16. For the theatrical motion pictures, animated features, television series and specials and televised/streamed motion pictures, they will be revealed on Thursday, Jan. 12. The winners will be announced on Saturday, Feb. 25, 2023.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The Producers Guild of America represents over 8,500 producers. It is a non-profit trade organization that represents, protects, and promotes the interests of all producing team members in film, television and new media.</p><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">The full list of nominees is below; all are being vetted for individual producer eligibility.</p><div class="container // lrv-a-font-body-m lrv-u-margin-lr-auto "><ul><li>âAll That Breathesâ (HBO)</li><li>âDescendantâ (Netflix)</li><li>âFire of Loveâ (National Geographic Documentary/Neon)</li><li>âNavalnyâ (CNN/Warner Bros.)</li><li>âNothing Comparesâ (Showtime)</li><li>âRetrogradeâ (National Geographic)</li><li>âThe Territoryâ (National Geographic)<br /><br /></li></ul></div><p class="paragraph larva // lrv-u-margin-lr-auto lrv-a-font-body-m ">Read the current nominees for best documentary feature on <em>Variety </em>Awards Circuit. Make sure to bookmark the <strong>2022-2023 Awards Season calendar</strong> for all key dates and timelines for the season.</p> </div> 1217 </div> 1218 </div> 1219 </div> 1220 </div> 1221 </section> 1222 <section class="elementor-section elementor-top-section elementor-element elementor-element-cf2504f elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="cf2504f" data-element_type="section" data-e-type="section"> 1223 <div class="elementor-container elementor-column-gap-default"> 1224 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-fc943e7" data-id="fc943e7" data-element_type="column" data-e-type="column"> 1225 <div class="elementor-widget-wrap elementor-element-populated"> 1226 <div class="elementor-element elementor-element-eb6ebbb elementor-widget elementor-widget-heading" data-id="eb6ebbb" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1227 <div class="elementor-widget-container"> 1228 <h2 class="elementor-heading-title elementor-size-default">'The Territory' Review: Saving The Amazon, One Camera At A Time</h2> </div> 1229 </div> 1230 <div class="elementor-element elementor-element-56285e8 elementor-widget elementor-widget-text-editor" data-id="56285e8" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1231 <div class="elementor-widget-container"> 1232 <p>By <span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;">Claire Shaffer<br /></span><span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;">August 18, 2022</span></p> </div> 1233 </div> 1234 <div class="elementor-element elementor-element-2372d93 elementor-widget elementor-widget-image" data-id="2372d93" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1235 <div class="elementor-widget-container"> 1236 <a href="https://www.nytimes.com/2022/08/18/movies/the-territory-review.html" target="_blank"> 1237 <img loading="lazy" decoding="async" width="768" height="104" src="https://picturehouse.com/wp-content/uploads/2021/10/NewYorkTimes.svg-768x104.png" class="attachment-medium_large size-medium_large wp-image-4119" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/10/NewYorkTimes.svg-768x104.png 768w, https://picturehouse.com/wp-content/uploads/2021/10/NewYorkTimes.svg-300x41.png 300w, https://picturehouse.com/wp-content/uploads/2021/10/NewYorkTimes.svg-1024x138.png 1024w, https://picturehouse.com/wp-content/uploads/2021/10/NewYorkTimes.svg-1536x208.png 1536w, https://picturehouse.com/wp-content/uploads/2021/10/NewYorkTimes.svg-2048x277.png 2048w, https://picturehouse.com/wp-content/uploads/2021/10/NewYorkTimes.svg-500x68.png 500w" sizes="(max-width: 768px) 100vw, 768px" /> </a> 1238 </div>
1239 </div> 1240 </div> 1241 </div> 1242 </div> 1243 </section> 1244 <section class="elementor-section elementor-top-section elementor-element elementor-element-3ec4584 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="3ec4584" data-element_type="section" data-e-type="section"> 1245 <div class="elementor-container elementor-column-gap-default"> 1246 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-94f6912" data-id="94f6912" data-element_type="column" data-e-type="column"> 1247 <div class="elementor-widget-wrap elementor-element-populated"> 1248 <div class="elementor-element elementor-element-9fbe5c6 elementor-widget elementor-widget-image" data-id="9fbe5c6" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1249 <div class="elementor-widget-container"> 1250 <figure class="wp-caption"> 1251 <img loading="lazy" decoding="async" width="800" height="334" src="https://picturehouse.com/wp-content/uploads/2022/08/the-territory-review-2022-1024x427.jpeg" class="attachment-large size-large wp-image-4135" alt="" srcset="https://picturehouse.com/wp-content/uploads/2022/08/the-territory-review-2022-1024x427.jpeg 1024w, https://picturehouse.com/wp-content/uploads/2022/08/the-territory-review-2022-300x125.jpeg 300w, https://picturehouse.com/wp-content/uploads/2022/08/the-territory-review-2022-768x320.jpeg 768w, https://picturehouse.com/wp-content/uploads/2022/08/the-territory-review-2022-500x208.jpeg 500w, https://picturehouse.com/wp-content/uploads/2022/08/the-territory-review-2022.jpeg 1200w" sizes="(max-width: 800px) 100vw, 800px" /> <figcaption class="widget-image-caption wp-caption-text"></figcaption> 1252 </figure> 1253 </div> 1254 </div> 1255 </div> 1256 </div> 1257 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-655fe8d" data-id="655fe8d" data-element_type="column" data-e-type="column"> 1258 <div class="elementor-widget-wrap elementor-element-populated"> 1259 <div class="elementor-element elementor-element-5ccca34 elementor-widget elementor-widget-text-editor" data-id="5ccca34" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1260 <div class="elementor-widget-container"> 1261 <p class="p1"><span class="s1">âSave the rainforestâ has been a constant refrain among environmentalist groups for the past half-century, but no recent film captures the immediacy of the threat better than âThe Territory,â Alex Pritzâs documentary feature debut, which had its premiere earlier this year at Sundance.</span></p><p class="p2"><span class="s1">National Geographic Documentary Films acquired the rights to the movie after it screened, and given the distributorâs current interest in gripping thrillers (<span class="s2">âFree Solo,â</span>Â <span class="s2">âFire of Loveâ</span>), itâs no surprise that this feature, covering the embittered conflict between Brazilian cattle ranchers and an Indigenous group in the Amazon rainforest, fits right into its lineup. But âThe Territoryâ is more than meets the eye, revealing its most profound observations in stages across its running time. The filmâs luscious cinematography captures the sun-dappled island of jungle where the Uru Eu Wau Wau reside, a land slowly being consumed by flames as farmers and other settlers illegally raze the forest for pastures, with few repercussions.</span></p><p class="p1"><span class="s1">While the two opposing groups are given near-equal amounts of screen time, Pritz does not draw a false equivalency between the two; in fact, the longer time is spent with the farmers, the more alarming their gap of understanding toward the Uru Eu Wau Wau becomes. A particularly zealous cattle rancher, whom Pritz repeatedly returns to, describes his settlement as a divine right and bemoans the Indigenous groupâs defense of their territory: âWhy should they be allowed to stay? They do not work the land, they just live in it.â</span></p><p class="p1"><span class="s2"><span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif;
1261 font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;">Pritz heightens the stakes with the story of Neidinha Bandeira, a Brazilian environmental activist who has received death threats because of her work. But itâs only after the Uru Eu Wau Wau choose to trek deeper into their land â a decision brought on by both a violent tragedy and the looming threat of the Covid-19 pandemic â that the film takes on a life of its own. Bitaté, a young leader for his people, works with other Uru Eu Wau Wau members to set up drones and additional cameras to document illegal settlers in their home. (When a journalist requests to send cameramen into the jungle to follow their guerrilla activism, Bitaté responds, âSend us the shot list â weâve got it covered from here.â) Cinematography credit is shared between Pritz and Tangãi Uru Eu Wau Wau.</span><br /></span></p><p class="p2"><span class="s1">To see the villagers take matters into their own hands, capturing proof of the encroachment on their land that the government chooses to ignore, is a special kind of thrill.</span></p> </div> 1262 </div> 1263 </div> 1264 </div> 1265 </div> 1266 </section> 1267 <section class="elementor-section elementor-top-section elementor-element elementor-element-ad0f239 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="ad0f239" data-element_type="section" data-e-type="section"> 1268 <div class="elementor-container elementor-column-gap-default"> 1269 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-b957d35" data-id="b957d35" data-element_type="column" data-e-type="column"> 1270 <div class="elementor-widget-wrap elementor-element-populated"> 1271 <div class="elementor-element elementor-element-db6de19 elementor-widget elementor-widget-heading" data-id="db6de19" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1272 <div class="elementor-widget-container"> 1273 <h2 class="elementor-heading-title elementor-size-default">20 Years Married: How âMy Big Fat Greek Weddingâ Became a Smash Hit</h2> </div> 1274 </div> 1275 <div class="elementor-element elementor-element-6e7b3e1 elementor-widget elementor-widget-text-editor" data-id="6e7b3e1" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1276 <div class="elementor-widget-container"> 1277 <p>By Alison Herman<br /><a href="https://www.theringer.com/movies/2022/4/19/23031256/my-big-fat-greek-wedding-anniversary-nia-vardalos" target="_blank" rel="noopener">Read at theringer.com</a></p> </div> 1278 </div> 1279 </div> 1280 </div> 1281 </div> 1282 </section> 1283 <section class="elementor-section elementor-top-section elementor-element elementor-element-651cb68 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="651cb68" data-element_type="section" data-e-type="section"> 1284 <div class="elementor-container elementor-column-gap-default"> 1285 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-bdf5432" data-id="bdf5432" data-element_type="column" data-e-type="column"> 1286 <div class="elementor-widget-wrap elementor-element-populated"> 1287 <div class="elementor-element elementor-element-c763f63 elementor-widget elementor-widget-image" data-id="c763f63" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1288 <div class="elementor-widget-container"> 1289 <figure class="wp-caption"> 1290 <img loading="lazy" decoding="async" width="728" height="409" src="https://picturehouse.com/wp-content/uploads/2022/04/andrea_martin.png" class="attachment-large size-large wp-image-3505" alt="" srcset="https://picturehouse.com/wp-content/uploads/2022/04/andrea_martin.png 728w, https://picturehouse.com/wp-content/uploads/2022/04/andrea_martin-300x169.png 300w, https://picturehouse.com/wp-content/uploads/2022/04/andrea_martin-500x281.png 500w" sizes="(max-width: 728px) 100vw, 728px" /> <figcaption class="widget-image-caption wp-caption-text">IFC Films</figcaption> 1291 </figure> 1292 </div>
1293 </div> 1294 </div> 1295 </div> 1296 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-24ffa2b" data-id="24ffa2b" data-element_type="column" data-e-type="column"> 1297 <div class="elementor-widget-wrap elementor-element-populated"> 1298 <div class="elementor-element elementor-element-7c46c53 elementor-widget elementor-widget-text-editor" data-id="7c46c53" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1299 <div class="elementor-widget-container"> 1300 <p id="oRZEiD" class="p--has-dropcap drop-letter-o">On the long list of movies that donât get made anymore, the romantic comedy is typically at the top. In technical terms, this isnât strictly true; as the mid-budget film has been driven out of the multiplex to free space for blockbusters and IP, itâs found a foothold on streaming services eager for couch-friendly content. The Netflix rom-com is practically a category unto itself, delivering standbys like <em>Set It Up</em>,<em> To All the Boys Iâve Loved Before</em>,<em> </em>and <em>Always Be My Maybe. </em>This past Valentineâs Day, viewers had their pick between <em>I Want You Back</em>,<em> </em>on Amazon Prime Video, and <em>Marry Me</em>,<em> </em>the Jennifer Lopez vehicle that paired its theatrical run with a day-and-date release on Peacock.</p> 1301<p id="6edpos">But even as the romantic comedy survives, itâs dwindled from its peak. That heyday is typically associated with established celebrities like Julia Roberts or Sandra Bullock and the star vehicles built on their proven appeal. (Today, Bullockâs <em>The Lost City </em>is a charming throwback; in 1998, itâd be just another week at the box office.) Yet the most financially successful rom-com of all timeâthe film that draws the greatest contrast between the genreâs past as a cultural juggernaut and its present as a sweet diversionâdidnât have a single star in its cast. It wasnât produced by a major studio. It never even hit no. 1 at the box office, despite spending five months playing in wide release. At the time, the stupendous success of <em>My Big Fat Greek Wedding </em>was extraordinary. Today, itâs practically unthinkable.</p> 1302Written by and starring then-unknown actress Nia Vardalos, <em>My Big Fat Greek Wedding </em>isnât structured like a typical rom-com, in part because it wasnât conceived as one. The plot may hinge on the nuptials between Toula (Vardalos), a Greek American waitress, and Ian (John Corbett), the mild-mannered teacher she meets at work. But the relationship that truly drives the story is between Toula and her loud, overbearing, tightly knit family. Throughout the movie, Ian and Toula stay on largely solid ground. Itâs Toulaâs ambivalence toward her relatives that changes, helped along by a few squirts of Windex. 1303 1304âThe story was to be told through Ian and Toulaâs eyes, but it was about the familyâthe smothering, ever-suffocating, loving family,â Vardalos tells <em>The Ringer</em>. Because the conflict was largely internal, she felt free to cut down on more conventional, external sources of strife. âI w
1304anted very, very much to not follow the standard romantic comedy formula of âhe cheats on the girl and wins her back,ââ she explains. âI didnât want them to break up, because the only villain in the screenplay was the world against Ian and Toula.â 1305 1306Structural quirks aside, <em>My Big Fat Greek Wedding </em>nonetheless became the high-water mark for the romantic comedy as a commercial force, eventually grossing more than $350 million worldwide on a $5 million budget. The filmâs triumph wasnât entirely commercial; Vardalos received an Academy Award nomination for the screenplay alongside such luminaries as Todd Haynes, Alfonso Cuarón, and eventual winner Pedro Almodóvar. <em>Greek Wedding </em>would ultimately yield a short-lived sitcom on CBS, which fizzled after just seven episodes, and a sequel in 2016, to modest success. (The premiere was sponsored by Windex.) The extended afterlife wasnât what anyone anticipated when <em>My Big Fat Greek Wedding </em>first hit theaters, 20 years ago today. 1307 1308âI never, in a million years, thought the movie was going to do what it did,â says Jonathan Sehring, the former president of <em>Greek Wedding </em>distributor IFC Films. And in 2022, it probably wouldnât. <em>My Big Fat Greek Wedding </em>is, in some ways, a timeless story about culture clash and immigrant solidarity. Its unlikely breakout as a bona fide phenomenon is also the product of a bygone era, one where word of mouth and the luxury of time could help a small, charming comedy beat out <em>The Lord of the Rings: The Two Towers </em>to become Americaâs fifth highest-grossing film of 2002. Itâs a fairy tale romance that became a fairy tale in itself. 1309<p id="An7t0a" class="p--has-dropcap drop-letter-m">Most accounts of <em>My Big Fat Greek Wedding </em>start with the one-woman show of the same name Vardalos staged in Los Angeles. But that origin story reverses the true order of events. The script for <em>My Big Fat Greek Wedding </em>isnât based on the stage show; the show itself was adapted from a script Vardalos wrote after she was fired by her then-agent. âShe said, âIâve been sending you out like crazy. But the problem isâwhat are you, anyway?â And I said, âIâm Greek,ââ Vardalos recalls. âShe said, âWell, thatâs the problem. Youâre not a visible minority ⦠and there arenât any Greek roles.ââ</p> 1310At the time, Vardalosâa Canadian expat whoâd spent time performing with Chicagoâs Second Cityâhad been scraping by on voice-over work and occasional bit parts on shows like <em>Boy Meets World </em>and <em>Curb Your Enthusiasm. </em>In the absence of explicitly Greek stories, Vardalos strung together some of her own, borrowing a friendâs computer with Final Draft pre-installed and channeling the anecdotes sheâd been telling at parties for years. Some of the details were changed: Two sisters were consolidated into one; the fictional family ran a restaurant; the setting switched from Winnipeg to Chicago. But some of the most memorable details from the movie are entirely true to life. Itâs hard to make up a story as vivid as Aunt Voulaâs lump that turned out to be her twin, though comic legend Andrea Martin puts her own stamp on the delivery.</p> 1311<p id="czDl1T">Once Vardalos had the screenplay, she had to convince Hollywoodâs gatekeepers it was worth producing. (Her manager at the time took three months to even read the script, Vardalos says.) Itâs here where the one-woman show comes in. Vardalos rented out a 99-seat theater, hired a stage manager she knew from her Second City days, and promoted the show by handing out flyers at local Greek Orthodox churches. Looking to expand the audience, she scraped together $500 for a one-time-only ad in the <em>Los Angeles Times. </em>It happened to find exactly the right audience.</p> 1312<p id="NdBiBb">Rita Wilson, the actress and singer, is one of the most notable Greek Americans to break out in the entertainment industry. Sheâs also married to Tom Hanks, who had recently started his production outfit Playtoneânamed for the fictional record label in <em>That Thing You Do!â</em>with Gary Goetzman, the former child star who partly inspired the character Gary Valentine in Paul Thomas Andersonâs <em>Licorice Pizza. </em>Wilson had recently caught some live theater in New York and was curious about the offerings on the West Coast. Then she spotted an ad in the <em>
1312L.A. Times </em>that seemed right up her alley<em>.</em></p> 1313 1314<div class="m-ad m-ad__dynamic_ad_unit m-ad__desktop_feature_body" data-concert-ads-name="desktop_feature_body_dynamic"> 1315<div id="div-gpt-ad-desktop_feature_body_dynamic_1" class="dynamic-js-slot"> 1316<div id="google_ads_iframe_/172968584,22712020492/ringer/theringer.com/movies_5__container__"></div> 1317</div> 1318</div> 1319<p id="HqfX6y">Based on Wilsonâs raves, Hanks and Goetzman went to see Vardalosâs work for themselves and jumped at the chance to expand Playtoneâs film slate beyond Hanksâs own starring roles. (The companyâs first credited feature was 2000âs <em>Cast Away.</em>) Vardalos had other suitors prior to Playtone, but most wanted her to relinquish the lead role and change the characters to fit into a more recognizable immigrant community, like making the Portokalos clan a Hispanic family. âI was like, âListen ⦠J.Lo would be amazing. I will write something else for her. However, this is a Greek family,ââ Vardalos recalls. Only Playtone had no problem with Vardalos channeling her firsthand experienceâor casting herself as Toula.</p> 1320<p id="is5nYB">âI never thought, âOh, my God, theyâre going to replace me with Julia Robertsâ in that meeting,â Vardalos says of her first formal sit-down with the Playtone crew. âBut for every second <em>outside</em> that meeting, thatâs what I thought.â Vardalosâs contract had a standard provision that said she could be replaced within the first three days of filming in case of gross incompetence. On day four, she shot a scene when Toula cries while trying to convince her father to let her go to night school downtown. Freshly secure in her dream job, Vardalos shed real tears.</p> 1321<p id="693ekP">At the time, Hanks had a years-long relationship with the premium cable channel HBO, collaborating on acclaimed miniseries like <em>Band of Brothers </em>and <em>From the Earth to the Moon, </em>the 1998 space drama that Hanks led as a producer and director. To secure financing, Hanks and Goetzman turned to the actorâs serial patron. HBO wouldnât typically contribute to movies it wasnât airing itself. (âWe didnât do that shit,â executive Chris Albrecht memorably told journalist James Andrew Miller for Millerâs oral history of the network.) But Hanks was a special enough case for HBO to make an exception, ultimately underwriting about half of <em>My Big Fat Greek Wedding</em>âs budget.</p> 1322<p id="rT4cDW">Playtoneâs other major producing partner would be Gold Circle Films, whose president Paul Brooks still calls Vardalosâs screenplay âone of the best scripts Iâve ever read.â IFCâs Sehring credits Brooks with pushing for <em>My Big Fat Greek Wedding </em>as a true theatrical experience, though Brooks says now it was a no-brainer: âWe viewed it as a film that if we got lucky with it, could just reach families everywhere,â he says. As niche as a comedy hinged on Greek American in-jokes may seem, plenty of viewers can relate to the idea of an overbearing parent or the awkwardness of assimilation. âWe thought it was just so relatable. Everybody, no matter where they come from, no matter what part of the world, sees themselves, and their families, in this movie.â <em>My Big Fat Greek Wedding </em>even opens with a textbook âlunch box moment,â a trope now so established itâs inspired entire critical essays<a href="https://www.eater.com/22239499/lunchbox-moment-pop-culture-tropes">.</a> Just swap in moussaka for the traditional food of your choice.</p> 1323<p id="IMg6xS">âThe joke is that Nia wrote <em>My Big Fat Greek Wedding</em> and I directed <em>Fiddler on the Roof</em>,â says director Joel Zwick. âBecause thatâs how I perceived it. I saw my family.â Zwick had largely worked in television prior to <em>Greek Wedding, </em>including the sitcom <em>Bosom Buddies, </em>Hanksâs breakout role opposite the late Peter Scolari. When Hanks sent him the script, Zwick found himself nodding along. âEven though it was about Greeks, it wasnât very far from the Jewish people,â Zwick recalls. âI mean, my father didnât do Windex, but [he] had this insane thing that everybody who was famous was Jewishââjust like Toulaâs dad insists every word, including âkimono,â comes from Greek. By being specific, <em>My Big Fat Greek Wedding </em>ended up universal.</p> 1324It’s one thing to make a good movie, and quite another to get people to see it. Were <em>My Big Fat Greek Wedding </em>made today, itâs easy to imagine it topping Netflixâs Top 10 for a week before the content churn gives way to some new flash in the pan. Itâs less easy to see how it could go toe-to-toe with <em>Star Wars </em>or the MCUâthough as it turns out, part of the distribution strategy was making sure the movie <em>didnât </em>directly compete with behemoths like the Tobey Maguire <em>Spider-Man, </em>which premiered just weeks after <em>Greek Wedding </em>first hit theaters.</p> 1325<p id="uZcgpF">The first time Bob Berney saw <em>My Big Fat Greek Wedding, </em>he watched a woman literally fall out of her seat laughing and break her hip. The screening had to pause so she could get medical attention, but IFCâs thenâhead of distribution had seen enough. âWe decided to start small and try to recreate that full house atmosphere in every way we could,â Berney says now. Most comedies may not feature explosions or stunts, but they can benefit just as much from the theatrical experience as any blockbusterânot that youâd know that from how few get
1325 brick-and-mortar releases these days.</p> 1326<p id="15OVjv">At first, <em>My Big Fat Greek Wedding </em>was marketed like a supersized version of the one-woman show, with screenings held at Greek Orthodox churches and booths rented at Greek cultural fairs. The limited release focused on cities like Chicago with major Greek populations, and expanded gradually, to make sure showings were packed enough to achieve the communal, contagious laughter that first sold Berney on the project (minus the personal injury, of course). Most importantly, Playtone, Gold Circle, and IFC never let the movie get <em>too </em>big, keeping theaters packed and the scale modest. <em>My Big Fat Greek Wedding </em>eventually did big-budget numbers, but it was never truly competing for screens with epic studio fare.</p> 1327<p id="Tk94QH">âWe all together made a conscious decision to keep it special, keep it limited, keep it sold out,â Berney explains. âLike, letâs not cave to the pressure of the exhibitors, or even ourselves, to get ahead of the skis just because itâs doing well. We always felt like if we expanded, it may have done well, but it could have just easily fallen off before it became so widely known.â <em>My Big Fat Greek Wedding </em>stayed on around 1,000 screensânot 1,500, or 2,000, or 3,000âfor most of its run, which Berney considers crucial to its success. (By comparison, Warner Bros.â latest franchise tentpole <em>Fantastic Beasts: The Secrets of Dumbledore </em>just opened at more than 4,000 theaters nationwide.) The scarcity strategy worked; at one point, Sehring recalls, a staffer had to record a voicemail message for frantic theater owners explaining that IFC had no more prints on hand and to call back the next week.</p> 1328<p id="N66ZN7">As a result, <em>Greek Wedding </em>didnât explode and fade away. It kept going, and going, and going, past anyoneâs expectations for how long the frenzy would last. âOn July 4 weekend, it crossed $20 million, and I was like, âWeâre done. Okay, thatâs it.ââ Vardalos says. Sehring assumed the cutoff would be when the film was sold to the airlines, when the domestic box office total was already at a stupendous $100 million. Who would go see a movie in a theater when you could watch it at 10,000 feet? But <em>Greek Wedding </em>was still less than halfway to its eventual haul. At first, the audience skewed older, a demographic that isnât prioritized by todayâs young-oriented event movies. Only gradually did <em>Greek Wedding </em>break into the zeitgeistâthough once it did, it stayed there for months.</p> 1329 1330<div class="m-ad m-ad__dynamic_ad_unit m-ad__desktop_feature_body" data-concert-ads-name="desktop_feature_body_dynamic"> 1331<div id="div-gpt-ad-desktop_feature_body_dynamic_3" class="dynamic-js-slot"> 1332<div id="google_ads_iframe_/172968584,22712020492/ringer/theringer.com/movies_7__container__"></div> 1333</div> 1334</div> 1335<p id="P7IYee">Everyone involved with the film<em> </em>had a different âahaâ moment when they realized how big the craze had gotten, or would become. For Vardalos, it was when Eugene LevyâMartinâs former costar from <em>SCTV</em>âgave her a co-sign after a preview at Montréalâs Just for Laughs. For Berney, it was when actor Michael Constantine, who died last year, threw the opening pitch at a Mets game and unveiled a bottle of Windex to thunderous applause. For Sehring, it was when he saw the movie on a plane and could feel the cabin physically shaking with laughter. Regardless of when it sunk in, the sheer scope still surprises, as does the longevity. During the pandemic lockdowns, Berney caught a drive-in screening on the roof of a parking garage. The jokes still landed, even in a car.</p> 1336<p id="NxoQyi">Sehring understands why most producers wouldnât gamble on a theatrical release for a movie like <em>Greek Wedding </em>today, considering the viable alternatives. âIf youâre a producer and somebody is covering your costs plus 20 percent, plus 50 percentâhey, thatâs better odds than saying, âIâm going to take this movie out theatrically,ââ he acknowledges. âThatâs why the streaming model looks so attractive.â But heâs still a believer in the theatrical experience, which is why he recently helped work on the rollout of <em>Drive My Car. </em>Ryusuke Hamaguchiâs three-hour drama is a very different movie from <em>My Big Fat Greek Wedding, </em>but both help challenge the idea of what a rewarding theater experience can be.</p>
1337Berney, who currently runs the entertainment company Picturehouse after a stint at Amazon, doubts the current landscape could support a slow burn like <em>Greek Wedding</em>âs. âEven with the traditional theatrical windows, itâs become blockbuster after blockbuster after blockbuster,â he says. âIf anything, movies are just going to come in and out quicker than ever as the windows shorten and movies go to either (video on demand) or streaming faster than they ever did.â Companies with their own in-house streaming services to promote, like Disney and WarnerMedia, seized on the pandemic to shorten the window between a movieâs premiere and when itâs available at home. (After controversial, audacious experiments like WarnerMedia releasing its entire 2021 slate day-and-date on HBO Max, standard practice seems to be settling around 45 days, just half of the once-conventional 90-day window.) Meanwhile, what does get released in theaters is increasingly judged on its first weekend or two of returns, an instant gratification thatâs the opposite of what made <em>Greek Wedding </em>such a smash. 1338<p id="R0n0DJ" class="c-end-para">Regardless of whether there will be more hits like <em>My Big Fat Greek Wedding </em>to come, the original still endures. Vardalos is well aware itâs still her calling card, even as sheâs moved onto other projects. Sheâs currently working on a comedy serial for Audible about motivational speakers in Rochester, New York, though she still hopes to round <em>Greek Wedding </em>out into a trilogy. âI know a lot of people say, âIâm not that person,â or âI want to do other things,ââ Vardalos says. âBut I <em>am</em> that person. I am Toula. Iâm totally okay with it.â Itâs a cliché to urge your audience to be themselves. But like all the best rom-coms, <em>My Big Fat Greek Wedding </em>embraces clichés fiercely enough to give them new life.</p> </div> 1339 </div> 1340 </div> 1341 </div> 1342 </div> 1343 </section> 1344 <section class="elementor-section elementor-top-section elementor-element elementor-element-d4eae1f elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="d4eae1f" data-element_type="section" data-e-type="section" id="deadlinesftb"> 1345 <div class="elementor-container elementor-column-gap-default"> 1346 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-72d78d8" data-id="72d78d8" data-element_type="column" data-e-type="column"> 1347 <div class="elementor-widget-wrap elementor-element-populated"> 1348 <div class="elementor-element elementor-element-5e9ef31 elementor-widget elementor-widget-heading" data-id="5e9ef31" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1349 <div class="elementor-widget-container"> 1350 <h2 class="elementor-heading-title elementor-size-default">Arashi Pre-Hiatus Final Concert Film RECORD OF MEMORIES To Hit AMC Theatres For One Night Only From Picturehouse</h2> </div> 1351 </div> 1352 <div class="elementor-element elementor-element-d132a1d elementor-widget elementor-widget-text-editor" data-id="d132a1d" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1353 <div class="elementor-widget-container"> 1354 <p>By <a href="https://deadline.com/author/adalessandro/">Anthony D’Alessandro</a><br /><a href="https://deadline.com/2022/02/arashi-record-of-memories-hiatus-concert-film-amc-theatres-1234958567/" target="_blank" rel="noopener">Read at deadline.com</a></p> </div> 1355 </div> 1356 </div> 1357 </div> 1358 </div> 1359 </section> 1360 <section class="elementor-section elementor-top-section elementor-element elementor-element-0e5f5f8 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="0e5f5f8" data-element_type="section" data-e-type="section"> 1361 <div class="elementor-container elementor-column-gap-default"> 1362 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-cc50678" data-id="cc50678" data-element_type="column" data-e-type="column"> 1363 <div class="elementor-widget-wrap elementor-element-populated"> 1364 <div class="elementor-element elementor-element-1331b3a elementor-widget elementor-widget-image" data-id="1331b3a" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1365 <div class="elementor-widget-container"> 1366 <figure class="wp-caption"> 1367 <img loading="lazy" decoding="async" width="681" height="383" src="https://picturehouse.com/wp-content/uploads/2022/02/arashi-e1645628826324.png" class="attachment-large size-large wp-image-3366" alt="" srcset="https://picturehouse.com/wp-content/uploads/2022/02/arashi-e1645628826324.png 681w, https://picturehouse.com/wp-content/uploads/2022/02/arashi-e1645628826324-300x169.png 300w, https://picturehouse.com/wp-content/uploads/2022/02/arashi-e1645628826324-500x281.png 500w" sizes="(max-width: 681px) 100v
1367w, 681px" /> <figcaption class="widget-image-caption wp-caption-text">Picturehouse</figcaption> 1368 </figure> 1369 </div> 1370 </div> 1371 </div> 1372 </div> 1373 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-0b0daba" data-id="0b0daba" data-element_type="column" data-e-type="column"> 1374 <div class="elementor-widget-wrap elementor-element-populated"> 1375 <div class="elementor-element elementor-element-354b9e5 elementor-widget elementor-widget-text-editor" data-id="354b9e5" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1376 <div class="elementor-widget-container"> 1377 <p>Picturehouse is set to release the pre-hiatus final concert film of the Japanese boyband pop sensation Arashi exclusively in AMC Theatres for one night only on March 22.</p><p>The Arashi Anniversary Tour 5Ã20 Film RECORD OF MEMORIES<i> </i>was released by Shochiku on Nov. 26, 2021, and grossed $39.5M, making it the highest grossing live-action film in Japan in 2021.</p><p>Arashi has consistently been a top performing act since their debut in 1999, and are composed of five members: Masaki Aiba, Jun Matsumoto, Kazunari Ninomiya, Satoshi Ohno and Sho Sakurai. In 2019, their compilation studio album <i>5Ã20 All the BEST!! 1999-2019</i> was named the best-selling album of the year worldwide, and most of their singles and albums have ranked as top sellers on the Oricon music charts.</p><p>In addition to music, the band are actors with Ninomiya having appeared in Clint Eastwoodâs Oscar-winning film, LETTERS FROM IWO JIMA<i>. </i></p><p><span style="color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;">RECORD OF MEMORIES</span><i> </i>showcases the groupâs 20th anniversary tour â5Ã20,â which was their last concert in front of a live audience prior to their current hiatus. The film was directed by Yukihiko Tsutsumi <i>(</i>FIRST LOVE, 12 SUICIDAL TEENS) who also made the groupâs debut film PIKAâNCHI in 2002. Tsutsumi used over 100 cameras during the production. The tour itself, attended by 2.37M people, broke records for concert admission in Japan. A documentary about the group called, ARASHI’S<i> </i>DIARY-VOYAGE, following the trajectory of the groupâs members in the two years leading up to their hiatus, is now available on Netflix in 28 languages and 190 countries.</p><p>The theatrical release of RECORD OF MEMORIES is being handled between Picturehouse and GAGA Corporation, the picâs international sales agent.</p> </div> 1378 </div> 1379 </div> 1380 </div> 1381 </div> 1382 </section> 1383 <section class="elementor-section elementor-top-section elementor-element elementor-element-6de7666 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="6de7666" data-element_type="section" data-e-type="section"> 1384 <div class="elementor-container elementor-column-gap-default"> 1385 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-b3908fd" data-id="b3908fd" data-element_type="column" data-e-type="column"> 1386 <div class="elementor-widget-wrap elementor-element-populated"> 1387 <div class="elementor-element elementor-element-78d8413 elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="78d8413" data-element_type="widget" data-e-type="widget" data-widget_type="divider.default"> 1388 <div class="elementor-widget-container"> 1389 <div class="elementor-divider"> 1390 <span class="elementor-divider-separator"> 1391 </span> 1392 </div> 1393 </div> 1394 </div> 1395 </div> 1396 </div> 1397 </div> 1398 </section> 1399 <section class="elementor-section elementor-top-section elementor-element elementor-element-ef81cca elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="ef81cca" data-element_type="section" data-e-type="section"> 1400 <div class="elementor-container elementor-column-gap-default"> 1401 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-d3e60db" data-id="d3e60db" data-element_type="column" data-e-type="column"> 1402 <div class="elementor-widget-wrap elementor-element-populated"> 1403 <div class="elementor-element elementor-element-5642d2d elementor-widget elementor-widget-heading" data-id="5642d2d" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1404 <div class="elementor-widget-container"> 1405 <h2 class="elementor-heading-title elementor-size-default">Ed Harris & Amy Madigan To Star In SCHOOL FOR THE BLIND At Picturehouse</h2> </div>
1406 </div> 1407 <div class="elementor-element elementor-element-77d9f7e elementor-widget elementor-widget-text-editor" data-id="77d9f7e" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1408 <div class="elementor-widget-container"> 1409 <p>By <a href="https://deadline.com/author/adalessandro/">Anthony D’Alessandro</a><br /><a href="https://deadline.com/2021/10/ed-harris-amy-madigan-school-for-the-blind-picturehouse-1234849380/" target="_blank" rel="noopener">Read at deadline.com</a></p> </div> 1410 </div> 1411 </div> 1412 </div> 1413 </div> 1414 </section> 1415 <section class="elementor-section elementor-top-section elementor-element elementor-element-4facda9 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="4facda9" data-element_type="section" data-e-type="section"> 1416 <div class="elementor-container elementor-column-gap-default"> 1417 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-00419a7" data-id="00419a7" data-element_type="column" data-e-type="column"> 1418 <div class="elementor-widget-wrap elementor-element-populated"> 1419 <div class="elementor-element elementor-element-8420e39 elementor-widget elementor-widget-image" data-id="8420e39" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1420 <div class="elementor-widget-container"> 1421 <figure class="wp-caption"> 1422 <img loading="lazy" decoding="async" width="681" height="383" src="https://picturehouse.com/wp-content/uploads/2021/11/Ed-Harris-Amy-Madigan.webp" class="attachment-large size-large wp-image-1467" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/11/Ed-Harris-Amy-Madigan.webp 681w, https://picturehouse.com/wp-content/uploads/2021/11/Ed-Harris-Amy-Madigan-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2021/11/Ed-Harris-Amy-Madigan-500x281.webp 500w" sizes="(max-width: 681px) 100vw, 681px" /> <figcaption class="widget-image-caption wp-caption-text">Ed Harris, Amy Madigan<br />AP</figcaption> 1423 </figure> 1424 </div> 1425 </div> 1426 </div> 1427 </div> 1428 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-f8bfd6f" data-id="f8bfd6f" data-element_type="column" data-e-type="column"> 1429 <div class="elementor-widget-wrap elementor-element-populated"> 1430 <div class="elementor-element elementor-element-afd61fa elementor-widget elementor-widget-text-editor" data-id="afd61fa" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1431 <div class="elementor-widget-container"> 1432 <p>Husband and wife Ed Harris and Amy Madigan will star in SCHOOL FOR THE BLIND, a $4.5 million budgeted indie that will be produced by Picturehouse, John Boccardoâs Blind Faith Productions and Neil Koenigsberg. Lou Howe is directing from his adaptation of Dennis McFarlandâs critically acclaimed 1995 novel.</p> 1433<p>Harris and Madigan have previously starred together in several features including GONE BABY GONE, PLACES IN THE HEART, ALAMO BAY, THE LAST FULL MEASURE, THE RULES DON’T APPLY, SWEETWATER, RIDERS OF THE PURPLE SAGA<em> </em>to name a few including the Harris-directed Oscar winning POLLOCK. Harris earned an Oscar nom for playing artist Jackson Pollock and Madigan co-starred as Peggy Guggenheim. The two are also starring in Harrisâ THE PLOUGHMAN<em> </em>which heâs also directing and in pre-production on. Both Harris and Madigan have co-starred in theatre productions such as the world premiere of Beth Henleyâs “The Jacksonian” in Los Angeles and New York; in the revival of Sam Shepardâs Pulitzer winner “Buried Child”
1433in New York and London; and most recently, in the world premiere of David Rabeâs newest play “Good for Otto” in New York.</p> 1434<p>In SCHOOL FOR THE BLIND, Harris and Madigan play siblings with a dark past riddled with unresolved family issues. Harris is a world-weary war correspondent who returns to the small town of his youth to reunite with his sister, a librarian at the local school for blind children. Together they confront these issues as they strive to solve the cold case murder of a blind student who disappeared years before.</p> 1435<p>âIt will be wonderful to see the magic Amy and Ed will bring to SCHOOL FOR THE BLIND,â Bob Berney, CEO of Picturehouse tells <i>Deadline</i>. âItâs a terrific gift for Lou to have these two actors portraying an estranged brother and sister in this exciting new drama.â</p> 1436<p>Come December, Harris will be seen co-starring in Maggie Gyllenhaalâs THE LOST DAUGHTER, which is winning rave reviews from its Venice and Telluride premieres. He is currently filming the fourth season of HBOâs “Westworld” in addition to prep on THE PLOUGHMEN, which also stars Robert Duvall. Madigan will next be seen in Scott Cooperâs thriller ANTLERS.</p> 1437<p>SCHOOL FOR THE BLIND will be Howeâs second feature film. The Harvard and AFI graduate wrote and directed the well-received GABRIEL, which earned its star Rory Culkin a Gotham Award nomination, as well as an Annenberg Fellowship from the Sundance Institute for Howe.</p> 1438<div id="adm-inline-article-ad-2" class="admz"> 1439<div class="adma boomerang" data-device="Desktop" data-width="1"> 1440<div class="pmc-adm-boomerang-pub-div ad-text"> 1441<div id="gpt-dl-mid-article-inject2-uid1" class="adw-1 adh-1" data-is-adhesion-ad="" data-google-query-id="CMGt4qan7vQCFUOhAAAdjzsHyw"> 1442<p>Koenigsberg, a founder of PMK PR and also a talent manager, was a producer on films A WALK ON THE MOON, AMERICAN HEART, THE GIVER and TAB HUNTER CONFIDENTIAL. He originally optioned the novel and brought it to the attention of Berney and Boccardo.</p> 1443<p>Boccardo produced the recent documentary THE FABULOUS ALLAN CARR and was executive producer of WON’T YOU BE MY NEIGHBOR?<em>.</em></p> 1444<p>CAA Media Finance will arrange for the filmâs financing and will rep the picâs distribution rights.</p> 1445<p>Picturehouse is a Los Angeles based film marketing and distribution company led by CEO Bob Berney and COO Jeanne R. Berney. The company acquires, markets and distributes global content across all platforms. Originally formed in 2005 as a joint venture between Time Warnerâs HBO Films and New Line Cinema, the Picturehouse brand has a long history of storied excellence.</p> 1446</div> 1447</div> 1448</div> 1449</div> </div> 1450 </div> 1451 </div> 1452 </div> 1453 </div> 1454 </section> 1455 <section class="elementor-section elementor-top-section elementor-element elementor-element-70ccec0 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="70ccec0" data-element_type="section" data-e-type="section" id="hpcousteau"> 1456 <div class="elementor-container elementor-column-gap-default"> 1457 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-cd7f54d" data-id="cd7f54d" data-element_type="column" data-e-type="column"> 1458 <div class="elementor-widget-wrap elementor-element-populated"> 1459 <div class="elementor-element elementor-element-b6691f7 elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="b6691f7" data-element_type="widget" data-e-type="widget" data-widget_type="divider.default"> 1460 <div class="elementor-widget-container"> 1461 <div class="elementor-divider"> 1462 <span class="elementor-divider-separator"> 1463 </span> 1464 </div> 1465 </div> 1466 </div> 1467 <div class="elementor-element elementor-element-442c294 elementor-widget elementor-widget-heading" data-id="442c294" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1468 <div class="elementor-widget-container"> 1469 <h2 class="elementor-heading-title elementor-size-default">BECOMING COUSTEAU: Film Review | Telluride 2021</h2> </div>
1470 </div> 1471 <div class="elementor-element elementor-element-c3a571a elementor-widget elementor-widget-text-editor" data-id="c3a571a" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1472 <div class="elementor-widget-container"> 1473 <p>By Frank Scheck<br /><a href="https://www.hollywoodreporter.com/movies/movie-reviews/becoming-cousteau-telluride-2021-1235006013/" target="_blank" rel="noopener">Read at The Hollywood Reporter</a></p> </div> 1474 </div> 1475 </div> 1476 </div> 1477 </div> 1478 </section> 1479 <section class="elementor-section elementor-top-section elementor-element elementor-element-10a627d elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="10a627d" data-element_type="section" data-e-type="section"> 1480 <div class="elementor-container elementor-column-gap-default"> 1481 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-c915fab" data-id="c915fab" data-element_type="column" data-e-type="column"> 1482 <div class="elementor-widget-wrap elementor-element-populated"> 1483 <div class="elementor-element elementor-element-a60d62f elementor-widget elementor-widget-image" data-id="a60d62f" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1484 <div class="elementor-widget-container"> 1485 <figure class="wp-caption"> 1486 <img loading="lazy" decoding="async" width="800" height="400" src="https://picturehouse.com/wp-content/uploads/2021/12/becoming_cousteau_01-1024x512.jpeg" class="attachment-large size-large wp-image-1601" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/12/becoming_cousteau_01-1024x512.jpeg 1024w, https://picturehouse.com/wp-content/uploads/2021/12/becoming_cousteau_01-300x150.jpeg 300w, https://picturehouse.com/wp-content/uploads/2021/12/becoming_cousteau_01-768x384.jpeg 768w, https://picturehouse.com/wp-content/uploads/2021/12/becoming_cousteau_01-500x250.jpeg 500w, https://picturehouse.com/wp-content/uploads/2021/12/becoming_cousteau_01.jpeg 1200w" sizes="(max-width: 800px) 100vw, 800px" /> <figcaption class="widget-image-caption wp-caption-text">Jacques Cousteau<br />National Geographic</figcaption> 1487 </figure> 1488 </div> 1489 </div> 1490 </div> 1491 </div> 1492 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-8361efd" data-id="8361efd" data-element_type="column" data-e-type="column"> 1493 <div class="elementor-widget-wrap elementor-element-populated"> 1494 <div class="elementor-element elementor-element-80ecdd4 elementor-widget elementor-widget-text-editor" data-id="80ecdd4" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1495 <div class="elementor-widget-container"> 1496 <p>In the opening minutes of Liz Garbusâ new documentary, famed explorer and filmmaker Jacques-Yves Cousteau is shown talking to a group of young children. As he patiently answers their questions about his work and life under the ocean, they gaze at him in rapt wonder. Filmgoers, especially those of a certain age who grew up devouring his iconic television series “The Undersea World of Jacques Cousteau”, will feel exactly the same way while watching BECOMING COUSTEAU, receiving its world premiere at the Telluride Film Festival.</p> 1497<p>Although his reputation has somewhat faded with time, itâs hard to overstate how revolutionary Cousteauâs film and television work was. Nowadays, you canât channel surf for more than two minutes without encountering a beautifully photographed nature documentary. In 1956, however, when his Oscar- and Palme dâOr-winning feature doc THE SILENT WORLD (co-directed by Louis Malle) became an unlikely commercial hit, there were very few films utilizing underwater photography.</p> 1498<p> Garbusâ documentary takes a deep dive (apologies for the pun) into Cousteauâs life and career, using copious amounts of archival video and audio footage, as well as excerpts from diary entries read by actor Vincent Cassel, to deliver an immersive, intimate biographical portrait. While clearly laudatory in detailing its subjectâs impressive achievements, the film doesnât shy away from addressing some problematic professional and personal aspects, including his early neglect of his parental responsibilities.</p> 1499<p>As a young man, Cousteau aspired to becoming a French Navy pilot, but his life changed when he was involved in a serious car accident at age 26 that left him with severe injuries. When he began swimming to help himself recuperate, he became fascinated by free diving and spearfishing. âIt seemed like the act of a mythical demigod,â he says of the latter.</p> 1500<p>âI became an inventor by necessity,â Cousteau says. He created a waterproof housing for movie cameras so he could film underwater and co-invented a revolutionary breathing apparatus, the Aqua-Lung, in order to dive deeper and longer. In 1951, he converted a former British minesweeping boat into a research vessel dubbed Calypso, which became iconic via his films and television series, and inspired John Denverâs 1975 hit song.</p> 1501<p>Along the way he married Simone Melchior, who loved the sea as much as he did. Nicknamed âThe Shepherdess,â she oversaw operations aboard the Calypso even while avoiding the media spotlight.</p> 1502<p>Cousteau disdained the term âdocumentaryâ for his cinematic efforts, referring to them instead as adventure films. Television producer David Wolper recognized the potential of his work, resulting in the hit television series “The Undersea World of Jacques Cousteau”, which ran on ABC from 1968 to 1976. When Cousteau began emphasizing environmental themes in a largely downbeat manner, the ratings suffered and the show was dropped, although he created a second series for PBS that ran for several more years.</p> 1503<p>The documentary chronicles Cousteauâs evolution from prospecting for petrochemical companies to finance his expeditions to becoming a staunch environmentalist, creating the Cousteau Society to spotlight the fragility of underwater ecosystems. He spearheaded efforts to protect Antarctica and was involved in the creation of the first Earth Summit, held in 1992. Heâs shown posing for the eventâs official photo, chatting and laughing alongside dozens of world leaders.</p> 1504<p>Garbus doesnât shy away from dealing with Cousteauâs sometimes messy personal life. His obsessive dedication to his work kept him away from sons Philippe and Jean-Michel for long periods when they were young. Philippe later became instrumental in his fatherâs career but died in a plane crash when he was only 38. A severely depressed Cousteau declared, âIâm going to work to the bitter end. Thatâs my punishment.â Simone died of cancer in 1990, and six months later he married the much younger Francine Triplet, with whom he already had two children.</p> 1505<p>BECOMING COUSTEAU succeeds beautifully in its goal of reminding viewers of Jacques Cousteauâs important legacy of underwater exploration and environmental activism. Consistently engrossing as well as informative, the film delivers a richly humanistic portrait of a complex, indefatigable figure who introduced multiple awestruck generations to the wonders beneath the sea.</p> </div>
1506 </div> 1507 </div> 1508 </div> 1509 </div> 1510 </section> 1511 <section class="elementor-section elementor-top-section elementor-element elementor-element-4ed54cb elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="4ed54cb" data-element_type="section" data-e-type="section" id="deadlinecousteau"> 1512 <div class="elementor-container elementor-column-gap-default"> 1513 <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-433abfc" data-id="433abfc" data-element_type="column" data-e-type="column"> 1514 <div class="elementor-widget-wrap elementor-element-populated"> 1515 <div class="elementor-element elementor-element-e9b8edc elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="e9b8edc" data-element_type="widget" data-e-type="widget" data-widget_type="divider.default"> 1516 <div class="elementor-widget-container"> 1517 <div class="elementor-divider"> 1518 <span class="elementor-divider-separator"> 1519 </span> 1520 </div> 1521 </div> 1522 </div> 1523 <div class="elementor-element elementor-element-ee42888 elementor-widget elementor-widget-heading" data-id="ee42888" data-element_type="widget" data-e-type="widget" data-widget_type="heading.default"> 1524 <div class="elementor-widget-container"> 1525 <h2 class="elementor-heading-title elementor-size-default">BECOMING COUSTEAU: Film Review | Telluride 2021</h2> </div> 1526 </div> 1527 <div class="elementor-element elementor-element-ea7941d elementor-widget elementor-widget-text-editor" data-id="ea7941d" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1528 <div class="elementor-widget-container"> 1529 <p>By Todd McCarthy<br /><a href="https://deadline.com/2021/09/becoming-cousteau-movie-review-nat-geo-liz-garbus-1234827034/" target="_blank" rel="noopener">Read at deadline.com</a></p> </div> 1530 </div> 1531 </div> 1532 </div> 1533 </div> 1534 </section> 1535 <section class="elementor-section elementor-top-section elementor-element elementor-element-af05cec elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="af05cec" data-element_type="section" data-e-type="section"> 1536 <div class="elementor-container elementor-column-gap-default"> 1537 <div class="elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-c26327d" data-id="c26327d" data-element_type="column" data-e-type="column"> 1538 <div class="elementor-widget-wrap elementor-element-populated"> 1539 <div class="elementor-element elementor-element-591b5c6 elementor-widget elementor-widget-image" data-id="591b5c6" data-element_type="widget" data-e-type="widget" data-widget_type="image.default"> 1540 <div class="elementor-widget-container"> 1541 <figure class="wp-caption"> 1542 <img loading="lazy" decoding="async" width="681" height="383" src="https://picturehouse.com/wp-content/uploads/2021/11/Becoming-Cousteau.webp" class="attachment-large size-large wp-image-1485" alt="" srcset="https://picturehouse.com/wp-content/uploads/2021/11/Becoming-Cousteau.webp 681w, https://picturehouse.com/wp-content/uploads/2021/11/Becoming-Cousteau-300x169.webp 300w, https://picturehouse.com/wp-content/uploads/2021/11/Becoming-Cousteau-500x281.webp 500w" sizes="(max-width: 681px) 100vw, 681px" /> <figcaption class="widget-image-caption wp-caption-text">Jacques Cousteau<br />National Geographic</figcaption> 1543 </figure> 1544 </div> 1545 </div> 1546 </div> 1547 </div> 1548 <div class="elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-dce7e68" data-id="dce7e68" data-element_type="column" data-e-type="column"> 1549 <div class="elementor-widget-wrap elementor-element-populated"> 1550 <div class="elementor-element elementor-element-9cafdc3 elementor-widget elementor-widget-text-editor" data-id="9cafdc3" data-element_type="widget" data-e-type="widget" data-widget_type="text-editor.default"> 1551 <div class="elementor-widget-container"> 1552 <p>The multiple generations who grew up mesmerized by the underwater cinematic adventures of Jacques-Yves Cousteau will be able to learn a good deal more about the manâs life and work in BECOMING COUSTEAU. Among the many gifts of Liz Garbusâ filled-to-the-gills documentary is the way it positions the French explorer as an initially unwitting pioneer of the environmentalist movement, which took shape in his literal wake. This National Geographic Films production, set to bow in October after its Telluride Film Festival premiere, will add much to older audiencesâ appreciation of the manâs achievements, while younger viewers will learn how he changed perceptions of the sea beneath in profou
1552nd ways.</p> 1553<p>Kids who grew up watching Lloyd Bridges in “Sea Hunt” on television in the late â50s and early â60s had no idea that swimming with the fishes for prolonged periods unattached to long oxygen tubes was unheard of in their parentsâ generation. The first of many surprises in this account of the French seafaring explorerâs life is that Cousteau himself co-invented the Aqua-Lung, a wearable air tank that allowed for prolonged deep dives unconnected to tubes from the surface. It went on the market in 1946.</p> 1554<p>It was only by accident that the young Frenchman ended up in the water in the first place. After joining the French navy in 1935, Lt. Cousteau broke 12 bones in an accident and found that frequent swimming sped his recovery. Two others then joined him in some pioneering underwater photography, and the desire to go ever-deeper led Cousteau to âbecome an inventor by necessity.â</p> 1555<p>The âThree Diving Musketeersâ developed air tanks that allowed them to go down an unheard-of 60 meters without a suit, but then one of them died at 120 meters. Lead-souled shoes enabled the explorers to stay down on the sea floor, and for several years diving provided something of a respite from the war raging above and around them.</p> 1556<p>An amateur cinematographer from his early teens, Cousteau kept developing new ways to photograph underwater and, in 1951, with the assistance of charitable contributions and volunteers, he was able to purchase a boat, the Calypso, which for years served as his home base.</p> 1557<p>Early on he engaged Louis Malle as a camera operator, which led to a collaboration that produced LE MONDE DU SILENCE (THE SILENT WORLD), the first documentary to win the Palme dâOr at the Cannes Film Festival, in 1956. It subsequently copped an Oscar and was a big hit internationally.</p> 1558<p>There were some initial missteps about which Cousteau was ashamed, notably the killing of some sea creatures for his film and collaborations with oil companies to find deposits under the ocean floor. But by the 1960s deep underwater exploration was seen as a parallel event to the manned journeys into outer space, another new frontier. Cousteau became a household name thanks to the David Wolperâs ABC series “The Undersea World”, which was on ABC for 10 years beginning in 1967. Overall, Cousteauâs shows, consisting of 550 hours of archival material, scored 40 Emmy nominations and 10 wins.</p> 1559<p>Given how Cousteau himself was photographing his activities from the very beginning, Garbus had an embarrassment of riches to draw upon, and there are moments when it feels like panic is nearly creeping in as she endeavors to jam in tidbits about her subjectâs personal life (two wives, long absences, the death of one of his sons, the dissolution of his TV contract) as the man became ever-more famous and busy. âIâm a bad husband and a bad father,â he confesses at one point, and itâs easy to see how the subjectâs nomadic, off-the-grid life was not conducive to anything resembling a coherent family life.</p> 1560<p>It was on one of the Calypsoâs journeys through the Persian Gulf that the Calypsoâs crew discovered oil in Abu Dahbi, from which Cousteau and company were able to benefit. Later, he was a key figure in the first Earth Summit. Publicly, the man was a popularizer, someone who put a hitherto little-regarded aspect of global life firmly on the map. Privately, he became increasingly pessimistic about the environment, sensing the economic interests were prevailing over ecological concerns.</p> 1561<p>BECOMING COUSTEAU will well serve as a reminder and clarifier for those who remember him from their youth, and an invigorating introduction for those meeting him for the first time. Thereâs a lot more to experience and learn from where this stuff came from.</p> </div> 1562 </div> 1563 </div> 1564 </div> 1565 </div> 1566 </section> 1567 </div> 1568 1569 1570 </div> 1571 1572 1573</main> 1574 1575 <footer data-elementor-type="footer" data-elementor-id="5998" class="elementor elementor-5998 elementor-location-footer" data-elementor-post-type="elementor_library"> 1576 <div class="elementor-element elementor-element-cc3c1a3 e-con-full e-flex e-con e-parent" data-id="cc3c1a3" data-element_type="container" data-e-type="container" data-settings="{"background_background":"classic"}"> 1577 <div class="elementor-element elementor-element-834106e e-flex e-con-boxed e-con e-child" data-id="834106e" data-element_type="container" data-e-type="container"> 1578 <div class="e-con-inner"> 1579 <div class="elementor-element elementor-element-0917cbd elementor-nav-menu__align-end elementor-nav-menu--dropdown-none elementor-widget elementor-widget-nav-menu" data-id="0917cbd" data-element_type="widget" data-e-type="widget" data-settings="{"layout":"vertical","toggle_icon_hover_animation":"grow","submenu_icon":{"value":"<svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fas-caret-down\"
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1683<script id="elementor-frontend-js-before"> 1684var elementorFrontendConfig = {"environmentMode":{"edit":false,"wpPreview":false,"isScriptDebug":false},"i18n":{"shareOnFacebook":"Share on Facebook","shareOnX":"Share on X","pinIt":"Pin it","download":"Download","downloadImage":"Download image","fullscreen":"Fullscreen","zoom":"Zoom","share":"Share","playVideo":"Play Video","previous":"Previous","next":"Next","close":"Close","a11yCarouselPrevSlideMessage":"Previous slide","a11yCarouselNextSlideMessage":"Next slide","a11yCarouselFirstSlideMessage":"This is the first slide","a11yCarouselLastSlideMessage":"This is the last slide","a11yCarouselPaginationBulletMessage":"Go to slide"},"is_rtl":false,"breakpoints":{"xs":0,"sm":480,"md":768,"lg":1025,"xl":1440,"xxl":1600},"responsive":{"breakpoints":{"mobile":{"label":"Mobile Portrait","value":767,"default_value":767,"direction":"max","is_enabled":true},"mobile_extra":{"label":"Mobile Landscape","value":880,"default_value":880,"direction":"max","is_enabled":false},"tablet":{"label":"Tablet Portrait","value":1024,"default_value":1024,"direction":"max","is_enabled":true},"tablet_extra":{"label":"Tablet Landscape","value":1200,"default_value":1200,"direction":"max","is_enabled":false},"laptop":{"label":"Laptop","value":1366,"default_value":1366,"direction":"max","is_enabled":false},"widescreen":{"label":"Widescreen","value":2400,"default_value":2400,"direction":"min","is_enabled":false}},"hasCustomBreakpoints":false},"version":"4.3.3","is_static":false,"experimentalFeatures":{"e_font_icon_svg":true,"container":true,"theme_builder_v2":true,"hello-theme-header-footer":true,"nested-elements":true,"import-export-customization":true,"e_pro_atomic_form":true,"e_pro_collection_loop":true,"mega-menu":true},"urls":{"assets":"https:\/\/picturehouse.com\/wp-content\/plugins\/elementor\/assets\/","ajaxurl":"https:\/\/picturehouse.com\/wp-admin\/admin-ajax.php","uploadUrl":"https:\/\/picturehouse.com\/wp-content\/uploads"},"nonces":{"floatingButtonsClickTracking":"21851e5ad0","atomicFormsSendForm":"7de08c67ed"},"swiperClass":"swiper","settings":{"page":[],"editorPreferences":[]},"kit":{"body_background_background":"classic","active_breakpoints":["viewport_mobile","viewport_tablet"],"global_image_lightbox":"yes","lightbox_enable_counter":"yes","lightbox_enable_fullscreen":"yes","lightbox_enable_zoom":"yes","lightbox_enable_share":"yes","lightbox_title_src":"title","lightbox_description_src":"description","hello_header_logo_type":"logo","hello_header_menu_layout":"horizontal"},"post":{"id":2175,"title":"News%20%E2%80%93%20Picturehouse","excerpt":"","featuredImage":false}}; 1685//# sourceURL=elementor-frontend-js-before 1686</script>
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1686
1687<script id="elementor-frontend-js" src="https://picturehouse.com/wp-content/plugins/elementor/assets/js/frontend.min.js?ver=4.3.3"></script>
vendor: 1 bytes, line 1687
1687
1688<script id="smartmenus-js" src="https://picturehouse.com/wp-content/plugins/elementor-pro/assets/lib/smartmenus/jquery.smartmenus.min.js?ver=1.2.1"></script>
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1688
1689<script id="pa-elements-handler-js" src="https://picturehouse.com/wp-content/plugins/premium-addons-for-elementor/assets/frontend/min-js/elements-handler.min.js?ver=4.11.110"></script>
vendor: 1 bytes, line 1689
1689
1690<script id="wp-hooks-js" src="https://picturehouse.com/wp-includes/js/dist/hooks.min.js?ver=7496969728ca0f95732d"></script>
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1690
1691<script id="wp-i18n-js" src="https://picturehouse.com/wp-includes/js/dist/i18n.min.js?ver=781d11515ad3d91786ec"></script>
vendor: 1 bytes, line 1691
1691
1692<script id="wp-i18n-js-after"> 1693wp.i18n.setLocaleData( { 'text direction\u0004ltr': [ 'ltr' ] } ); 1694//# sourceURL=wp-i18n-js-after 1695</script>
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1695
1696<script id="elementor-pro-frontend-js-before"> 1697var ElementorProFrontendConfig = {"ajaxurl":"https:\/\/picturehouse.com\/wp-admin\/admin-ajax.php","nonce":"8edeb73b9d","urls":{"assets":"https:\/\/picturehouse.com\/wp-content\/plugins\/elementor-pro\/assets\/","rest":"https:\/\/picturehouse.com\/wp-json\/"},"settings":{"lazy_load_background_images":true},"popup":{"hasPopUps":true},"shareButtonsNetworks":{"facebook":{"title":"Facebook","has_counter":true},"twitter":{"title":"Twitter"},"linkedin":{"title":"LinkedIn","has_counter":true},"pinterest":{"title":"Pinterest","has_counter":true},"reddit":{"title":"Reddit","has_counter":true},"vk":{"title":"VK","has_counter":true},"odnoklassniki":{"title":"OK","has_counter":true},"tumblr":{"title":"Tumblr"},"digg":{"title":"Digg"},"skype":{"title":"Skype"},"stumbleupon":{"title":"StumbleUpon","has_counter":true},"mix":{"title":"Mix"},"telegram":{"title":"Telegram"},"pocket":{"title":"Pocket","has_counter":true},"xing":{"title":"XING","has_counter":true},"whatsapp":{"title":"WhatsApp"},"email":{"title":"Email"},"print":{"title":"Print"},"x-twitter":{"title":"X"},"threads":{"title":"Threads"}},"facebook_sdk":{"lang":"en_US","app_id":""},"lottie":{"defaultAnimationUrl":"https:\/\/picturehouse.com\/wp-content\/plugins\/elementor-pro\/modules\/lottie\/assets\/animations\/default.json"}}; 1698//# sourceURL=elementor-pro-frontend-js-before 1699</script>
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1699
1700<script id="elementor-pro-frontend-js" src="https://picturehouse.com/wp-content/plugins/elementor-pro/assets/js/frontend.min.js?ver=4.3.1"></script>
vendor: 1 bytes, line 1700
1700
1701<script id="pro-elements-handlers-js" src="https://picturehouse.com/wp-content/plugins/elementor-pro/assets/js/elements-handlers.min.js?ver=4.3.1"></script>
vendor: 1 bytes, line 1701
1701
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vendor: 1 bytes, line 1704
1704
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Line numbers count LF bytes from the start of the resource, as the search results do. Vendor segments are library code the classifier recognised; they are stored but not indexed. Bytes are shown as Latin1 characters, one per byte.