March 21, 2017

Divide Your Scene Into Two or Three Areas and Optimize the Exposure and White Balance for Each Area with the Sony Digital Filter

The possibilities for the future of sensor technology just became wide open — granted this is an in-camera app for Sony cameras, but it just blew my …
Source: CW’s Flipboard Feed

March 20, 2017

Noah Baumbach and Kenneth Lonergan Want to See Movies They’ve Never Seen Before With You

Noah Baumbach has never seen “Withnail and I.” Kenneth Lonergan has always wanted to see “Yi Yi.” Sandra Bernhard hasn’t had the chance to catch “Lola.” As part of New York City’s Quad Cinema’s newly announced “First Encounters” screening series, they (and more creative types) are going to finally remedy that — and they’d like you to join them.

The newly revamped four-screen theater — set to reopen in less than in a month — has announced the first lineup of their newest series, which sees notable New Yorkers (helped by programmers Christopher Wells and Gavin Smith) picking a film they’ve never seen (but have always wanted to) to show on the big screen, complete with a post-showing Q&A with the rest of audience.

Check out the first official lineup for First Encounters below, with descriptions and other information provided by Quad Cinema.

READ MORE: New York’s Quad Cinema Will Reopen on April 14

“Lola,” Rainer Werner Fassbinder, 1981, West Germany, 113m, 35mm
Fassbinder’s garishly colored melodrama updates von Sternberg’s “The Blue Angel” to ’50s West Germany, with upstanding building commissioner Armin Mueller-Stahl unexpectedly falling for seductive cabaret singer Barbara Sukowa, and finding himself torn between professional obligation and torrid passion. In German with English subtitles.
Selected and presented by Sandra Bernhard
Thursday April 20, 7.00pm

“Pather Panchali,” Satyajit Ray, 1955, India, 125m, DCP
This tender portrait of a Bengali family — whose struggles with poverty are observed with the same simplicity and poetic lyricism as the quotidian pleasures of village life — introduced the world to young Apu, became a landmark of social realism, and an enduring classic of world cinema. In Bengali with English subtitles.
Selected and presented by John Turturro
Tuesday April 18, 6.45pm

“Withnail and I,” Bruce Robinson, 1988, UK, 107m, 35mm
This ‘60s rites of passage memoir chronicles the dissolute misadventures of unemployed actor Marwood (Paul McGann) and outrageous fellow thesp and quasi-mentor Withnail (Richard E. Grant). Detailing their shambolic, alcohol-fueled stay at a ramshackle Lake District cottage owned by portly homosexual Uncle Monty (Richard Griffiths), Robinson’s film richly deserves its cult reputation, and made Grant’s career.
Selected and presented by Noah Baumbach
Wednesday April 19, 9.00pm

READ MORE: Christopher Wells Joins Quad Cinema as Director of Repertory Programming

“Yi Yi,” Edward Yang, 2000, Taiwan/Japan, 173m, 35mm
The swan song of one of the luminaries of the Taiwanese New Wave, this absorbing portrait of three generations of a contemporary middle-class Taipei family is imbued with an emotional specificity that is hard to shake. “The work of a master in full command of the resources of his art.” (The New York Times) In Mandarin with English subtitles.
Selected and presented by Kenneth Lonergan
Friday April 21, 7.00pm

“Ziggy Stardust and the Spiders From Mars,” D.A. Pennebaker, 1973, UK, 90m, 35mm
David Bowie’s historic 1973 performance at London’s Hammersmith Odeon finds the late great musician at the end of his British tour, at the height of his glam rock powers, and bidding farewell to his alter-ego, Ziggy Stardust: ghastly pale, with razor sharp cheekbones and an array of gender-bending, science fiction-inspired ensembles. A must-see for Ziggy fans.
Selected and presented by Jeffrey Deitch
Sunday April 16, 8.45pm

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Source: IndieWire film

March 20, 2017

Tim League Refutes Netflix’s Reed Hastings On Movie Theater Innovation

The following editorial is written by Tim League, co-founder and CEO of the Alamo Drafthouse Cinemas.

Netflix. It seems like every other interview I give asks me about the “threat” of Netflix. I’ll be blunt. Netflix doesn’t concern me, and I think it is obvious after last week that the cinema industry is of no concern to Netflix either.

We are in very different businesses.

Let me define those businesses.

Netflix is in the business of growing a global customer base by being the best value proposition subscription content platform.

And they are doing a great job. Their portal is stable, intuitive, cheap and delivers plenty of great, new content every month. They also provide a fantastic financial opportunity for both emerging and veteran storytellers. I stand in awe of the audience they have built and the wealth they have amassed in such a short time.

But here’s my business: Cinema. Cinemas are in the business of offering an incredible, immersive experience that you simply cannot duplicate at home. Our job is to put on a show and provide a great value proposition for getting out of the house, turning off your phone and enjoying great stories in the best possible environment. At our best, cinemas should also be local community centers with a real, tangible relationship to their surrounding neighborhood.

Last week, Reed Hastings once again dumped on my industry. He summarized the innovation of cinema in the past 30 years by saying, “Well, the popcorn tastes better, but that’s about it.” While our industry has not shown the vision and truly game-changing innovation of Netflix, Hastings’ antagonistic approach to cinema inadvertently exposes an underlying disrespect to the creators and auteurs that drive this entire machine.

Our best and most talented, passionate filmmakers vehemently do not want their films to be viewed first and foremost on a phone, on the train to work, while checking email, while chopping vegetables for the evening meal, on mute with subtitles while rocking a baby to sleep, or while dozing off before bed. The reality is, most Netflix content is being “consumed” in a less-than-ideal environment.

Great filmmakers create content to share their fully realized creations in a cinema with full, rich sound; bright, crisp picture and a respectful audience whose full attention is on the screen. And because of that, when courting filmmakers young and old to create content for their platform, I wish Netflix would consider the relationship with cinemas built by Amazon, Hulu, HBO, Showtime and Epix.

They all believe in cinemas as meaningful partners. They also respect those filmmakers who want meaningful theatrical engagements for their films. They believe in the promotional partnership that successful theatrical engagements can give to word of mouth, awards consideration, brand loyalty and ultimately maximized financial returns.

Amazon, for example, will be at CinemaCon next week building and strengthening their relationship with cinemas instead of tearing it down the week before.

I got into this business because I love movies. I hold the cinematic experience to be sacred, wonderful and these days even therapeutic.  I love the shared communal experience and the charged conversations I have after watching a movie in a cinema. I want to forge relationships with companies who truly love movies, too.

I do not believe that cinemas are owed or grandfathered into an exclusive window before movies are offered ostensibly for free on platforms such as Netflix. I contend that cinemas have earned, and must continue to earn, an exclusive window by providing the experience that directors desire as well as providing a significant financial benefit to producers and financiers.

To close, I’ll offer my flippant counter, as I was asked specifically to respond to Hastings’ remarks of last week. Until a meaningful relationship is forged with cinemas, Netflix is not making “movies.” They are instead funding exclusive-access commodities that help grow their subscriber base.

In “Lost in America,” Albert Brooks told his wife, after she lost their entire savings at the roulette wheel in Vegas, that she no longer had the right to use the term nest egg.

“Do me a favor,” he said. “Don’t use the word [nest egg’. You may not use that word. It’s off limits to you! Only those in this house who understand nest egg may use it! And don’t use any part of it, either. Don’t use ‘nest.’ Don’t use ‘egg.’ You’re out in the forest you can point, ‘The bird lives in a round stick.’ And you have ‘things’ over easy with toast!”

I, for one, would welcome the dialogue to forge a meaningful partnership for theatrical exhibition and promotion of select Netflix productions, but until we have that, I consider the term “movie” to be their “nest egg.”

But even as I pen this probably unjustifiably snarky retort, I will acknowledge some underlying truth to Reed Hastings’ words. We do, as an industry, need to invest in innovation. Cinema’s primary threat today is not Netflix; it is ourselves. We must continue to maintain high exhibition standards, invest in new sound and picture technology, improve the digital experience for our guests, develop innovative ways to delight our guests and ensure that we live up to our one job – make going to the cinema an amazing experience.

If we do that, we should be able to look back on another thirty years of limited innovation to our core product and say, “Job well done, we didn’t screw up what has always been and remains great about the cinema: the show itself.”

Source: IndieWire film

March 20, 2017

SXSW 2017: The Best Films and Performances — Critics Survey

Like most successful American film festivals, SXSW has long appealed to a number of different audiences. The festival’s competition sections highlight work from established industry vets and up-and-comers. It’s also become a place for high-profile premieres of some anticipated spring favorites.

That holistic approach is sometimes reflected in the response from critics covering the festival. This year, 10 of them shared their favorite films from SXSW 2017, the results were quite diverse.

Edgar Wright’s “Baby Driver,” the big studio premiere in this year’s slate, received the most support among the new titles, although Sundance hit “The Big Sick” was a tough more popular. Joining them in the top three was “Free Fire,” Ben Wheatley’s minimalist action movie that premiered in Toronto last fall.

We also asked critics to single out a few of their favorite performances. Those categories yielded a similar spread of diverse picks, but a few did rise above the fold. Noel Wells and James Franco (appearing in their own films “Mr. Roosevelt” and “The Disaster Artist,” respectively), Lola Kirke (“Gemini”), Harry Dean Stanton (“Lucky”) and Kumail Nanjiani (“The Big Sick”) all appeared on multiple ballots.

Here are the top 10 narrative features from SXSW 2017 according to 10 critics:

1. “The Big Sick”
2. “Baby Driver”
3. “Free Fire”
4. “Colossal”
5. “Atomic Blonde”
6. Lucky
7. Gemini
8. Win It All
9. Mr. Roosevelt
10. Prevenge

Here are the top 10 documentary features from SXSW 2017 from the same group:

1. The Work
2. Nobody Speak: Trials of the Free Press
3. Muppet Guys Talking
4. Becoming Bond
5. Rat Film
6. Disgraced
7. Mommy Dead and Dearest
8. Ramblin’ Freak
9. Unrest

The full list of respondents, their picks and some additional thoughts about this year’s festival are below.

Jason Bailey
Flavorwire

Best Narrative Feature
1. Win It All
2. Atomic Blonde
3. Gemini
4. Most Beautiful Island
5. Colossal

Best Documentary
1. Disgraced
2. Mommy Dead and Dearest
3. David Lynch: The Art Life
4. California Dreams
5. Behind the Curtain: Todrick Hall

Best Lead Performance
1. Lola Kirke, Gemini
2. Ana Asensio, Most Beautiful Island
3. Jake Johnson, Win It All
4. Wyatt Cenac, Fits and Starts
5. Francesca Eastwood, M.F.A.

Best Supporting Performance
1. Zoe Kazan, Gemini
2. Dave Franco, The Disaster Artist
3. Joe Lo Truglio, Win It All
4. Greta Lee, Fits and Starts
5. Robert Forster, Small Town Crime

Best First Feature
1. Most Beautiful Island
2. DRIB
3. Fits and Starts
4. Lemon

Erik Childress
eFilmCritic/WGN Radio

Best Narrative Feature
1. Lucky
2. The Big Sick
3. Small Town Crime
4. Hot Summer Nights
5. Baby Driver

Best Documentary
1. Nobody Speak: Trials of the Free Press
2. Muppet Guys Talking

Best Lead Performance
1. James Franco, The Disaster Artist
2. Harry Dean Stanton, Lucky
3. John Hawkes, Small Town Crime
4. Bill Pullman, The Ballad of Lefty Brown
5. Anne Hathaway, Colossal

Best Supporting Performance
1. Holly Hunter, The Big Sick
2. Jason Sudeikis, Colossal
3. Ray Romano, The Big Sick
4. Maika Monroe, Hot Summer Nights

Best First Feature
1. Lucky
2. Hot Summer Nights
3. A Bad Idea Gone Wrong

Kerry Brown

Matt Donato
We Got This Covered

Best Narrative Feature
1. Free Fire
2. Prevenge
3. Colossal
4. The Disaster Artist
5. Mayhem

Best Lead Performance
1. James Franco, The Disaster Artist
2. Brianna Hildebrand, Tragedy Girls
3. Alexandra Shipp, Tragedy Girls
4. Addison Timlin, Like Me
5. Eric Ruffin, The Transfiguration

Best Supporting Performance
1. Dave Franco, The Disaster Artist
2. Jon Hamm, Baby Driver
3. Chloe Levine, The Transfiguration
4. Sharlto Copley, Free Fire
5. Josh Hutcherson, Tragedy Girls/The Disaster Artist

Best First Feature
1. Prevenge
2. Like Me
3. Most Beautiful Island
4. Lemon
5. Mr. Roosevelt

SXSW

Eric Kohn
IndieWire

Best Narrative Feature
1. Bad Lucky Goat
2. Baby Driver
3. Gemini
4. The Disaster Artist
5. La Barracuda

Best Documentary
1. The Work
2. I Am Another You
3. Rat Film
4. Unrest
5. Barbecue

Best First Feature
1. Bad Lucky Goat
2. Rat Film
3. Unrest
4. Assholes
5. Lemon

Sean Malin
Austin Chronicle/Filmmaker Magazine/Cinemalin

Best Narrative Feature
1. The Big Sick
2. Lemon
3. Free Fire
4. La Barracuda
5. The Strange Ones

Best Documentary
1. Ramblin’ Freak
2. The Work
3. The Secret Life of Lance Letscher
4. May It Last: A Portrait of the Avett Brothers
5. Walk With Me

Best Lead Performance
1. Sophie Reid, La Barracuda
2. James Freedson-Jackson, The Strange Ones
3. Brett Gelman, Lemon
4. Kumail Nanjiani, The Big Sick
5. Allison Tolman, La Barracuda

Best Supporting Performance
1. Ray Romano, The Big Sick
2. Sharlto Copley, Free Fire
3. Michael Cera, Lemon
4. Michael Fassbender, Song to Song
5. Cat, Ramblin’ Freak

Best First Feature
1. Lemon
2. Ramblin’ Freak
3. The Secret Life of Lance Letscher
4. Hounds of Love
5. The Work

Neil Miller
Film School Rejects

Best Narrative Feature
1. Baby Driver
2. The Big Sick
3. Free Fire
4. Colossal
5. Tragedy Girls

Best Documentary
1. Muppet Guys Talking
2. Trophy
3. Becoming Bond
4. Chasing Coral
5. The Work

Best Lead Peformance
1. Ansel Englort, Baby Driver
2. Alexandra Shipp, Tragedy Girls
3. Noel Wells, Mr. Roosevelt
4. Armie Hammer, Free Fire
5. Kumail Nanjiani, The Big Sick

Best Supporting Performance
1. Holly Hunter, The Big Sick
2. Sharlto Copley, Free Fire
3. Sofia Boutella, Atomic Blonde
4. Daniella Pineda, Mr. Roosevelt
5. Brie Larson, Free Fire

Best First Feature
1. Mr. Roosevelt
2. Lemon
3. Most Beautiful Island
4. The Relationtrip
5. Easy Living

Kenneth R. Morefield
1More Film Blog

Best Documentary
1. The Work
2. Served Like a Girl
3. Unrest
4. Nobody Speak: Trials of the Free Press
5. Mission Control: The Unsung Heroes of Apollo

Kristy Puchko
CBR / The Playlist

Best Narrative Feature
1. Colossal
2. Atomic Blonde
3. Tragedy Girls
4. Baby Driver
5. Prevenge

Best Lead Performances
1. Anne Hathaway, Colossal
2. Charlize Theron, Atomic Blonde
3. Alice Lowe, Prevenge
4. Jake Johnson, Win It All
5. Alexandra Shipp, Tragedy Girls

Best Supporting Performance
1. Jason Sudeikis, Colossal
2. James McAvoy, Atomic Blonde
3. Jon Hamm, Baby Driver
4. Josh Hutcherson, Tragedy Girls
5. James Franco, The Disaster Artist

Courtesy of Sundance

Christopher Llewellyn Reed
Hammer to Nail

I was very impressed with the production quality of much of what I saw, both in the documentary and narrative categories. The DPs are all doing an amazing job.

Best Narrative Feature
1. Easy Living
2. The Transfiguration
3. Hounds of Love
4. The Big Sick
5. Fits and Starts
I also liked “Flesh and Blood,” “Free Fire,” “Gemini,” “Strange Ones”… and 2/3 of “Baby Driver.” The above five are definitely my Top 5, however.

Best Documentary
1. Nobody Speak: Trials of the Free Press
2. Kim Dotcom: Caught in the Web
3. Rat Film
4. Maineland
5. Mommy Dead and Dearest
I also really liked “Barbecue,” “California Dreams,” “Dealt,” “Pornocracy,” “Trophy,” “Unrest,” “The Work.” The difference between how I feel about one film vs. another are negligible. A very strong documentary program, overall.

Best Lead Performance
1. Caroline Dhavernas, Easy Living
2. Ashleigh Cummings, Hounds of Love
3. Lola Kirke, Gemini
4. James Freedson-Jackson, The Strange Ones
5. Kumail Nanjiani, The Big Sick

Best Supporting Performance
1. Zoe Kazan, The Big Sick
2. Alex Pettyfer, The Strange Ones
3. John Cho, Gemini
4. Jon Hamm, Baby Driver
5. Armie Hammer, Free Fire

Best First Feature
1. Easy Living
2. Hounds of Love
3. Fits and Starts
4. Rat Film
5. The Blood is at the Doorstep
“Barbecue,” “Unrest” – 6 and 7

Dagmar Weaver-Madsen

Jason Whyte
Jason Whyte Media, efilmcritic.com

Noel Wells gives one of the best comedic performances ever in the movies in “Mr. Roosevelt.” This was the one movie I was wishing I could see twice at the festival but was unable to.

A very solid year for movies at the festival this year and I am looking forward to SxSW 2018!

Best Narrative Feature
1. Mr. Roosevelt
2. Small Town Crime
3. Person to Person
4. Lucky
5. Lemon

Best Documentary
1. Becoming Bond
2. Dealt
3. Long Strange Trip
4. Thank You, Friends: Big Star’s Third Live… and More
5. Let There Be Light

Best Lead Performance
1. Noel Wells, Mr. Roosevelt
2. Harry Dean Stanton, Lucky
3. Melissa Leo, The Most Hated Woman in America
4. Josh Lawson, Becoming Bond
5. James Franco, The Disaster Artist

Best Supporting Performance
1. Zoe Kazan, The Big Sick
2. David Lynch, Lucky
3. Philip Baker Hall, Person To Person
4. Brett Gelman, Lemon
5. Tavi Gevinson, Person To Person

Best First Feature
1. Mr. Roosevelt
2. Lucky
3. Lemon
4. Fits and Starts
5. Mission Control: The Unsung Heroes of Apollo

Source: IndieWire film

March 20, 2017

Tribeca Talks 2017: Scarlett Johansson, Kathryn Bigelow, Noah Baumbach, and Lena Dunham Join The Conversation

The Tribeca Film Festival announced today its full slate of panels and discussions with industry leaders for the 16th annual festival.

Under the Tribeca Talks banner, the festival presents a talent-filled roster in discussion with leading creative voices across the entertainment industry. That includes conversations with big name directors such as Kathryn Bigelow, Noah Baumbach, Lena Dunham, and Jon Favreau, as well as crossovers from the music and sports industries like Common, Kobe Bryant, and Bruce Springsteen. They will be joining previously announced participants Alejandro González Iñárritu and Barbra Streisand.

READ MORE: Tribeca 2017 Lineup: New Films From Alex Gibney, Azazel Jacobs and Laurie Simmons Lead the Eclectic Mix

Scarlett Johansson will interview Jon Favreau as part of the Directors Series, and Dustin Hoffman will do the same with Noah Baumbach. The Storytellers Series will feature “Girls” creator Lena Dunham in conversation with longtime collaborator Jenni Konner, as well as a discussion between old friends Bruce Springsteen and Tom Hanks. The series also features three free master classes in cinematography, as well as production, costume, and sound design.

“It is an incredible privilege to get a glimpse into the creative process of some of the most brilliant figures in film, music, and culture – and one of my favorite parts of the festival experience,” said Tribeca’s Paula Weinstein.

READ MORE: Francis Ford Coppola, Robert De Niro and Al Pacino Will Reunite for ‘The Godfather’ 45th Anniversary Celebration

Check out the full line-up below:

Tribeca Talks: Directors Series
Jon Favreau with Scarlett Johansson
Filmmaker Jon Favreau will talk to actress Scarlett Johansson about his distinguished and diverse career as a director, successful across both indie and blockbuster franchises, ranging from the indie hit “Swingers,” the blockbuster “Iron Man” series, and his live action “The Jungle Book.”

Alejandro González Iñárritu
Academy Award-winning filmmaker Alejandro González Iñárritu will talk about his beautifully varied work on films such as “Amores Perros,” “21 Grams,” “Biutiful,” “Babel,” and most recently, “The Revenant.”

Noah Baumbach with Dustin Hoffman
Dustin Hoffman will speak with director and writer Noah Baumbach about his career, which includes his Academy Award-nominated film “The Squid and the Whale” and “Frances Ha.”

Tribeca Talks: Virtual Reality
Kathryn Bigelow and Imraan Ismail – The Protectors
At a special VR premiere, Academy Award-winning director Kathryn Bigelow and co-creator Imraan Ismail discuss their collaboration on Virtual Reality documentary, “The Protectors: A Walk in the Ranger’s Shoes.” The experience, from National Geographic, Here Be Dragons, Annapurna Pictures, and African Parks chronicles a day in the life of the rangers in Garamba National Park.

Tribeca Film Festival

Tribeca Talks: Storytellers
Kobe Bryant and Glen Keane with Michael Strahan
Basketball great Kobe Bryant collaborated with animator Glen Keane on an animated short film that explores what it is like to say goodbye to something you love. In an onstage conversation led by Michael Strahan, Bryant and Keane focus on what it is like to step out of your lane.

Common with Nelson George
Director/screenwriter Nelson George joins Academy Award winner Common to discuss composing music for film. The conversation will begin with a screening of “Letter to the Free,” followed by a conversation with Nelson George and a live performance by Common.

Lena Dunham and Jenni Konner
Dunham will discuss “Girls,” the industry, and the highs and lows of their careers with her longtime collaborator and “Girls” show runner.

Bruce Springsteen with Tom Hanks
The musician sits down with celebrated actor and longtime friend Tom Hanks to discuss Springsteen’s unique place in American musical history and look forward to the future.

Barbra Streisand with Robert Rodriguez
The legendary performer, director, and EGOT winner will discuss her unparalleled career with filmmaker Robert Rodriguez.

Tribeca Film Festival

Tribeca Talks: Master Class (Free events)
Dolby: Image and Sound Master Class with Imogen Heap
The new animated short film “Escape” utilizes new imaging and sound technologies, Dolby Vision and Dolby Atmos, to present a euphoric vision of the future. Composer/sound designer Imogen Heap, directors Limbert Fabian and Brandon Oldenburg, and other members of the film’s creative team discuss  the new audio technologies.

Production and Costume Design Master Class
Kristi Zea, production designer for directors such as Martin Scorsese and Jonathan Demme, sits down with a prominent costume designer for a conversation about creating the overall look and feel of film.

Cinematography Master Class
A master class with acclaimed cinematographer Ellen Kuras, frequent collaborator of Michel Gondry and Spike Lee. Academy Award-nominated for her directorial debut documentary film, “The Betrayal – Nerakhoon,” she will offer tips and provide examples from her work on films including “Blow” and “Eternal Sunshine of the Spotless Mind.”

Tribeca Talks: Podcasts
Live from The Tribeca Film Festival: Slate’s Represent
Slate’s Represent is a space for discussion about culture created by women, people of color, and those in the LGBTQ community. Host Aisha Harris dives deep into conversations with critics about the latest pop cultural news, and filmmakers in the industry about what they do and how they do it.

Live from The Tribeca Film Festival: Slate’s Trumpcast
Host Jacob Weisberg is joined by Slate Chief Political Correspondent Jamelle Bouie, author Virginia Heffernan, and more for a frank conversation on the first 100 days of the Trump administration.

Gilbert Gottfried’s Amazing Colossal Podcast! Live
Acclaimed comedian and actor Gilbert Gottfried and cohost Frank Santopadre are joined by special celebrity guests for a live recording of the podcast the Village Voice named 2015’s “Best Podcast of the Year.”

The 16th annual Tribeca Film Festival will take place in New York City, April 19-30. 

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Source: IndieWire film

March 20, 2017

Natalie Portman Shot This Gorgeous James Blake Music Video Just Days Before Giving Birth — Watch

Natalie Portman skipped the Oscars this year because she had given birth to her second child just days before, and for anyone wondering what Portman was up to prior to that, you now have your answer: Shooting a music video for James Blake.

The English musician has premiered the gorgeous black-and-white music video for his song “My Willing Heart,” and it puts a very pregnant Portman front and center as she connects with her unborn child in various locations, including a softly-lit bedroom and a giant pool. Anna Rose Holmer, the breakout director of “The Fits,” shot the video days before Portman gave birth.

READ MORE: How Natalie Portman Found the Woman Behind the Icon in ‘Jackie’

Portman can currently be seen on the big screen in Terrence Malick’s “Song to Song.” She worked on new films from Alex Garland (“Annihilation”) and Xavier Dolan (“The Death and Life of John F. Donovan”) last year, both of which could find their way onto the fall film festival circuit if their post-production is done in time. Holmer, meanwhile, recently shot Alvin Ailey’s “Moonlight” dance video, which debuted to acclaim across the internet last month.

“My Willing Heart” is off of Blake’s latest album “The Colour in Anything.” Watch the music video below.

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Source: IndieWire film