• Background Image

    News & Updates

January 28, 2018

Sundance 2018 Awards: All of IndieWire’s Reviews and Video Interviews

Sundance announced its winners last night, with “The Miseducation of Cameron Post” and “Kailash” taking the top prizes. IndieWire has been in Park City for the entirety of the festival, with dozens of reviews and video interviews to show for it. Here’s what we’ve had to say about the prizewinners:

U.S. Dramatic Grand Jury Prize: “The Miseducation of Cameron Post”

U.S. Dramatic Directing Award: Sara Colangelo, “The Kindergarten Teacher”

U.S. Documentary Directing Award: Alexandria Bombach, “On Her Shoulders”

U.S. Dramatic Special Jury Award for Achievement in Acting: Benjamin Dickey, “Blaze”

U.S. Dramatic Special Jury Award for Excellence in Filmmaking: “I Think We’re Alone Now”

U.S. Documentary Special Jury Award for Storytelling: “Three Identical Strangers”

U.S. Documentary Special Jury Award for Breakthrough Filmmaking: “Minding the Gap”

World Cinema Documentary Directing Award: Sandi Tan, “Shirkers”

World Cinema Dramatic Audience Award: “The Guilty”

Waldo Salt Screenwriting Award: Christina Choe, “NANCY”

NEXT Audience Award: “Search”

NEXT Innovator Award: “Night Comes On” and “We the Animals” (TIE)

U.S. Dramatic Special Jury Prize: Alfred P. Sloan Prize: “Search” (previously announced)

Source: IndieWire film

January 28, 2018

‘The Shape of Water’ Gets Oscar Boost as ‘Hostiles’ Lures Crowds

Following last week’s Oscar nominations, Fox Searchlight’s “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri” led the field of Oscar contenders. Both films showed healthy jumps over last weekend, with Guillermo del Toro’s showing the most strength.

While both films were outgrossed by 20th Century Fox’s “The Post” in much wider release, they did add around $21 million to their impressive totals so far. That’s far above boosts for last year’s “Hidden Figures” and “La La Land.”

This weekend will be the high water mark for the nominees, with the next weeks seeing normal drops and in some cases possible alternative home viewing (several titles are nearing the three-month mark when streaming becomes a choice). It remains to be seen what will replace them in theaters after what has been a strong awards season boosting grosses above average for the last few months.

Among the openers, the sole new release to show any strength was Strand’s Chinese adul animated feature “Have a Nice Day.” Its $11,000 initial Manhattan exclusive gross is the top limited release opener so far this year.

“Padmaavat” (Viva), a Bollywood historical epic which has caused controversy in its Indian release this week, managed to place in the overall Top Ten with a $4.3 million gross in only 324 theaters. In a limited run it managed to gross better than all but two of the lead category nominees playing this weekend.

“Tosca,” a Live at the Met single showing presentation in over 900 theaters, grossed $2 million. That’s a healthy boost and an example of how theaters are supplementing normal business with targeted audiences.

In a sign of the times, the first Sundance 2018 title has already debuted on Netflix though with little notice: Netflix’s National Lampoon early days biopic “A Futile and Stupid Gesture’ started showing on Friday while festival was still in progress.


Have a Nice Day (Strand) Metacritic: 81; Festivals include: Berlin, Seattle 2017

$(est.) 11,000 in 1 theater; PTA (per theater average): $(est.) 11,000

Not high on the radar in festival attention and not a factor in any awards race, this Chinese animated title was boosted by strong reviews which led to a good initial exclusive New York result. This crime drama (hardly typical of either animated content nor what Chinese censors  usually allow) centers on a man who steals money from his boss to pay for his fiancee’s surgery in a remote city.

What comes next: Los Angeles opens Friday, with other cities (likely boosted by the initial performance) to follow.

International releases:

Padmaavat (Viva/India): $4,273,000 in 324 theaters

Also available on Video on Demand:

Please Stand By (Magnolia/Austin 2017): $(est.) 4,000 in 5 theaters

“Mary and the Witch’s Flower”

Week Two

Mary and the Witch’s Flower (Fathom)

$137,087 in 77 theaters (-84); PTA: $1,780; Cumulative: $1,786,000

Most of the gross for this Japanese animated release, which was overlooked for the Oscar, came for its Fathom special event one day showings two Thursdays ago. But those theaters who have continued playing added more to its already decent total.

A Ciambra (IFC)

$7,531 in 2 theaters (+1); PTA: $3,766; Cumulative: $17,405

This Italian foreign-language Oscar submission added Los Angeles. The drama centering on a young Roma teen headed for early adulthood continues to do minor business.

Christian Bale in Hostiles


Ongoing/expanding (Grosses over $50,000)

Hostiles (Entertainment Studios) Week 6

$10,200,000 in 2,816 theaters (+2,697); Cumulative: $12,053,000

Though the strategy of a Christmas platform release and only minor added runs until the nominations didn’t pay off with a hoped for nod for Christian Bale, the early play and word of mouth did boost this western. Despite just slightly favorable reviews, Entertainment Studios’ marketing has propelled this into a decent national break, with a top three placement overall for the weekend despite major competition for older viewers. Its B Cinemascore doesn’t guarantee a big multiple ahead, but this Toronto acquisition looks like it could head to a respectable $30 million total. That’s much better than appeared possible with its mediocre initial results.

The Post (20th Century Fox) Week 6

$8,850,000 in 2,640 theaters (-211);  Cumulative: $58,536,000

The 24 per cent drop likely is better than what normally would have occurred for the third wide weekend for Steven Spielberg’s film. Its two nominations were in top categories (Pictures and Actress) should guarantee an ultimate gross above the director’s last Oscar contender. “The Bridge of Spies” in 2015 grossed $72 million in a release in the fall before it got any boost from its award contention.

“The Shape of Water”

The Shape of Water (Fox Searchlight) Week 9

$5,700,000 in 1,854 theaters (+1,001);  Cumulative: $37,679,000

The leading nominee jumped 161 per cent. The $5 million+ gross is better than any Best Picture winner has done after the nominations since “The King’s Speech” seven years ago (that smash had six weekend over that number), and a better weekend than any of them in its entire run since the fourth (in October) for “12 Years a Slave.” The film, even without a win in the category, looks headed for at least a $55 million total, likely more.

Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Week 12

$3,600,000 in 1,457 theaters (+503); Cumulative: $37,011,000

A strong 88 per cent increase (helped by additional theaters) for this multiple nominee that looks like it will be Searchlight’s second $50 million+ grosser for the season.

I, Tonya (Neon) Week 8

$2,969,000 in 960 theaters (+18);  Cumulative: $18,844,000

The second wide week for this retelling of the Tonya Hardy story fell 30 per cent after its multiple nominations. It still looks headed for somewhere around $30 million, which would put it ahead of films nominated in acting categories but not Best Picture.

“Phantom Thread”

Photo Courtesy of Focus Features

Phantom Thread (Focus) Week 5

$2,890,000 in 1,021 theaters (+125);  Cumulative: $10,622,000

Paul Thomas Anderson’s film came out well in nominations, but still fell 11 per cent from last weekend. It still should end up grossing better than either of his two films since “There Will Be Blood,” with its international response (the roll out starts this week) to determine whether it has a shot at profit. (Its budget was $35 million).

Darkest Hour (Focus) Week 10

$2,885,000 in 1,333 theaters (-10);  Cumulative: $45,197,000

With six nominations, this 1940 Winston Churchill wartime drama saw its grosses increase slightly despite its already lengthy run. This remains the leader among specialized company Best Picture nominees and now has taken over from “The Big Sick” among all specialized grossing 2017 titles (“The Space of Water” will likely overtake it).

Lady Bird (A24) Week 13

$1,925,000 in 1,177 theaters (+502);  Cumulative: $41,648,000

Greta Gerwig’s comedy added Oscar acclaim to its accolades and rebounded once again to add to its already impressive total. It looks headed to $50 million depending on home viewing availability (the film is completing its third month in release).

Timothée Chalamet stars as Elio in <em>Call Me By Your Name</em>

“Call Me by Your Name”

Call Me By Your Name (Sony Pictures Classics) Week 10

$1,345,000 in 815 theaters (no change); Cumulative: $11,356,000

Though it received some top category nods (including Picture and Actor), this dropped 58 per cent from last weekend, which was its first wider break. This is not getting the response that other contenders have received from more mainstream audiences despite great acclaim. It still has a shot to hit somewhere close to $20 million if SPC can maintain screens for the next several weeks.

Molly’s Game (STX) Week 5

$900,000 in 556 theaters (-535); Cumulative: $25,900,000

After a decent run, Aaron Sorkin’s directorial debut, without either a Best Picture or Actress nomination, will soon finish its play.

The Disaster Artist (A24) Week 9

$104,108 in 84 theaters (-63); Cumulative: $20,916,000

Only a screenplay nomination for James Franco’s film means its successful run is coming to an end.

The Insult (Cohen) Week 3

$60,000 in 10 theaters (+7);  Cumulative: $143,712

Capitalizing on its Foreign Language Film nod, Cohen added more cities for this Lebanese court drama with a better than average result for a subtitle expansion.

The Florida Project (A24) Week 17

$55,289 in 33 theaters (-4);  Cumulative: $5,656,000

A supporting actor nomination for Willem Dafoe was the sole mention for Sean Baker’s much acclaimed film, now at about the end of its four-month run.

Also noted:

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) – $35,918 in 19 theaters; Cumulative: $247,751

Happy End (Sony Pictures Classics) – $21,792 in 14 theaters; $198,481

Faces Places (Cohen) – $14,068 in 10 theaters; Cumulative: $722,829

Jane (Abramorama) – $12,221 in 9 theaters; Cumulative: $1,644,000

Source: IndieWire film

January 26, 2018

HTC Vive Pro cameras can be used to track hands, controllers

The HTC Vive Pro virtual reality headset comes with two front-mounted stereoscopic cameras. They’re mainly designed to stop you bumping into things, but could offer a new hand and controller-tracking solution.

The post HTC Vive Pro cameras can be used to track hands, controllers appeared first on Digital Trends.

Source: Digital Trends VR

January 26, 2018

Ethical Design – 2018 SXSW Programming Trends

Each year, different trends emerge from SXSW programming and act as identifiers for where we’re at and where we’re headed. From the 12 significant trends identified by the SXSW Programming Team for the 2018 event, Ethical Design explores the social and psychological effects of our increased dependency on smart devices, and how these forces leave us vulnerable to the influence of product designers. Get to know this trend and related-SXSW sessions below that we think will dominate discussions this March.

Ethical Design Trend

Our current relationship with technology is close-knit and only growing closer as computing models advance to learning-based algorithms and tech companies shift their priority from hardware to software. We’re moving towards a post-device era, gradually abandoning the traditional shells that host mobile apps while designers evolve to provide device-independent services. With these changes, it’s crucial that designers keep technology in service of the people it is intended to serve.

Learn from cyber-psychologist Dr. Mary Aiken and Simon Segars, CEO of Arm, why it’s imperative that we develop a human-centered ethos around new technologies in the session Rebooting Tech for a Human-Centered Approach. Hear from Margaret Stewart, VP of Product Design at Facebook, on the importance of design ethics throughout her career designing at scale for Google, YouTube, and Facebook in the session Able, Allowed, Should: Navigating Design’s Complexity, and dive deeper into the design world in the session The Shadow Side of Human Centered Design focusing on what happens when designers fail to create for the whole human experience.

As technology accelerates at an exponential rate, it is essential we ask ourselves, what has happened to us since the dawn of the smartphone, social networking and mobile apps? And more importantly, what will happen to us if we fail to recognize the effects of our technology as we blindly trust designers to build products that integrate with nearly every aspect of our lives. The Ethical Design Trend at SXSW aims to answer these questions and is sure to leave attendees with perspectives challenged.

Stay tuned as we continue to announce more sessions through March. But for now, be sure to add these sessions to your 2018 SXSW Schedule.

Ethical Design Session Highlights

Join Us for SXSW 2018

The SXSW Conference includes 24 programming tracks divided amongst Interactive, Film, Music, and Convergence. Each March, some of the world’s most creative minds come together in Austin, Texas to discover, learn, network, brainstorm and collaborate.

Explore new opportunities during 10 days of sessions, screenings, showcases, exhibitions, networking, and beyond from March 9-18 at SXSW 2018. Save big when you register to attend before Friday, February 9.

SXSW registrants get access to SXSW hotels at the lowest rates available by making reservations through SXSW Housing & Travel. Visit our availability page and then book your stay today to save.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.

Teaser Photo by Sara Marjorie Strick

The post Ethical Design – 2018 SXSW Programming Trends appeared first on SXSW.

Source: SxSW Film

January 26, 2018

The Daily Chord Weekly Recap – Friday, January 26

This week in music news included buildup to Sunday’s Grammys show, more legislative and financial jockeying from major music services, and the deaths of Mark E. Smith and Hugh Masekela. The Daily Chord selects six stories each weekday to keep you current on the business and culture of music. Subscribe to the Daily Chord email newsletter for your first look at today’s important stories.

Monday, January 22

Tuesday, January 23

Wednesday, January 24

Thursday, January 25

Friday, January 26

The post The Daily Chord Weekly Recap – Friday, January 26 appeared first on SXSW.

Source: SxSW Music

January 26, 2018

Digital Photography: 2019 Mercedes G-Class by Markus Wendler

Digital Photography: 2019 Mercedes G-Class by Markus Wendler

Mercedes-Benz has recently introduced the 2019 G-Class model, the first redesign in nearly 40 years. A lot of people will mention that this model looks pretty identical but it’s mostly a redesign to improve the on-road dynamics and adding loads of new tech for the next generation. We are taking a look at the work of Markus Wendler, a photographer based in Germany. Markus has worked with many big brands (mostly car companies) like: Audi, BMW, Mercedes-Benz, Porsche and more. In this collection, we are following the magnificent car in different locations like Iceland, Frankfurt and Utah, USA.

Photographer Markus Wendler shot the new generation of Mercedes’ G Class in 3 looks. It was a massive job spanning the USA and Europe. The results are breath taking automotive landscape shots, showing the off road vehicle mastering different elements.

More Links

Photo Gallery

Digital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus WendlerDigital Photography: 2019 Mercedes G-Class by Markus Wendler


Jan 26, 2018

Source: Abduzeedo Photography

January 26, 2018

Watch: How ‘Dunkirk’ Uses a Classic Audio Illusion to Ratchet Up the Tension

The auditory phenomenon known as the Shepard tone is used to add suspense to <i>Dunkirk</i>.<p>When filmmakers use every cinematic element at their disposal, …
Source: CW’s Flipboard Feed

January 25, 2018

Abstract Illustration: City Skylines

Abstract Illustration: City Skylines

The amazing people over at RETOKA . just shared another set of their coolest abstract series title Skylines. They also have animated some of them creating a even more nostalgic look. I say nostalgic because it reminds me of the classic Sega Genesis title Streets of Rage for some reason. They are city skylines translated to vertical and colorful lines, including famous places like San Francisco, Panama, Chicago amongst others. 

Retoka is an art director and designer based in Barcelona, Spain. For more information make sure to check out http://retoka.com/



Jan 25, 2018

Source: Abduzeedo Illustration

January 25, 2018

25 Years of SXSW Film Festival – Aaron Katz, Kris Swanberg, Jim Cummings, and Jody Lee Lipes

To commemorate the 25th edition of the SXSW Film Festival, we continue our weekly alumni spotlight on careers launched, artists discovered, powerful performances, and more with Aaron Katz, Kris Swanberg, Jim Cummings, and Jody Lee Lipes.

Aaron Katz

Gemini Premiere

Katz has world premiered four films at SXSW including his debut feature Dance Party USA in 2006, Quiet City in 2007, Cold Weather in 2012, and most recently the thriller Gemini in 2017, distributed by Neon and starring John Cho, Zoe Kravitz, Lola Kirke, and Ricki Lake. In 2014 he co-wrote and directed the adventure-comedy, Land Ho with SXSW alum Martha Stephens.

“In 2005, after working on my first movie for almost two years, I had no idea what to do with it. I submitted it to SXSW, not knowing anything except that it was one of the few festivals I had heard of. Much to my surprise, I got a call one day and learned that my movie had been accepted into competition. That first chance to show my movie and meet other filmmakers gave me the confidence that a life and career in film was possible.”

Kris Swanberg

Kris Swanberg

Swanberg’s directorial debut It Was Great, But I Was Ready to Come Home premiered at SXSW in 2009 in the narrative feature competition. Her short Baby Mary premiered in the Narrative Shorts Program in 2014 and Swanberg’s second feature, Unexpected screened in Festival Favorites in 2015 after its Sundance premiere. In addition to her work as a filmmaker, Swanberg has acted in many SXSW alumni films including Joe Swanberg‘s Kissing On the Mouth (2005), Hannah Takes the Stairs (2007), and Win It All (2017). She also acted in It Was Great, But I Was Ready to Come Home.

“SXSW changed my life by taking a chance on my early work and giving me constant encouragement as a growing filmmaker.”

Jim Cummings

Jim Cummings

Cummings has produced three world premieres at SXSW including Euphonia (2013), Confusion Through Sand (2014), and The Grief of Others (2015). Cummings received a Special Jury Recognition for Acting in Thunder Road at SXSW 2016, a film which he also directed, wrote, and edited. His next short, The Robbery screened at the festival in 2017. He is currently working on the feature adaptation of Thunder Road.

“SXSW changed my life by showcasing the most culturally significant artwork on the planet, which gave me an understanding of what was possible by making movies on your own. I love SXSW because I get to fall in love with movies and meet the wonderful people who make them. SXSW was the first festival that treated me like a filmmaker. It is the reason I’m still making movies.”

Jody Lee Lipes

Jody Lee Lipes

Lipes is a director and cinematographer. At SXSW 2009 he was here for his first film as director, Brock Enright: Good Times Will Never Be the Same and as a director of photography for Antonio Campus’s After School. In 2010, he world premiered his next feature, NY Export: Opus Jazz, which earned the Audience Award for Emerging Visions. He’s shot a number of other SXSW selections like The Great Invisible (2014), the jury award- winning Tiny Furniture (2010) and Girls (2012) to name a few. Recently, Lipes shot the Academy-Award winning drama Manchester by the Sea and the pilot for the new USA series The Sinner, in addition to directing an episode.

“I love SXSW because they were the first festival that embraced me as a director, by selecting my first feature length documentary to be a part of their program almost ten years ago. That honor inspired me to continue making my own work. It’s always been the most fun festival in the world, going there is a joy rather than an obligation.”

Join Us For SXSW 2018

Grab your Film Badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Register to attend by Friday, February 9 and save. Book your hotel through SXSW Housing & Travel for the best available rates.

Stay tuned for the 2018 SXSW Film Festival lineup which will be announced in January.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.

World Premiere of Gemini – Photo by Amy E. Price/Getty Images for SXSW
Kris Swanberg – Photo by Chris Saucedo
Jim Cummings – Photo by Neilson Barnard/Getty Images for SXSW
Jody Lee Lipes – Photo by Nita Rios

The post 25 Years of SXSW Film Festival – Aaron Katz, Kris Swanberg, Jim Cummings, and Jody Lee Lipes appeared first on SXSW.

Source: SxSW Film

January 25, 2018

Solving Fake News, Changing the Media, and the Future of Journalism: News & Journalism Track Sessions for SXSW 2018

Join us this March at SXSW for the News & Journalism Track and explore how journalism and analysis is dispersed and how it will be impacted by the future of technology.

According to SXSW Programmer Brianna Carney, “As the credibility of media is thrust into the spotlight now more than ever, the News & Journalism Track explores how news and the media continue to inform and engage us through ideas like representation, the pivot to video, and the use of social media.” Discussions range from how social media sparked social evolution in Korea to the many faces of modern media censorship, as well as a deep look at communicating authentically in the age of social media.

Dive deeper into the News & Journalism Track from March 10-15 during SXSW Convergence programming. SXSW Convergence programming features a range of topics that straddle the cultural and technological intersection at the heart of SXSW with primary access granted to all SXSW Badges.

News & Journalism Session Highlights

The Only Solution to Fake News: Education for All

Speakers: Esther Wojcicki (Journalistic Learning Initiative), Ed Madison (University of Oregon), and Barbara McCormack (Newseum)

Your mother shared a fake news story. Your students cited “alternative facts.” There’s only one thing to do: implement news and media literacy education. In this session, education experts discuss why a system-wide change is needed to support informed, effective news consumers, and the characteristics of effective responses. Case studies of successful education programs will prepare participants to empower all participants in the news media cycle, from students to seniors.

Add to Your Schedule

Investigative Journalism in the Social Media Age

Speakers: David Fahrenthold (The Washington Post), and Sonya Gavankar (Newseum)

Washington Post reporter David Fahrenthold won a 2017 Pulitzer Prize for his national reporting on then-candidate Donald Trump’s charitable giving. Fahrenthold used Twitter to fact check his reporting, asking for help from Twitter users. This conversation will focus on the future of transparent investigative journalism in the age of social media and during the Trump administration.

Add to Your Schedule

Latinx Representation, Resistance & Identity

Speakers: Curly Velasquez (BuzzFeed), Joanna Hausmann (YouTube Producer & Personality), Prisca Dorcas Mojica Rodriguez (Writer), and Andrea Gompf (Remezcla)

Representation, resistance, and identity are crucial elements to making Latinx-targeted content work. Panelists will answer questions like: How do you listen to your audience carefully to create content that they want – and need? Why is the Latinx representation so varied – what identifies us and what brings us together? And how do you market to and target such a diverse community? Finally, learn what resistance means for the Latinx community and how it’s portrayed in Latinx-targeted content.

Add to Your Schedule

The Humanoid Future of Journalism

Speakers: Hanna Tuulonen (Göteborgin Sivukonttori), and Robin Govik (MittMedia)

Learn how modern newsrooms in Sweden and Finland use automated content as an editorial platform, with algorithms analyzing the facts, writing the news and pointing the journalists to the most interesting stories. Panelists will present academic research on automation in the newsroom, and practical experiences from Sweden and Finland – where robots now write more news articles than humans – as well as how all this will affect the news industry in the future.

Add to Your Schedule

Browse All News & Journalism Sessions

Crossover Track Recommendations

Explore topics outside of your focus area and learn from SXSW sessions across all 24 Tracks of Conference programming. These recommended sessions are outside of the Food Track but will interest any SXSW attendee.

<!–[if lte IE 8]>

<![endif]–>Reserve My Platinum Badge for SXSW 2018 hbspt.cta.load(558236, ‘fa624deb-695d-4287-912b-3d53ae2cd965’, {});

Purchase your SXSW Badge and reserve your hotel today to experience these sessions along with 10 days of screenings, showcases, exhibitions, networking, and more this March 9-18 in Austin, TX. Take the Tracks Quiz to discover which badge will suit your needs.

Already have your badge? Learn how to upgrade to Platinum for primary access to all of SXSW and then begin building your 2018 SXSW Schedule.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.

Teaser Photo by Akash Kataria

The post Solving Fake News, Changing the Media, and the Future of Journalism: News & Journalism Track Sessions for SXSW 2018 appeared first on SXSW.

Source: SxSW Film