Gus Vant Sant Retro at MoMI (thru Sep 30)

by on September 15, 2011Posted in: Essay

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NewFest Is Now (thru Jul 28)

by on July 22, 2011Posted in: Essay, Festivals

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David Bowie On Screen at Museum of Arts & Design, Film Forum (Jun 03-Jul 07)

by on June 3, 2011Posted in: Essay

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The Lost Treasures of Charles Burnett

by on April 6, 2011Posted in: Essay

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New Media, NexT Waves and the Late, Great Filmmaking Duo of Cristian Nemescu and Andrei Toncu

by on April 5, 2011Posted in: Uncategorized

 

Alt Screen’s very own Paul Brunick is at the NexT Festival in Bucharest this week, leading several panel discussions on (what else?) publishing technology and the current state of arts journalism. Celebrating its fifth anniversary this year, the short film festival was founded in honor of belated director Cristian Nemescu and sound engineer Andrei Toncu, two breakout talents still several years shy of their thirtieth birthday when they died in a tragic car accident in 2006.

 

Nemescu is best known for his debut feature California Dreamin, winner of the Un Certain Regard prize at the 2007 Cannes Film Festival. Cineaste contributor Monica Filimon has penned a thoughtful epitaph on Nemescu’s career:

Almost a decade younger than these filmmakers [Cristian Mungiu, Cristi Puiu, and Corneliu Porumboui], Nemescu’s work embodies a different sensibility. For him, social and political reality takes second place to effervescent, playful storytelling. He chose to set shorts like Mihai and Cristina (2001) or C Block Story (2003) in ghettoized neighborhoods of Bucharest—the “products” of extensive demolition campaigns during Communism—but designed these tightly packed love stories as intensive visual and aural experiments. California Dreamin’, produced by the same crew, was a project started in 2004 but received insufficient state funds—the traditional source for young directors—and was made only in 2006, when a private studio stepped in. This film tames the formalistic boldness of Nemescu’s shorts, but allows flashes of the poetry and humor of his earlier works to percolate through its narrative.

 

The director’s narrative debut Mihai and Cristina (filmed at the tender age of 22) after the jump:
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Wednesday Editor’s Pick: “The Sun Shines Bright”

by on March 30, 2011Posted in: Editor's Pick

Jonathan Rosenbaum for Rouge:

The Sun Shines Bright is my favourite Ford film, and I suspect that part of what makes me love it as much as I do is that it’s the opposite of Gone with the Wind in almost every way, especially in relation to the power associated with stars and money. Although I’m also extremely fond of Judge Priest, a 1934 Ford film derived from some of the same Irvin S. Cobb stories, the fact that it has a big-time Hollywood star of the period, Will Rogers, is probably the greatest single difference, and even though I love both Rogers and his performance in Judge Priest, I love The Sun Shines Bright even more because of the greater intimacy and modesty of its own scale. Apparently Ford did as well, because, along with Wagon Master – which it resembles in its low budget, its lack of stars, and its focus on community – I believe this is the film of his that he cited most often as a personal favourite.”

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