24 Frames

Movies: Past, present and future

Category: Mark Olsen

SXSW 2012: 'Jeff' explores Dahmer's effect on Milwaukee

March 10, 2012 |  8:00 am

Jeff_FilmStill_2_Cr-MichaelVollmann

Premiering Saturday as part of the documentary competition at the South by Southwest Film Festival in Austin, Texas, the film "Jeff" paints a quietly unnerving portrait of serial killer Jeffrey Dahmer and his effect on the people of Milwaukee. Interviews with Dahmer's former neighbor, the police detective who took his confession and the city medical examiner are intercut with fictional scenes of Dahmer at his most normal and mundane, out in the world like anyone else. Sometimes evil too must ride the bus.

The meditative hybrid film is the feature debut for 29-year-old director Chris James Thompson, who works in the Milwaukee office of Chris Smith, maker of the seminal documentary "American Movie." It was Thompson's friend Frankie Latina, director of the nouveau-exploitation film "Modus Operandi," who initially kept encouraging Thompson to make a film about one of their city's most notorious residents, a man found guilty of the murder of 17 people. Thompson wasn't interested.

"I think Frankie had this idea that I'd start and he'd sort of commandeer it, to make this crazy, violent Jeffrey Dahmer slasher film," said Thompson during a recent call from Milwaukee. "And I wanted nothing to do with that, but he kept bringing me magazines and books and movies and all this stuff he would find to convince me to start shooting a Jeffrey Dahmer film. What I realized was that no one had ever done a respectable job telling the story."

When Dahmer was arrested in 1991, Thompson was often shuttling back and forth between the homes of his recently divorced parents in Madison, Wis., and Milwaukee. Even then he recalled being struck by the difference in how people talked about the story from outside and inside Milwaukee. That same distinction came to him from his research on Dahmer.

"None of it seemed like it paid the respect that the city deserved," he said. "It all felt like it was told by outsiders and none of it felt like it did the city any justice. They never really got to the point of letting anyone from Milwaukee talk, about how it affected them or how they felt or what it did to their lives. It had such a crazy effect on so many people here, yet everyone just came in like, 'What was wrong with him?' as opposed to 'How did you deal with it?' "

Enlisting another local filmmaker, Andrew Swant, as his lead, Thompson began to make a fictional film about the everyday Dahmer, walking around, riding the bus, everything but his horrific acts. It was only after he had begun filming that he decided to talk to some of the people who were affected by Dahmer, transitioning his film from fiction into documentary.

That began an odyssey of wooing onetime neighbor Pamela Bass, former medical examiner Dr. Jeffrey Jentzen and former detective Patrick Kennedy into participating; all had grown weary of talking about the man they hadn't invited into their lives.

"They each had this list of things that had happened to them they just assumed no one wanted to hear," Thompson said. "It had never been done that way, when they get to talk about every single thing from their own point of view. It's always been Dahmer, Dahmer, Dahmer, it's never been their side of it."

Kennedy described the striped shirt that Dahmer wore in a now famous courtroom appearance, memorialized on the cover of People magazine, and how it actually belonged to Kennedy's son. It was just the kind of disarmingly personal information Thompson was looking for. 

"He was so surprised anyone cared about that part of the story," Thompson recalled. 

The film at times brushes the line of taking a sympathetic view of Dahmer, humanizing him even as he is depicted buying an unusual amount of bleach or awkwardly carting home an oversized blue waste bin.

"It's such a sensitive topic, the list of things I was worried about was endless," said Thompson of his decisions on how to portray Dahmer. "Except I knew that I didn't set out to make him sympathetic. That wasn't my goal.

"Anyone watching the film knows the horrible things he did and would never excuse any of that or make apologies on his behalf. We didn't sit down and say, 'Let's make a sympathetic plea for Jeffrey Dahmer.' It was more, 'Let's make a movie that shows what everyone around him had to deal with.' "

RELATED:

Jessica Biel, Nazis top SXSW midnight movies lineup

SXSW 2012: '21 Jump Street' and 'Cabin in The Woods' aspire to 'Bridesmaids' bouquet

-- Mark Olsen

Twitter.com/indiefocus

Photo: Andrew Swant as Jeffrey Dahmer in "Jeff." Credit: Michael Vollman / "Jeff"


SXSW 2012: 'Gimme the Loot' a freewheeling, inner-city adventure

March 10, 2012 |  5:01 am

Gimme the Loot still BRIGHT

In "Gimme the Loot," the debut feature from writer-director Adam Leon, two Bronx teenagers hustle their way forward with a plan to "bomb the apple" -- graffiti the gigantic apple that is raised in celebration when a New York Mets player hits a home run at the team's stadium.

Premiering Saturday as part of the narrative competition at South by Southwest, the story of "Gimme the Loot" could just as easily be pitched toward harsh, gritty urban drama, but Leon goes for a tone of lighthearted, freewheeling innocence.

"They have fun, they're not bad people and not everything that happens to them is awful," explained Leon by phone recently from New York. "We liked to say they have a crush on juvenile delinquency. It was so essential that this movie not be about the perils of youth or some kind of message film that's very dark. Even the drug dealers, they don't have guns."

Leon, 30, grew up in New York City and has friends who were into graffiti, but his relationship to that world was mostly tangential. It was while casting for his 2009 short film "Killer" that he met a number of graffiti artists and found something special in their swaggering worldview.

"I became really inspired that these kids were like real-life action heroes," he said. "They climb buildings and jump over roofs and run from the cops and have rivalries.

"I tried to write this idea using graffiti as the jumping-off point," he added. "I didn't want to do something that was completely about graffiti, but I wanted the characters to be graffiti writers and to use that to propel an adventure, a road-trip kind of thing."

Ty Hickson was in "Killer" and Leon wrote a part with him in mind. For the female lead of Sofia, who has a platonic but deep bond with Hickson's character Malcolm, Leon cast actress and singer Tashiana Washington.

Set over two sun-soaked summer days, "Gimme the Loot" has a vibrant immediacy as schemes are hatched, sneakers are snatched and maybe a couple of lessons are learned. Leon said the film was completely scripted in advance, but a few scenes were improvised and he worked with the actors to put the dialogue in their own words.

"I wrote it, rewrote it and really wanted the film to capture a freshness, a quickness," Leon said. "So we felt if we could prepare as best we could and really know the material and the characters, then we would be able to try to do it as fast as possible, to be as quick and on the fly as we could, and the backbone of the script would allow us to do that while maintaining the storytelling and capturing a sense of the city, a sense of youth, a sense of adventure." 

RELATED:

'21 Jump Street,' Bob Marley doc to premiere at SXSW 

SXSW 2012: '21 Jump St.,' 'Cabin In the Woods' eye 'Bridesmaids' bouquet

-- Mark Olsen

twitter.com/indiefocus

Photo: Tashiana Washington and Ty Hickson in "Gimme the Loot." Credit: SXSW

 


SXSW: '21 Jump St.,' 'Cabin in the Woods' eye 'Bridesmaids' bouquet

March 8, 2012 |  3:41 pm

21 Jump Street

At one point while putting together the program for this year’s South by Southwest Film Conference and Festival, the event’s producer, Janet Pierson, almost had to stop inviting films because she was concerned there wouldn’t be anywhere for the writers, director and actors to stay. Hotel bookings were up in 2011 from the year before, and finding rooms in Austin, Texas, for this year has been even tougher.

One might think becoming too popular is just the kind of problem the organizer of any event would want.

“People say they are good problems to have,” said Pierson during a recent phone call from Austin. “It’s certainly a problem of success, but it’s not a problem you want, to be clear.”

The festival, commonly known as SXSW, starts Friday with the opening night world premiere of the inside-out genre film “The Cabin in the Woods,” the directorial debut of Drew Goddard, who cowrote the film with Joss Whedon. The festival will show 130 features over its nine-day run in 10 venues ranging from the 1,200-seat Paramount Theater to a 39-seat room at the festival’s newest venue, the local arthouse Violet Crown Cinema.

This year’s edition opens to heightened expectations because of its steadily rising profile and attendance, and the success of last year’s festival, which featured the premiere of “Bridesmaids” before it became a cultural talking-point, box-office sensation and double-Oscar nominee. Last year also had “Undefeated,” which became the first film to world premiere at SXSW and go on to win an Oscar, for documentary.

“Those aren’t the markers,” said Pierson of living up to such successes. “For me, while that stuff is great and I’m super happy about it, to me the success of a film like ‘Weekend’” — filmmaker Andrew Haigh’s gay-themed romance that was an unexpected festival hit — “that’s life-changing in a way. That’s the thing you keep in the back of your head when you’re programming: How can we help completely undiscovered, unknown talent connect with the rest of the world?”

Among the films looking to break-out this year are “Jeff,” a hybrid documentary by Chris James Thompson that explores the effect of serial killer Jeffrey Dahmer on the people of Milwaukee, and “Tchoupitoulas,” the vivid exploration of nighttime New Orleans by documentarians Bill and Turner Ross.

On the narrative side, there is the freewheeling graffiti-culture comedy “Gimme the Loot,” the first feature from Adam Leon; “Leave Me Like You Found Me,” the directing debut of indie producer Adele Romanski; and Austin-based filmmaker Bob Byington’s oddball fable “Somebody Up There Likes Me.”

Although SXSW may be known for its extremely indie fare, having a key role in launching the micro-budget “mumblecore” movement, organizers also have carefully cultivated a relationship to Hollywood. This year will feature the premiere of the movie adaptation/update of the television show “21 Jump Street,” with the film likely benefiting as much from the imprint of SXSW as the festival does from having stars Jonah Hill and Channing Tatum on its red carpet.

“It just says there might be more to this than what you expect,” said Chris Miller, codirector with Phil Lord, of premiering their roughhouse comedy at a film festival. “A ‘21 Jump Street’ movie should be met with some healthy skepticism, but I think that we’ve made something that is smarter than what you would expect and funnier than you might expect, and that South by Southwest wanted to incorporate it as part of its festival speaks to that.”

With its mix of outsider indies and smartly chosen studio films, South by Southwest has carved out a unique space in the festival landscape, with a bigger presence than smaller regional fests yet still apart from the industry-driven markets at the film festivals in Cannes, Toronto or even Sundance.

For Arianna Bocco, senior vice president of acquisitions and productions at Sundance Selects/IFC Films, the distributor who has picked up films such as “Tiny Furniture” and “Weekend” out of SXSW, it was losing out on the opportunity to distribute a low-budget genre film to a competitor that made her realize the fest had come into its own.

“I didn’t go for a couple of years,” said Bocco, who first attended more than 15 years ago, “and then I remember the year that Magnolia bought ‘Monsters’ right after the screening and I was like, ‘I can’t not be there.’ It’s reached that point where it’s competitive on all fronts.”

RELATED:

'21 Jump Street,' Bob Marley documentary to premiere at SXSW

Jessica Biel, Nazis top SXSW midnight movies lineup

— Mark Olsen

Photo: Jonah Hill, left, and Channing Tatum in "21 Jump Street" Credit: Scott Garfield/Columbia TriStar


Bela Tarr: Hungarian auteur on 'Turin Horse' and quitting cinema

February 29, 2012 |  3:34 pm

Belatarr-wide

Hungarian writer-director Béla Tarr’s art-house bona-fides set up his work, fairly or not, as intimidating, impenetrable and overwhelming. His fierce reputation makes “The Turin Horse,” Tarr’s newest and reportedly final film, opening in Los Angeles on Friday, all the more astonishing for its simplicity. Long takes are carefully orchestrated around the tight space of a remote country cabin as an elderly father and his adult daughter steel themselves against a world that seems to be slowly winding down as resources diminish. It’s a slow-motion apocalypse.

With his graying ponytail, leather jacket, penchant for cigarettes and disarmingly direct manner, the 56-year-old Tarr is something of a central casting ideal of an international art-house filmmaker. He sat down for a conversation over cheeseburgers and draft lagers when he was in Los Angeles last fall for the film’s screenings as part of AFI Fest.

Your films have a reputation for being difficult to get through. It’s a badge of honor for some cinephiles just to say they sat through the seven-hour running time of “Satantango.”

It is easy. Easy to watch. It’s three parts, two intermissions. It’s really not a big deal to watch it. It’s just you are not used to that. Usually, when it’s shown anywhere in the world, it’s a weekend program, they start around 2 o’clock in the afternoon and finish around 10, then afterward everybody can go eat something. It’s really just, who was the stupid man — and I know it was here in Hollywood — who decided a film has to be 11/2 hours or maximum two hours?

Do you limit writers and tell Mr. Tolstoy, ‘‘‘War and Peace’ is nice, but it’s too long. We should take out the peace part because it’s boring and nothing happens”? That’s why I find it so stupid to talk about the lengths. I did a five-minute-long movie and it was my haiku. Sometimes, I only need five minutes.

Do you demand more of the audience? Do you want them to put in more effort when watching your films?

It is not an effort. If you are just sitting and watching, that is totally enough. You don’t need any effort. Just trust your eye and listen to your heart. It’s not difficult. Please do not use this word “effort.”

First of all, when you touch the camera, then you are waking up at four in the morning, in the dark, you are driving to the location and it’s cold and everybody hates everybody, it’s too early and you hate the actors, the actors hate you and the catering is bad, the coffee is bad and you hate the whole world. But you know why you do it? I do it for you. And of course I respect you and I know I have to do my best for you, because you are not a kid, you are an adult and you have to have the best. You are waiting for some good scenes, not just only for the stupid entertainment.... Everybody believes that film is just one thing. Surely not.

The story of “The Turin Horse” has its basis in an anecdote about Friedrich Nietzsche hugging a horse he had seen beaten in the street shortly before suffering a mental collapse. Is the horse in the film meant to be that horse? How did it get from Turin to the cottage?

Who cares about Turin? We just had a question — what could happen to the horse? — and we just wanted to tell you something about the horse. I remember the Milan Kundera book “The Unbearable Lightness of Being” and I could say we just did a movie about the heaviness of being. We just wanted to show you how long is life. You are doing your routine but every day is getting dimmer. And the light at the end just disappears, quietly, silent. And that is what we wanted. Not more and not less.

You know what the real human tragedy is? When you are capable, but by the end you cannot do it. You have the capacity, but you have no chance to fulfill your ideas.

Is it difficult for you when someone watches one of your films and then asks you what it was about?

When someone asks, “What about?,” I say, “How can I explain to you a film?” Because film is a picture, you can see with your eyes. How can I explain to you the eye of the horse? I have no words. And that’s the reason I did not become a writer. I’m a filmmaker. I know how to show you. I know the way. It’s impossible to tell you what you will see when you see the eye of the horse.

Why have you decided this will be your last film?

I think I’ve said everything I could.

RELATED: 

Indie Focus: Gerardo Naranjo's 'Miss Bala'

'Bullhead' boosts Michael R. Roskam and Matthias Schoenaerts

Indie Focus: A world of drama in Oscar foreign-language race

--Mark Olsen

Photo: Bela Tarr. Credit: Cinema Guild

 


Oscars 2012: Watch an exclusive clip from Belgium's 'Bullhead'

February 17, 2012 | 10:43 am

Bullhead

"Bullhead" is one of the big surprises of this awards season. A moody, stylish crime picture, the Belgian film is something of a surprise Oscar nominee in the foreign-language category, up against a cadre of more conventionally high-toned dramas. "Bullhead" opens Friday in Los Angeles at the Cinefamily.

In this exclusive clip from the film, the audience meets the main character of Jacky (portrayed in a widely celebrated performance by Matthias Schoenaerts) for the first time. Putting on some 60 pounds for the role, Schoenaerts conveys the sense that Jacky is a wounded animal, trying hard to put his past behind him even as he faces an uncertain future. A cattle farmer, Jacky finds himself caught up in a criminal underworld of hormone-dealing hoodlums. As this scene shows, Jacky is no pushover, but nevertheless winds up in over his head.

In an interview in Los Angeles last week, Michael R. Roskam, writer and director of "Bullhead," talked about the scene as the introduction to this uniquely configured character.

"I wanted to do many things in that scene," Roskam said. "First of all, creating the right tone with the camera and the movement. What's the environment: farms. What's it about: something illegal. The way he talks, it's intimidating and you feel immediately this is a gangster style.

"But at the same time, I want you to look at him the way I am looking at him: with a soft eye, tender almost. And that's the complete atmosphere of the scene. He's brutal and then he turns around and is, in a way, nice." 

 

RELATED: 

'Bullhead' boosts Michael R. Roskam and Matthias Schoenaerts

Indie Focus: A world of drama in Oscar foreign-language race

Indie Focus: Gerardo Naranjo's 'Miss Bala'

-- Mark Olsen

twitter.com/indiefocus

Photo: Sam Louwyck in the Belgian film "Bullhead". Credit: Savage Films.

Clip: Drafthouse Films


Sundance 2012: 'Beasts,' drug war doc win grand jury prizes

January 28, 2012 |  8:57 pm

John Cooper, director of the Sundance Film Festival.

The Sundance Film Festival wrapped up Saturday night in Park City, Utah, with "Beasts of the Southern Wild," directed by Benh Zeitlin, taking the grand jury prize in the U.S. dramatic competition. 
"The House I Live In,"  a look at the war against drugs and the American penal system directed by Eugene Jarecki, was awarded the grand jury prize for U.S. documentary.

"Beasts" had been the clear favorite in the dramatic category throughout the festival. The film is an expressionistic, uplifting fable of a little girl (Quvenzhane Wallis) and her father (Dwight Henry) struggling to survive on the Southern Delta in the face of poverty and flooding.

As the cast and crew took to the stage to accept the prize, Zeitlin  declared, "I hope this film is just like a flag that goes up" in inspiration to other filmmakers.

"Violeta Went to Heaven," directed by Andres Wood, a film about singer Violeta Parra, won the World Cinematic Dramatic Jury prize. The jury prize for World Cinema Documentary went to Ra'anan Alexandrowicz for "The Law in These Parts," about the legal system in Israel and the  Palestinian territories.

The audience prizes went to Ben Lewin's "The Surrogate" in the U.S. dramatic category and Kirby Dick's "The Invisible War," about rape in the military, for U.S. documentary. "Valley of Saints" won with audiences in the world cinema dramatic category and "Searching for Sugar Man" won in the  world cinema documentary contest. "Sleepwalk With Me," written, directed by and starring Mike Birbiglia, won the Best of NEXT audience award.

PHOTOS: The scene at Sundance 2012

Other winners in the U.S. dramatic category were Ava DuVernay for directing "Middle of Nowhere" and Ben Richardson with "Beasts of the Southern Wild" for cinematography.  The Waldo Salt Screenwriting Award went to Derek Connolly for "Safety Not Guaranteed."

A special jury prize went to producers Jonathan Schwartz and Andrea Sperling who had both "Smashed" and "Nobody Walks" in the competiton. A special jury prize also went to the ensemble cast of "The Surrogate," which includes John Hawkes, Helen Hunt and William H. Macy. 

In the U.S. documentary category, Lauren Greenfield won for directing "The Queen of Versailles," Enat Sidi won for editing on "Detropia," and Jeff Orlowski with "Chasing Ice" for cinematography.

There were two special jury prizes, for "Love Free Or Die" and "Ai Weiwei: Never Sorry." 

The awards ceremony was to be have been hosted by long-time Sundance favorite Parker Posey, but at the opening of the show John Cooper, director of the festival, announced that Posey had taken ill and was unable to attend. "This is real," he said to the crowd who assumed it was some kind of comedy bit.

Rather, he brought up actress and filmmaker Katie Aselton, at the festival with her film "Black Rock," to serve as co-host.

The evening also included a tribute to Bingham Ray, the veteran film executive, stalwart festival presence and leading champion of independent film who died this week after suffering a stroke at the festival.

Cooper took pause and choked up as he read a statement which noted Ray's was "a career that almost perfectly paralleled the rise of independent film in America." 

Full list of winners:

Continue reading »

Sundance 2012: Tim and Eric walk into a film festival

January 28, 2012 |  2:57 pm

Comedians Tim Heidecker, left, and Eric Wareheim in Park City, Utah.
Nobody does absurdity quite like Tim Heidecker and Eric Wareheim, better known by their personas of Tim and Eric:  hapless bunglers with a mean streak, part lovable friends, part total jerks. So it somehow makes sense they should have two very different projects this year at Sundance, a place where absurdity often reigns, a weird mix of glitz and grunge, scrounging and branding, swag in the snow.

The duo premiered their own debut feature film, "Tim and Eric's Billion Dollar Movie" here as part of the Midnight section, playing to crowds beyond their usual fans. They also both appear as actors in the Narrative Competition film "The Comedy," directed by Rick Alverson. One film is a ridiculous tour of their comedic world and the other a quietly crushing look at coming to the stark realization of what a mess you are.

Continue reading »

Sundance 2012: The unbelievable truths of 'The Imposter'

January 27, 2012 |  5:35 pm

 

The_Imposter_filmstill3_AdamO_Brian_byErikWilson

"The Imposter," screening as part of Sundance's World Cinema Documentary Competition, is just the sort of thing that makes people say truth is stranger than fiction. Telling the story of how a 23-year-old French Algerian man in Spain with dark hair and dark eyes came to pass himself off as a blond-haired, blue-eyed boy from Texas who'd been missing for nearly four years -- fooling international officials and, most incredibly, the boy's family -- the film is an examination of deception, self-deception and the desire to believe.

Directed by the 36-year-old English filmmaker Bart Layton, who has made many documentaries for British television and with "The Imposter" makes his feature film debut, the film screened Wednesday afternoon to a packed house at the festival's Temple Theatre. At the conclusion, one could sense people in the room collectively shaking their heads in bewilderment, unable to believe some of the twists in the story and asking themselves the core question of "How could they all not know?"

Layton interviewed the impostor, named Frederic Bourdin and now living in France, for two days for the film, and the decision to allow a notorious liar to tell his own story gives the film a specific charge.

"I felt like that was part of the story we were trying to tell," Layton said in an interview following the screening. "I felt if he was manipulating me in the interview, then he was going to be manipulating the audience. I shouldn't try to sanitize or filter that. My thinking was that he should be allowed to do that, and to give the audience the respect they deserve to interpret that the right way."

Continue reading »

Sundance 2012: 'A Fierce Green Fire' tells environmentalist tale

January 27, 2012 |  4:18 pm

Mark Kitchell directed A Fierce Green Fire

Documentaries focused on environmental issues are something of a staple at Sundance. One of last year's entries, "If a Tree Falls: A Story of the Earth Liberation Front," was even just nominated for an Academy Award. But rarely do environmental-themed films come with the ambitious scope of "A Fierce Green Fire: The Battle for a Living Planet," directed by Mark Kitchell and having its world premiere at the festival, which aims at nothing less than the history of environmentalism itself.

"The main difference between my film and a lot of other environmental films is that instead of it being focused on the issues, ours is focused on the movement and activism," Kitchell said in an interview Thursday afternoon. "I feel that telling stories of activists, taking up the battle and fighting, is the best way to explicate the issues. And that was my main handle on the environmental subject, doing the movement story."

"And nobody had done it yet," he added. "It's a brilliant idea, a hugely ambitious idea and something I feel is very needed. And I guess it was my hubris that I thought I could give meaning to the movement."

PHOTOS: The scene at Sundance

Kitchell is a veteran documentarian based in San Francisco, best known for his Oscar-nominated "Berkeley in the Sixties," about the Free Speech Movement and counter-culture protest. He initially began work on "Fierce Green Fire" in 2000 with the working title "The Environmental History Project," leaving and coming back to it in the intervening years as other work and production financing allowed.

Continue reading »

Slamdance 2012: 'Welcome to Pine Hill' among prize winners

January 27, 2012 | 12:12 pm

6507606807_815d6b40b7_o
The Slamdance Film Festival wrapped up its 18th edition in Park City, Utah, with awards announcements on Thursday night. Taking place at the top of Main Street, the festival -- which runs concurrent with Sundance -- has retained its lo-fi, low-key vibe year-in, year-out even as Sundance has put on the glitz.  Living up to their motto of "By Filmmakers, for Filmmakers," festival co-founder and president Peter Baxter even had a film of his own playing this year, the sporting documentary "Wild in the Streets."

The winner of the grand jury prize for narrative feature was Keith Miller's "Welcome to Pine Hill." A statement from the jury lauded the film "for its poetic and emotionally honest depiction of one man's final journey in life, crafted from a true spirit of humanity and community." A special jury prize for bold originality went to Axel Ranisch's "Heavy Girls."

In the documentary category the grand jury prize went to "No Ashes, No Phoenix," directed by Jens Pfeifer, with that jury noting the film's "adeptly piercing and cinematic look at a basketball team's impassioned struggle not for glory, but to just avoid losing." The short documentary award went to "The Professional," directed by Skylar Neilsen.

The audience prizes went to the graffiti artist portrait "Getting Up: The TEMPT ONE Story" by Caskey Ebeling for feature documentary and Andrew Edison's high school comedy "Bindlestiffs" for feature narrative.

Short film prizes went to "Venus" by Tom Fruergaard, "I Am John Wayne" by Christina Choe, "Solipsist" by Andrew Huang and "I'm Coming Over" by Sam Handel.

A Spirit of Slamdance award was given to Axel Ranisch, Heiko Pinkowski and Anne Baeker, the creative team behind "Heavy Girls." The award for cinematography went to Kristina Nikolova for "Faith, Love and Whiskey." A Five Flavors of Filmmaking prize went to Josh Gibson for "Kudzu Vine," a one-minute short created during the festival.

RELATED:

Sundance 2012: Real-life scares at screening of "V/H/S"

Sundance 2012: A dilemma of ethics, power in "Compliance"

-- Mark Olsen, in Park City, Utah

twitter.com/indiefocus

Photo: Still from "Welcome to Pine Hill." Credit: Slamdance Film Festival

 

 


Connect

Recommended on Facebook


Advertisement

In Case You Missed It...

Video







Categories


Archives
 



Get Alerts on Your Mobile Phone

Sign me up for the following lists: