Your weekly one-stop-shop for film news, interviews, articles, and videos from the week that was.
Last week, we reported on the historic press conference covering the unveiling of Cannes’ Official Selection. The festival continued rolling out additional programming this week, revealing the Directors’ Fortnight and Critics’ Week lineups.
Meanwhile, the Tribeca Festival has relaunched, minus the “film” in their name but instilled with a renewed sense of purpose. When asked by The New York Times’ Sarah Bahr whether people are eager to return to the event, the festival’s Paul Weinstein, replies, “They’re sure ready from our ticket response. Filmmakers are all coming from out of state. One of them told me, ‘I don’t care if I have to rent a camper and sleep on the way, I am getting there.'”
Speaking of anticipation: Filmmaker Magazine’s Scott Macauley looks beyond Tribeca’s high profile opener, In The Heights, to highlight 12 other films and VR projects worthy of attention.
After burning up Sundance at the start of the year, Theo Anthony’s All Light, Everywhere is now receiving its theatrical release. In an interview with Hyperallergic’s Forrest Cardamenis, Anthony reflects on a segment of the film in which Black students critically consider the moving image. He shares, “We wanted to preserve a certain opacity with those subjects — that was a term we were using all the time, in the tradition of Édouard Glissant, a Martinique philosopher writing a lot about representation in postcolonial societies. People need to maintain a certain amount of opacity, and in that opacity there’s an agency in their own representation.”
Finally, Riz Ahmed took to YouTube this week to decry the ongoing misrepresentation of Muslim characters in mainstream cinema.
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