Film veterans David Fenkel, Daniel Katz and John Hodges are teaming up on A24, a new distribution company the will launch at next month’s Toronto Film Festival. The company hopes to release eight to 10 films a year, several of them theatrically and all on VOD. It will also produce and acquire movies, including American indie and international titles. Fenkel is best known for starting Oscilloscope Laboratories, the producer/distributor of such celebrating indie titles as WE NEED TO TALK ABOUT KEVIN, MEEK’S CUTOFF, THE MESSENGER and HOWL. The company, the brainchild of former Beastie Boys musician and internet entrepreneur Adam Yauch, will release the European films WUTHERING HEIGHTS (Andrea Arnold), FOUR LOVERS (Antony Cordier) and the Cannes sensation REALITY by Matteo Garrone. As far as the new company is concerned, a joint statement indicated that “we see an exciting opportunity right now for movies in the domestic space especially given all the new ways to target moviegoers and the changes that are happening in the marketplace”. It is always a good news story to have a new distributor on the scene to acquire worthy indie and international films and bring them to the marketplace.
This Is Not Berlin (“Esto no es Berlín”) (Hari Sama) 2 out of 4 stars. What doesn’t sound interesting about a movie detailing the queer art scene of 1980’s Mexico City? I, for one, was all in. Unfortunately, despite centering … Continue reading
Love, Antosha (Garret Price, 2019) 3½ out of 4 stars. The actor Anton Yelchin (1989-2016), who died in a freak accidentin his own driveway, starred in movies both large and small, from the rebooted Star Trek franchise to the highly … Continue reading
Cold Case Hammarskjöld (Mads Brügger, 2019) 4 out of 4 stars. Dag Hammarskjöld (1905-1961) was the second Secretary-General of the United Nations, serving from 1953 until his death in a plane crash in Africa. An idealistic and militant soul, the … Continue reading
Luce (Julius Onah, 2019) 3½ out of 4 stars. In Luce, director Julius Onah makes up for having afflicted The Cloverfield Paradox on us by delivering a gripping, thought-provoking cinematic essay on race, gender, colonialism, class, power and privilege (white … Continue reading