The two men behind the new online journal Interiors are plotting out their film geekdom in the form of architectural floorplans of some of their favorite films. Armen Karaoghlanian studied film at USC and Mehruss Jon Ahi studied architecture. Ahi's thesis for school was a floorplan and exploration of David Fincher's film "Panic Room." When Karaoghlanian got ahold of the thesis, he knew that the two could easily join forces to make an interesting, analytical resource for film fans interested in art direction, set design and direction.
It's no secret that Brooklyn is becoming a formidable home for independent cinema. The borough of Brooklyn, which has so many people that it would be the fourth largest city in the country if it was an independent city, is fast becoming an important player in independent film exhibition. In the past few years, Indiescreen, reRun, Spectacle and Nitehawk Cinemas have all joined Rooftop Films and the BAM cinemas in creating an exciting exhibition culture. As more cinemas are opening in the borough, the BAMcinemaFest is becoming a robust force in the indie world. Brookyn is also, of course, the home to many of the world's most exciting filmmakers.
Cristina Cacioppo was hired by the 92Y Tribeca to help head up their film programming when it opened as a downtown venue for the arts organization 92Y a few years ago, and once she was hired, she noticed a hole in New York repertory film programming right away. "Los Angeles had Cinefamily, and there was the Alamo Drafthouse in Austin, but there wasn't a lot of places to screen cult stuff or less serious films."
As the man behind the repertory cinema guide email and website Screen Slate, Jon Dieringer is a true cinephile's cinephile. His daily guide focuses on film and video screenings, gallery installations, and other events from a wide variety of venues across New York City.
Last week, the Museum of Modern Art announced that its longtime Senior Curator, Laurence Kardish, would retire from his position in October. More than shouldering responsibility for MoMA's continuing reputation as one of New York's preeminent destinations for first-rate cinema both new and old, Kardish has been a fixture of the museum's film department since 1968. Over the course of his 44-year tenure, he has helped usher in a more profound appreciation for the broad scope of film history while also keeping an eye on the present.
Walking into the Contemporary Arts Center in Cincinnati, museumgoers are treated to a wall plastered with the mural work of street artist Shepard Fairey. From the get-go, then, visitors are told they are entering into a world with its fingers on the pulse of the latest trends in contemporary art. The Fairey foyer was not what brought me to the CAC, though. I was brought by a friend to see the museum's Spectacle: The Music Video exhibit, something I was nervous about, thinking I would be spending the next few hours fixing headphones to my head after approaching the TV atop the next pedestal. But as one heads up to the second floor to check out the stellar sculpture work of Francis Upritchard, one begins to hear murmurs of music.
Don't deny it. Even the most committed Criterion Eclipse-set-collecting cinephile has tried-and-true favorites that aren't exactly, well, critic-proof. When you're done eating your cultural vegetables, so to speak, you settle down on the futon for your nineteenth viewing of "Roadhouse." To Matt Carman and Kseniya Yarosh, this particular kind of movie fandom is not just valid; it merits serious celebration. That's why, in 2009, they launched "I Love Bad Movies," their series of zines that compile short, fascinating, and often hilarious essays on glorious cinematic wreckage old and new.
At the end of July, Lawrence Kaufman, the President of the National Stereoscopic Association, will convene a group of 3D afficianados at the annual 3D-Con in Costa Mesa, California. Kaufman told Indiewire about the event, "3D is a passion for me. It's my 8th year as president, our 38th year as an annual convention, we do everything 3D -- we have people that have put together shows, professional shows too, we get to see 3D projection in a great theater - the same Real-D circular solar glasses you get in movie theaters. We'll have Victorian stereo views, 3D comics. Anything 3D."
New York-based film journalist, programmer and newbie video store owner Aaron Hillis, is nothing if not an underdog. "I have this bad habit of getting into failing industries," he told Filmmaker Magazine, shortly after purchasing the established Cobble Hill business Video Free Brooklyn. "I started in print journalism in 2002, got into DVD distribution with Andrew Grant in 2006, then theatrical exhibition in 2010 and here we go, I'm buying a video store in 2012."