Cinéma, de notre temps

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"Cinéma, de notre temps: James Benning and Richard Linklater"

Tweetable Logline:

A doc portrait of a friendship / a visual essay that sets out to find connections between the work & lives of two American visionaries.

Elevator Pitch:

In 1985, Richard Linklater began a film screening society in Austin, Texas, that aimed to show classic films to a budding community of cinephiles. Eventually incorporating as a nonprofit, the newly branded Austin Film Society raised enough money to fly in their first out-of-town invitee: filmmaker James Benning. Starting in the ’60s, Benning had been creating non-narrative films largely on his own, while Linklater had just begun to craft his first 8mm shorts. Ever since their first meeting, the filmmakers have remained close, even as their careers have wildly diverged. This documentary explores their unique friendship and relationship to cinema.

Production Team:

Director: Gabe Klinger (first feature film)

André S. Labarthe - co-founder and longtime producer of French TV series "Cinéma, de notre temps"/"Cinema of Our Times"
Rodrigo Areias - "Centro Historico", "The Three Disasters" (premiering Critics' Week in Cannes 2013)
Berndt Mader - "Prince Avalanche", "5 Time Champion"
Eugenio Renzi - former critic "Cahiers du Cinema", founder/editor of

Cinematographer: Eduard Grau ("A Single Man", "Quixotic", "Animals")
Editors: Danielle Anezin ("Rapt", "Tokyo Eyes", "Abel Ferrara: Not Guilty") and Gabe Klinger
Sound: Justin Hennard ("Bernie", "Before Midnight")
Second Camera Operator: Peter Simonite ("The Tree of Life", "To the Wonder")

A presentation of red shoes | SOME SHOES ( / Bando à parte ( / the Bear Media (

About the Production:

For me both filmmakers embody historical and contemporary notions of America, its follies and its splendors. Beyond surface differences, Benning and Linklater are similar in that their films demonstrate formal and thematic preoccupations with duration, the reconstruction of time and memory, mathematical structures, cinematic traditions, and the representation of history past and present, especially those of marginalized and under-represented peoples. Using American landscapes, cultural artifacts (music, artworks, etc.), and human figures, they are often working towards analogous ends. This is the thesis that I wanted to explore in my film. - Gabe Klinger

Current Status:


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