Here's your daily dose of an indie film in progress; at the end of the week, you'll have the chance to vote for your favorite.
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"Cinéma, de notre temps: James Benning and Richard Linklater"
A doc portrait of a friendship / a visual essay that sets out to find
connections between the work & lives of two American visionaries.
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.
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 Independencia.fr
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 (redshoes.fr
) / Bando à parte (www.bandoaparte.com
) / the Bear Media (www.thebearmedia.com
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
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