For 10 days in January most of New York’s film insiders (makers, buyers, sellers, marketers, critics, prorgramers, and execs) relocate to Park City, UT. For another ten days in May and ten more in September, many head to Cannes and Toronto respectively. The remaining 335 or so days each year, NYC is the heart of the U.S. independent, specialty, arthouse, and/or Indiewood film scene.
Back in Manhtattan this morning, fueled by jet-lag insomnia, I am catching up with email and 2 weeks worth of online reading that I put aside while in France. David Carr’s recent New York Times piece about NYC fostering “a commercial brokerage and cinematic salon devoted largely to the ‘little’ film (New York: ‘Little’ Films Grow Big)” caught my eye (in part because it offers much appreciated link to indieWIRE). But also, it is a useful snapshot as I put the final touches on plans for a class I will be teaching at The New School next month:
A peculiar hallmark of New York’s cinematic counterculture is the role that the city’s intense, sophisticated audience has played in pushing once-fragile films like ”Open Water” and ”Garden State” into prominence. Often, small movies that break out have taken root on a single screen at the Angelika Film Center, Film Forum or Lincoln Center, where an enthusiastic reception has opened the door to a wider audience in other cities and on DVD. That audience seems to renew itself each generation, with fans of newer styles and genres (like Asian horror or Dogme, the Danish-based film movement) joining the aging cin