While I’ve been on the road the last few days, these SXSW-related stories have popped up:
– The Spring issue of Filmmaker magazine tries to make sense of this whole “mumblecore” thing, which made waves at SXSW 2007. Which is interesting, because the whole point of these films and why they work, is because they are without expectations or hype. And, now, this “mumblecore” label has stirred both. Regardless, it’s a collective of films and filmmakers that are obviously having an impact on the indie scene this year. Alicia Van Couvering turns in a comprehensive article for the magazine.
– Rachel Boynton’s documentary, Our Brand Is Crisis, has been acquired for its remake rights by none other than George Clooney. Rachel’s doc premiered in competition at SXSW 2005 and enjoyed a theatrical release last year. It’s a spectacular story, so I’m thrilled for Rachel and very optmistic to see what Clooney and company can do with it.
– On her blog, Agnes Varnum recaps some of the coverage (both flattering and puzzling) from her “Blogging About Film” panel during SXSW 2007.
– For Time Out London, Chris Tilly finally publishes his report from SXSW 2007. Among his highlights: King of Kong.
– Yes, we compete against each other for premieres, as this indieWIRE article reports. Some festivals more than others. And, what I see this year more than ever, is the opportunity for new films to premiere at SXSW or Sundance and then play their hearts out at New Directors/New Films-Sarasota-Atlanta-Nashville-Hot Docs-Maryland-Boston. It would be a shame if these films making the rounds (among them, Hannah Takes the Stairs, Great World of Sound, Audience Of One, etc.) had to sit out the festival circuit and wait on the shelf instead.
– SXSW 2006 world premiere, Disappearances, has announced a distribution deal through Truly Indie.