Honest thoughts and analysis about films and documentaries, film distribution, film festivals, and the independent film industry from journalist, author, professor, and programmer Anthony Kaufman.
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While doing research for this latest article in Filmmaker Magazine (“Putting the Art in Artificial”), I was struck by a story in a publication called The Logic from earlier this year about Canadian visual effects artists being recruited via Linkedin to work on short-term contracts for Meta.
I am not writing this because I care about the Oscars.
"Remember, remember, the [third] of November"
But wait, are they documentaries?
And how bad actors manipulate the process with manufactured urgency.
And let's talk about the releases of "Steal This Story, Please!" and "Ask E. Jean"
And beware of other for-profit companies (from Amazon to Tribeca)
Ukraine, Gaza, and now... the U.S.?
It's Simple; Don't Work with Paramount
Don't ask Google.
In a post-PSKY-WBD merger, could documentaries at HBO, CNN, and Alex Gibney's long-awaited "Musk" also be left in the lurch?
And Let's Buy Letterboxd!
After over a decade of the Festival's L’Œil d’or, docs are still second class on the Croisette
And other takeaways on doc exhibition from the Doc10 film fest
High net-worth individuals and philanthropists are often Golden Mushrooms, until they're Fire Snakes
Filmmakers who look to global media platforms for promotion and distribution need to tread carefully.
On a single day, people around the globe watch an estimated 1 billion hours of video on YouTube, making it the largest streaming platform in the world.
What We Can Learn from Those Across the Pond
Just a few days before my latest article for Filmmaker Magazine, about the rise of new independent film distribution companies, was going to publish, one of those very companies, Row K, was revealed in multiple reports to be facing financial troubles and its top executives heading for the exits.
Dear filmmakers, it's not just you.
