Saturday, October 15, 2011
Friday, October 14, 2011
Thursday, October 13, 2011
For more information, see cinema16.
Wednesday, October 12, 2011
Director Monolo Celi
Film won award from "The Florida Industry Incubator"
The short film was made for the contest that gives team 30 days to shoot and edit a 5-minute short while having a budget of 500 dollars. The film opens with Roberto Lequex , a photographer, sitting having lunch. He sees a family taking pictures and then runs over to help them. He ends up robbing the guy of his really nice DSLR and takes pictures of him as he robs him. I thought that was hilarious the way the actor got so angry and its incredible that Roberto Lequex was actually taking pictures during the filming. I like this film because it is very light hearted and simplistic. Although it has a very linear structure the end is a shot of the gallery with all of the pictures of the shoot! Very cool how the Director and photographer were able to collaborate into making a film and photo shoot into a single piece. I think the filmmakers executed the making of this short effectively and entertainingly.
Tuesday, October 11, 2011
Sundance Film Festival Jury Prize 2003
It’s fairly apparent from the first minute of Stephan Nadelman’s documentary “Terminal Bar” why this film was so well received by juries and audiences on the festival circuit in 2003. The 22 minute feature, told entirely in black and white photographs with minimal live-action footage, is a first hand look into the lives of some of the roughest, slimiest, most interesting characters in New York at a time when the city’s reputation as one of the toughest in the nation was more than deserved.
The film tells the story of Sheldon Nadelman’s ten year bar-tending career at the Terminal Bar, formally located across the street from the Port Authority Bus Terminal in midtown. The short has no dialogue besides narration from a 1982 New York Times article chronicling the bar’s history and ultimately closure, as well as interviews with Sheldon Nadelman (Stephan’s father). Nadelman Sr. took over 2500 photographs during the course of his tenure at the bar, and these photos are edited together stylishly to music to tell the story of the bar’s journey from its Irish working-class roots, to its unintentional rebranding as a predominantly African American gay bar. The short spends the majority of its time focusing on on the portraits that Nadelman took, as he describes the interesting stories of these incredibly eccentric characters, and their lives inside and outside of Terminal.
The strength of the documentary lies in its simplicity, both in delivery and of message. With period-appropriate funk and disco music throbbing in the background, Nadelman Jr. employs fast-paced and editing techniques (panning, tiling, zooms in and out) to keep the montage of gritty, beautiful photographs taken by his father moving at a speed that not only holds the audience’s attention, but reflects the mood and atmosphere of the city and its inhabitants as they passed through the Terminal. The narrator’s vivid anecdotes of the working-class alcoholics, homosexuals, and riff-raff that frequented the bar are as lively as they are depressing, and paint a portrait of the tough, yet fascinating lives of the middle and lower class of New York during the era.
There’s a particularly poignant moment towards the end of the film that serves as a sort of thesis for the short. In the Times article about the closing, Nadelman says “[People] come out there in the morning, step over the bodies, and go to work. And they step over them on the way back. And nobody says nothing. When one person’s lying in the street, everyone’s lying in the street.” The photographs that flash behind these words echo this sentiment, and show the harshness of the time, and help the audience understand why so many of New York’s dejected masses wandered into the bar, to enjoy the moment, and escape.