The 2017 Filmmaker to Filmmaker: Conversations from the Director’s Chair events will feature two highly respected and honored filmmakers, Frederick Wiseman and Robert Greene, both with new projects being released in 2017. The conversation will be a rare opportunity to hear Frederick Wiseman speak about his career and filmmaking process with another filmmaker.
This annual program pairs two complementary film directors on stage together, discussing their artistic vision, process, and bodies of work, surrounded by screenings of their films. The program is endowed through a generous gift from Roberta and Jim Sherman, with an Indiana University Bicentennial Campaign match. Additional support for the visit comes from IU Libraries Moving Image Archive, The Media School, Center for Documentary Research and Practice, Cinema and Media Studies, and Indiana University Libraries.
Frederick Wiseman is a theatre and film director of 43 films, primarily focusing on American institutions. In 2016 he was awarded an Honorary Oscar from the Academy of Motion Picture Arts and Sciences Board of Directors. He is a MacArthur Fellow, a Fellow of the American Academy of Arts and Sciences, the recipient of a Guggenheim Fellowship, and an Honorary Member of the American Academy of Arts and Letters. He has won numerous awards, including four Emmys. In recent years, he directed Beckett’s Happy Days and Vassili Grossman’s The Last Letter at the Comédie Française in Paris, and The Last Letter at Theatre for a New Audience in New York. A ballet inspired by his first film, TITICUT FOLLIES (1967), premieres at the New York University Skirball Theater in 2017.
Robert Greene is a filmmaker and writer whose most recent film, Kate Plays Christine (2016) has won multiple awards, including a Jury Award for Writing at the 2016 Sundance Film Festival. Robert’s previous critically acclaimed documentaries include the Gotham Awards-nominated Actress (2014), Fake It So Real (2011) and the Gotham Awards-nominated Kati With An I (2010). Robert was named among four filmmakers chosen as an inaugural Sundance Art of Nonfiction fellow in 2015. He’s twice been nominated for a Cinema Eye Honors award for Outstanding Achievement in Direction. The Independent named Robert one of their 10 Filmmakers to Watch in 2014.
Patricio Guzmán’s visit has been postponed. New dates have not been determined. He will not be present at any April events.
“A country without documentaries is like a family without a photo album.”—Patricio Guzmán
After the coup d’etat that brought down Salvador Allende, Patricio Guzmán was held in solitary confinement in Santiago’s National Stadium and threatened with execution. He abandoned Chile in November 1973 and has since been making films and living in Cuba, Spain, and France. Six of his films have premiered at the Cannes Film Festival, and he has had recent retrospectives at the British Film Institute and Harvard Film Archive. He is the founder of the Documentary Film Festival of Santiago and has recently been named to the Academy of Motion Picture Arts and Sciences. His heartbreaking trilogy The Battle of Chile is considered one of the best documentary films ever made. Patricio Guzmán’s visit is sponsored by Andrew Mellon Foundation and hosted by the Center for Documentary Research and Practice with support from IU Cinema, The Media School, the Black Film Center/Archive, the College Arts and Humanities Institute, and the Center for Latin American and Caribbean Studies.
The Eighth Annual Film Symposium on New Trends in Modern and Contemporary Italian Cinema featuring the work of filmmaker Roberto Andò is presented by Indiana University’s Department of French and Italian. This series is sponsored by the College of Arts and Sciences, Department of French and Italian, Mary-Margaret Barr Koon Fund, Olga Ragusa Fund for the Study of Modern Italian Literature and Culture, College Arts and Humanities Institute, Provost Lauren Robel, J.D., and IU Cinema.
Born in Palermo, Roberto Andò began his career working as an assistant director for Francis Ford Coppola, Federico Fellini, Michael Cimino, and Francesco Rosi, among others. In 1986, he debuted on stage, directing La foresta-radice-labirinto, a puppet theater work based on an Italo Calvino’s original story. After making several documentaries, Andò directed his debut feature film in 2000, with Il manoscritto del Principe, produced by Giuseppe Tornatore. His debut novel, Il trono vuoto, won the Campiello prize for best first work. From that novel he wrote and directed the film Viva la libertà, for which he won the David di Donatello and Nastro d’Argento awards for Best Screenplay.
This series, a retrospective celebrating the work of Québecois writer-director Philippe Falardeau, is part of the Twentieth-and Twenty-First-Century French and Francophone Studies Colloquium, an annual meeting of the largest interdisciplinary French Studies association in North America, with members from across the world. Constructed around the recurring theme of alienation, Falardeau’s work employs small-scale drama—often infused with wry humor and the dissident perspective of a cultural and linguistic minority within a larger nation—to explore the human consequences of and responses to global
phenomena such as postindustrial capitalism, migration, and cross-cultural misunderstanding. In so doing, his work consistently emphasizes the necessity of solidarity and compassion in order to cope with the challenges of modern life and to understand one’s own identity in relation to the Other. The series is sponsored by the Department of French and Italian, the Mary-Margaret Barr Koon Fund, the College Arts and Humanities Institute, the Office of the Vice-President for International Affairs, the Institute
for European Studies, and IU Cinema.
Named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2014, Ana Lily Amirpour is an Iranian-American director, writer, producer, and actor who is most known for her feature-film debut, A Girl Walks Home Alone at Night, an “Iranian vampire spaghetti western” that rocked the Sundance Film Festival in 2014. Born in England and settled in Bakersfield, Calif., she attended art school at San Francisco State University and graduated from UCLA’s School of Theater, Film and Television. Amirpour has been making films since she was 12 years old: “I make films to make friends,” “It’s just me, lonely, trying to figure out how to be a human being.” Her second feature, The Bad Batch, won the Special Jury Prize at the 2016 Venice Film Festival. The “post-apocalyptic cannibal love story,” as she describes it, is “Road Warrior meets Pretty in Pink with a dope soundtrack” and opens in 2017.
China Remixed reflects all of the ways the arts and humanities of the Chinese cultural diaspora impact Indiana University, and IU in turn engages with the arts and humanities of China. The programs focus on contemporary arts and humanities—cutting-edge cultural activity and research that speaks to today’s world. The festival looks at how the past is translated into the present, how one culture’s traditions adapt to another’s, and how experiences of travel and migration create new identities and communities. Sponsored by the Arts and Humanities Council at IU Bloomington, the Office of the Provost, and IU Cinema.
Dany Laferrière is one of today’s most original writers in French, rooted both in Haiti and Quebec, and only the second Black writer at the prestigious Académie Française in Paris. Laferrière, a collaborator in these three films centered on his work, tells stories of America as a region where the scars of colonialism are evident still in the social and racial hierarchies born out of the growing global economy. The films address issues such as prostitution, sex tourism, and the lasting effects of the Duvalier dictatorship on Haitian society. This series is curated by the Center for Latin American and Caribbean Studies in co-sponsorship with the Creative Writing Program, the Department of French and Italian, the Creole Institute, the Black Film Center/Archive, the Department of Comparative Literature, and IU Cinema.
Despite the “economic miracle” of South Korea’s growth in the late 20th century, millennials describe life there as “Hell-Joseon.” High school and college are hyper-competitive, and there is a severe shortage of well-paying jobs. Economic inequality is increasing, and immigrants fill many low-wage jobs, despite being somewhat unwelcome in a country that has valued ethnic homogeneity. Financial hardships have led many millennials to give up dating, marriage and starting a family. Against this background, these movies approach the general issues of growing up in 21st-century Korea with humor and optimism. This series is sponsored by the Institute for Korean Studies, the Academy of Korean Studies, the Department of East Asian Languages and Cultures, the East Asian Studies Center, and IU Cinema.
Fans of the Indian Cinema presents four recent Indian films that showcase the interplay between fan culture and themes of tough love and survival in Indian cinema. The films screened in this series draw equally from North and South India. The series asks: How is the love of Indian cinema reflected in Indian film culture today? This series is sponsored by the Dhar India Studies Program; the departments of Religious Studies, Anthropology, and Theatre, Drama, and Contemporary Dance; the Center for Documentary Research and Practice; The Media School’s cinema and media studies program and journalism program; and IU Cinema.