The 2012 SXSW Film Festival opened with the world premiere of THE CABIN IN THE WOODS, a film that outwardly appears like a new spin on the classic teenage slasher movie but is ultimately about — and I supposed this is a little bit of a SPOILER, if a film’s themes can be spoiled — movies and their audiences: why they’re made, why they’re watched, and the lengths filmmakers go to please their viewers, even if their viewers are bloodthirsty bastards. THE CABIN IN THE WOODS’ central metaphor, brilliantly developed by director/co-writer Drew Goddard and producer/co-writer Joss Whedon over the course of a film that is funny, scary, and very smart, is specifically about horror movies. But it applies equally well to films of all genres, and particularly to the sort of stuff that premieres at film festivals, where directors often spend years of their lives and every dollar they have for the opportunity to present their vision of the world to an audience.
south by southwest
Every week there are dozens of film news stories. Every week, we read them all and bring you the five most important ones in the single most important blog post you’ll ever read (today [at this moment]). This week: SXSW hands out some awards, Kevin Smith tries releasing other filmmakers’ movies via SModified distribution, and David Cronenberg tries TV.
Every week there are dozens of film news stories. Every week, we read them all and bring you the five most important ones in the single most important blog post you’ll ever read (today [at this moment]). This week: SXSW kicks off, a BULLY finds love in Canada, and the Olsens find a new calling.
South By Southwest is one of the select few festivals where industry and acquisitions types show up to do business, namely the business of buying films. Sundance Channel got into the action this year by acquiring the North American broadcast rights to the controversial documentary 638 WAYS TO KILL CASTRO [www.638waystokillcastro.com]. Magnolia Pictures also swooped…