The New York Times

“Vulture” Calls “THE RETURNED” “A Class Act,” While “The Guardian” Calls It “Brooding And Meditative”

“Vulture” Calls “THE RETURNED” “A Class Act,” While “The Guardian” Calls It “Brooding And Meditative”

Even ten months after its premiere on SundanceTV, THE RETURNED is still earning the undying respect of critics and fans alike. With its admirable restraint and moody depiction of the dead’s complicated return, it’s no wonder that “The Guardian” and “Vulture” have hailed the series as “a class act all the way,” and called it “strikingly beautiful.” Check out why critics keep praising this unique and effecting zombie series below.

Sundance Channel gets adventurous with interactive storytelling ad campaign

Sundance Channel gets adventurous with interactive storytelling ad campaign

Sundance Channel announced today that it would be the first ever TV channel to use innovative ADVNTR technology to stage an interactive digital storytelling ad campaign. Entitled “Choose Your Own Adventure”, users will interact with an online pre-roll ad and select various scenarios to play out based on their preference. The promotion is pegged to the premiere of the network’s new drama THE RETURNED which will premiere on Halloween, October 31st at 9:00PM ET/PT.

The difficulties of photographing Japan

The difficulties of photographing Japan

It’s been more than one month since the 9.0 earthquake hit Japan, and the nuclear implications only seem to grow more harrowing by the day. Photographs documenting the disaster abound, and among the most striking are those by AP photographer David Guttenfelder, who lives in Japan with his family. He was away on an assignment when the earthquake hit but rushed back on the next flight he could get, not only to be with his family but to photograph the wreckage awaiting him at home.

Steve Davis' "As American Falls"

Steve Davis' "As American Falls"

From Steve Davis’ series “As American Falls.” Click through for more images.
The New York Times recently interviewed photographer Steve Davis, whose latest project “As American Falls” took him back to his roots in American Falls, Idaho, a town that “seems to be dying a death that is as slow as it is unspectacular.” To hear Davis describe the 4,000-person former small farm-based economy (it’s steadily succumbed to “agribusiness and big-box retailers”), American Falls, with its cheerleaders, high school sports teams and fading hardware stores sounds like a stand-in for the town in LAST PICTURE SHOW. “The movie theatre burned down. The bowling alley burned down. A future coal gasification plant for fertilizer production is seen by many as the town’s best hope,” Davis said. “I felt like I was the only one noticing its collapse.”

Will CRUDE director be forced to surrender his footage?

Will CRUDE director be forced to surrender his footage?

As the world struggles to absorb the devastating implications of the oil spill currently glugging untold barrels of crude into the Gulf of Mexico, while the companies involved point fingers at each other and decline to fully admit their mistakes, another oil-related drama has been playing out in a federal court in New York.

Chevron, the oil giant at the center of Joe Berlinger’s documentary CRUDE, which opened at the Sundance Film Festival in January 2009, has petitioned the court to allow it to subpoena more than 600 hours of footage shot for his film. The film tells the story of a group of Ecuadoreans who are suing the oil company, contending that it poisoned their people by dumping 18 billion gallons of toxic oil waste into their rivers and onto their land in what has become known as “Amazon Chernobyl.”

Chevron is seeking a dismissal of the suit, which has dragged on for years, and believes that the footage may help its case. But Berlinger’s attorneys have argued that the director should be offered the same privileges that all investigative journalists receive, allowing them to protect confidential sources and information. They insist that forcing him to turn over the footage would violate his rights under the First Amendment and constitute a breech of the confidentiality agreements he’d established with the people who appear in the film.

A little more than a week ago, the ruling came back.