The eighth annual Nitehawk Shorts Festival is upon us!
IndieWire can exclusively announce highlights from the upcoming Nitehawk Shorts Fest, running March 2–6 at both the Nitehawk’s Prospect Park and Williamsburg locations.
The Nitehawk Shorts Festival celebrates independent filmmaking by featuring over 60 short films, with filmmakers in attendance for Q&As. Continuing its mission to represent diverse backgrounds, voices, and perspectives with a selection of exceptional short-form films, female-directed films make up a majority of this year’s festival program.
The festival will include six programs: Opening Nite, Music Driven, Midnite, Matinee, NoBudge, and Closing Nite. Opening and Closing Nite shows will take place at the Prospect Park location, with post-screening parties hosted in the Trees Lounge bar. Music Driven, Midnite, Matinee, and NoBudge will be at the Williamsburg location.
“We have been eager to get the Nitehawk Shorts Festival back up and running, since it has become such an...
IndieWire can exclusively announce highlights from the upcoming Nitehawk Shorts Fest, running March 2–6 at both the Nitehawk’s Prospect Park and Williamsburg locations.
The Nitehawk Shorts Festival celebrates independent filmmaking by featuring over 60 short films, with filmmakers in attendance for Q&As. Continuing its mission to represent diverse backgrounds, voices, and perspectives with a selection of exceptional short-form films, female-directed films make up a majority of this year’s festival program.
The festival will include six programs: Opening Nite, Music Driven, Midnite, Matinee, NoBudge, and Closing Nite. Opening and Closing Nite shows will take place at the Prospect Park location, with post-screening parties hosted in the Trees Lounge bar. Music Driven, Midnite, Matinee, and NoBudge will be at the Williamsburg location.
“We have been eager to get the Nitehawk Shorts Festival back up and running, since it has become such an...
- 2/1/2022
- by Samantha Bergeson
- Indiewire
Nitehawk Cinema is expanding its programming team.
The chain, which has branches in Williamsburg and Prospect Park, in Brooklyn, N.Y., has hired Cristina Cacioppo and Desmond Thorne to augment its programming staff. They will both report to John Woods, Nitehawk’s director of programming and acquisitions.
Cacioppo most recently programmed for the Alamo Drafthouse in downtown Brooklyn, where she oversaw the repertory programming, and spearheaded new film series and events. She has been a film programmer for the past two decades, having previously headed up the 92nd Street Y’s Tribeca film program. She is the co-director of the New York branch of the Miskatonic Institute of Horror Studies, has an ongoing column, “The Outskirts,” for Screen Slate, and has written on occasion for Mubi.
Thorne worked on the programming team at NewFest, New York’s LGBT film festival, for three years, as both a festival programmer and a consultant for their year-round programming.
The chain, which has branches in Williamsburg and Prospect Park, in Brooklyn, N.Y., has hired Cristina Cacioppo and Desmond Thorne to augment its programming staff. They will both report to John Woods, Nitehawk’s director of programming and acquisitions.
Cacioppo most recently programmed for the Alamo Drafthouse in downtown Brooklyn, where she oversaw the repertory programming, and spearheaded new film series and events. She has been a film programmer for the past two decades, having previously headed up the 92nd Street Y’s Tribeca film program. She is the co-director of the New York branch of the Miskatonic Institute of Horror Studies, has an ongoing column, “The Outskirts,” for Screen Slate, and has written on occasion for Mubi.
Thorne worked on the programming team at NewFest, New York’s LGBT film festival, for three years, as both a festival programmer and a consultant for their year-round programming.
- 9/20/2021
- by Brent Lang
- Variety Film + TV
Clémence Polès at Happy Bones on The Music Of Regret and My Art director Laurie Simmons and Women Without Men and Looking For Oum Kulthum director Shirin Neshat at Fffest: “They both are artists that are filmmakers as well and I thought a conversation could be interesting.” Photo: Anne-Katrin Titze
The 2nd annual Fffest screened Bette Gordon’s Variety and I-94; Kirsten Johnson’s Cameraperson with Sofia Bohdanowicz’s Veslemøy’s Song; Nadia Farés’s Honey And Ashes; Kei Fujiwara’s Organ with Shinya Tsukamoto’s Tetsuo: The Iron Man; Shirin Neshat’s Women Without Men with Forough Farrokhzad’s The House Is Black; Laurie Simmons’ The Music Of Regret, and a Women From Ghetto Film School free short film programme.
Laurie Simmons with Shirin Neshat on the Fffest red carpet Photo: Anne-Katrin Titze
A panel with Erin Lee Carr (I Love You Now Die), Desiree Akhavan (The Miseducation Of Cameron Post), Dianna Agron,...
The 2nd annual Fffest screened Bette Gordon’s Variety and I-94; Kirsten Johnson’s Cameraperson with Sofia Bohdanowicz’s Veslemøy’s Song; Nadia Farés’s Honey And Ashes; Kei Fujiwara’s Organ with Shinya Tsukamoto’s Tetsuo: The Iron Man; Shirin Neshat’s Women Without Men with Forough Farrokhzad’s The House Is Black; Laurie Simmons’ The Music Of Regret, and a Women From Ghetto Film School free short film programme.
Laurie Simmons with Shirin Neshat on the Fffest red carpet Photo: Anne-Katrin Titze
A panel with Erin Lee Carr (I Love You Now Die), Desiree Akhavan (The Miseducation Of Cameron Post), Dianna Agron,...
- 11/3/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Infinite Fest is a monthly column by festival programmer and film critic Eric Allen Hatch, author of the recent “Why I Am Hopeful” article for Filmmaker Magazine, tackling the state of cinema as expressed by North American film festivals.RukusI didn’t go to Indie Memphis Film Festival last year, but I’m not going to let that stop me from calling it an important event. The festival, now headed into its 22nd year, has long been on my list to check out, up there with Sarasota, Cucalorus, and Sidewalk in terms of southern regional fests colleagues held in high regard that I haven't yet made it down for. I won't be repeating that mistake in 2019.I’ve been addicted to film festivals, both as an attendee and programmer, for twenty-plus years—long enough to recognize, and filter accordingly, the post-coital glow one often encounters at festival’s end on social media.
- 1/14/2019
- MUBI
No one would accuse New Yorkers of being starved for options when it comes to going to the movies. From cultural institutions like Film Society of Lincoln Center, BAMcinématek, Museum of the Moving Image, and Film Forum, to indie theatres IFC Center and Nitehawk, to bar/theatre hybrids Videology and Syndicated, to the many, many multiplexes, you’ll never hurt for options when it comes to finding a great film to see on the big screen on any given weekend. Exciting newcomers like Metrograph proved it is still possible to make an impact with even the most jaded NYC cinephiles, while the fate of upscale theatres like iPic is yet to be seen.
But despite this bounty of riches, things are about to get even more exciting because after five years and a few false starts, the Alamo Drafthouse is finally opening in Downtown Brooklyn. (The official opening date is Friday,...
But despite this bounty of riches, things are about to get even more exciting because after five years and a few false starts, the Alamo Drafthouse is finally opening in Downtown Brooklyn. (The official opening date is Friday,...
- 10/26/2016
- by The Film Stage
- The Film Stage
For years now, New York’s film community has been eagerly awaiting the arrival of its very own Alamo Drafthouse, the vibrant independent theater chain based in Austin. And now, it seems, it may actually happen. But when? “Soon,” said founder and CEO Tim League during a discussion at Ifp’s Made in New York Media Center on Tuesday.
Read More: Beloved Theater Chain Alamo Drafthouse Set to Open Brooklyn Location This Summer
While the Brooklyn venue was expected to arrive months ago, League explained that the delay had been caused by a fire alarm control panel that somebody accidentally blew up. “We’re ready to go — the projectors have all been tested and it’s very nice looking inside.” The 25th location for the chain will have seven screens and is located at 445 Gold Street, near the Atlantic Avenue terminal in Brooklyn.
Like all Alamo Drafthouse theaters, the newest...
Read More: Beloved Theater Chain Alamo Drafthouse Set to Open Brooklyn Location This Summer
While the Brooklyn venue was expected to arrive months ago, League explained that the delay had been caused by a fire alarm control panel that somebody accidentally blew up. “We’re ready to go — the projectors have all been tested and it’s very nice looking inside.” The 25th location for the chain will have seven screens and is located at 445 Gold Street, near the Atlantic Avenue terminal in Brooklyn.
Like all Alamo Drafthouse theaters, the newest...
- 7/13/2016
- by Graham Winfrey
- Indiewire
“Movie Houses of Worship” is a regular feature spotlighting our favorite movie theaters around the world, those that are like temples of cinema catering to the most religious-like film geeks. This week, we highlight an NYC favorite that is sadly being shut down. If you’d like to suggest or submit a place you regularly worship at the altar of cinema, please email our weekend editor. 92YTribeca Location: 200 Hudson St., New York, NY 10013 Opened: October 2008, as part of a new performance space and satellite location for the 92nd Street Y No. of screens: 1 Current first-run titles: There are no extended runs of new films, but there are many one-off premieres of new indies, as well as preview screenings. Repertory programming: Unlike a lot of the repertory programming in the NYC metro area, the selections of film programmer Cristina Cacioppo are aimed at the nostalgia of those of us in our twenties and thirties. So...
- 3/24/2013
- by Caitlin Hughes
- FilmSchoolRejects.com
This December, Mubi will be presenting a small Tony Scott retrospective in New York at 92YTribeca. See below for the films, dates and notes. All movies will be shown on film.
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American cinema lost one of its great, unsung, emigre directors when Tony Scott mysteriously took his life earlier this August. A pioneer in the commercial advertisement aesthetic of the 80s, Scott would take that aesthetic and build upon it, transferring it to a post-9/11 world with hyperfast cutting and camerawork that would eventually come to define the decade and the director. Gina Telaroli and I, working with 92YTribeca's Cristina Cacioppo, have assembled a program featuring one key film from each of Scott's three American periods. To draw out some of the best and overlooked qualities of his small but aesthetically and thematically coherent oeuvre, we're also accompanying each film with a short from the avant-garde, and completed the package...
***
American cinema lost one of its great, unsung, emigre directors when Tony Scott mysteriously took his life earlier this August. A pioneer in the commercial advertisement aesthetic of the 80s, Scott would take that aesthetic and build upon it, transferring it to a post-9/11 world with hyperfast cutting and camerawork that would eventually come to define the decade and the director. Gina Telaroli and I, working with 92YTribeca's Cristina Cacioppo, have assembled a program featuring one key film from each of Scott's three American periods. To draw out some of the best and overlooked qualities of his small but aesthetically and thematically coherent oeuvre, we're also accompanying each film with a short from the avant-garde, and completed the package...
- 11/19/2012
- by Daniel Kasman
- MUBI
Cristina Cacioppo was hired by the 92Y Tribeca to help head up their film programming when it opened as a downtown venue for the arts organization 92Y a few years ago, and once she was hired, she noticed a hole in New York repertory film programming right away. "Los Angeles had Cinefamily, and there was the Alamo Drafthouse in Austin, but there wasn't a lot of places to screen cult stuff or less serious films." After graduating college, Cacioppo started a decade ago working as an intern for Christine Vachon's Killer Films and at the Ocularis film screening series at the Galapagos Art Space, which at the time was in Brooklyn's Williamsburg neighborhood. After a few years doing that, Cacioppo moved to Boston where she put together several screenings and series at universities and libraries. Soon after coming back to New York, Cacioppo got the job at 92Y Tribeca,...
- 8/10/2012
- by Bryce J. Renninger
- Indiewire
Bastards Of Hitch at 92YTribeca
Alfred Hitchcock. First, his name became synonymous with suspense. Then, his carefully cultivated and marketed brand of storytelling grew into its own veritable sub-genre of psycho-sexual thrillers. Today, his uniquely recognizable personal style and tone continues to influence generations of filmmakers’ tendencies as well as filmgoers’ expectations.
For this coming August, I programmed six movies influenced by the Master of Suspense to be screened at 92YTribeca (all on 35mm film): Jonathan Demme’s early exercise in paranoia amidst a world of double-crossing special agents; Richard Attenborough’s distorted reimagining of Psycho with a terrifying ventriloquist’s dummy sitting in for Norman Bates’ mother; Saul Bass’ sole directorial outing about a killer swarm (ants, not birds); an eminently elegant and dryly sardonic neo-noir mindgame from David Fincher; Nicolas Roeg’s own take on a story by frequent Hitchcock inspiration Daphne du Maurier; and a mid-career...
Alfred Hitchcock. First, his name became synonymous with suspense. Then, his carefully cultivated and marketed brand of storytelling grew into its own veritable sub-genre of psycho-sexual thrillers. Today, his uniquely recognizable personal style and tone continues to influence generations of filmmakers’ tendencies as well as filmgoers’ expectations.
For this coming August, I programmed six movies influenced by the Master of Suspense to be screened at 92YTribeca (all on 35mm film): Jonathan Demme’s early exercise in paranoia amidst a world of double-crossing special agents; Richard Attenborough’s distorted reimagining of Psycho with a terrifying ventriloquist’s dummy sitting in for Norman Bates’ mother; Saul Bass’ sole directorial outing about a killer swarm (ants, not birds); an eminently elegant and dryly sardonic neo-noir mindgame from David Fincher; Nicolas Roeg’s own take on a story by frequent Hitchcock inspiration Daphne du Maurier; and a mid-career...
- 7/13/2012
- MUBI
The days of stifling your tears in the theater are over! Indeed, wails are welcomed at New York's 92nd Street Y TriBeCa, which is ushering in a new brand of interactive movie watching: communal crying! On January 28, the 92nd Street Y will kick off this cry-fest with a screening of 1988's "Beaches." The goal is to "experience this tearjerker in an environment where shameless weeping is encouraged." Tissues will also be available. "Beaches," directed by Garry Marshall, narrates the lifelong friendship of Bette Midler and Barbara Hershey -- love triangles, failed marriages, motherhood -- ending with (sniffle) a terminal illness. Despite critical scorn, the film has muscled its way into the tearjerker hall of fame and thanks to Midler's karaoke-approved ballad, "Wind Beneath My Wings," "Beaches" has remained (mostly with a wink) a part of popular culture. Cristina Cacioppo, the film programmer at the 92nd Street Y TriBeCa, said choosing...
- 1/20/2012
- by Jessie Heyman
- Moviefone
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