PicoBlog

Hal Hartley (b. 1959) is an American filmmaker, screenwriter, composer, and novelist born and based in New York. Throughout his decades-long career, Hartley has crafted over a dozen feature films—and more than a dozen shorts—that are highly attuned to the musicality of language, bolstering his dialogue’s deadpan humor and amiable charm. He first came to prominence with his debut feature, The Unbelievable Truth (1989), and released multiple critically acclaimed works throughout the following decade, including Trust (1991), Amateur (1994), and Henry Fool (1997).

Angela Schanelec (b. 1962) is a filmmaker born in Aalen, Baden-Württemberg, Germany. Since the early ’90s, she has written, directed, and edited critically acclaimed feature films such as Places in Cities (1998), Passing Summer (2001), Marseille (2004), The Dreamed Path (2016), and I Was at Home, But… (2019). Her latest film, Music (2023), had its premiere on February 21st, 2023, as part of the 73rd Berlin International Film Festival, where it won the Silver Bear for Best Screenplay.

Kelly Reichardt is one of the most important filmmakers working today. Since her 1994 debut River of Grass, Kelly has produced a singular body of work, including the films Old Joy (2006), Wendy and Lucy (2008), Meek’s Cutoff (2010), Night Moves (2013), Certain Women (2016), First Cow (2019), and her latest, Showing Up. In between projects she continues to teach film at Bard College. Her career has also been notable for her decades-long collaborations with actors, cinematographers, and other creative partners.

From the time I was 10, I’ve been obsessed with what it means to grow older. I’m curious about what it means to others, of all ages, and so I invite them to take “The Oldster Magazine Questionnaire.”Here, filmmaker and former journalist Michael Maren responds. - Sari BottonMichael Maren began his film career 25 years ago at the age of 40 after spending 17 years as a journalist writing for The Village Voice, Newsweek, New York Magazine,The New York Times, Harper’s Magazine, The New Republic, and others.

As you may be aware, YouTube restricted this week’s episode of The Glenn Show to viewers 18 and older. My team and I determined that the reason for this restriction was the inclusion of footage and imagery taken from the scene of George Floyd’s death. I want as many people to see this conversation as possible, and an age restriction has the potential to severely limit the video’s reach. So we decided to re-edit the video and remove the footage and imagery that led to the restriction, and then re-upload it.

Hey Everyone! We are back with our FINAL Mock Draft of the season, version 5.0, and for this one we went back to the consensus format we used for version 2.0 BUT made the addition of trying to predict the results. Yes, the idea behind this Mock Draft is using a consensus panel of 11 contributors to predict what will happen on Wednesday night. We did not… ncG1vNJzZmiakai4psDBmqOlmqWhuabAyKdlrK2SqMGir8pnmqilX6V8p7XNmqNmqKKasaqv06KtnmViZX91ec2bmGaln5i4brDRmp2t

23rd March - Greg (Love Island S5) 25th March - Paul (Love Is Blind S4), Callum (Love Island Australia S4) 27th March - Dami (Love Island S8) 28th March - Georgia (Love Island S4) 29th March - Lochan (Love Island S10) 30th March - Emily (Love Island USA S5) 31st March - Shaq (Love Island S9), Mike (Love Island USA S5), Johnnie (Love Island USA … ncG1vNJzZmiZo6m%2FsLjOoLCiq5yWu6V60q6ZrKyRmLhvr86mZqlnlp67pXnYqKyrZaKarq2107Jkra5dl7azwMedmLJlpKy2rw%3D%3D

I am sorry, but no colored students are accepted at the Peabody Conservatory. — Henrietta M. Feuss Sometimes, hard histories practically land in our laps. This bit from Johns Hopkins’s past comes from the work of historian Eric Foner. Professor Foner mentioned the Peabody Conservatory of Music in in his text book Give Me Liberty! There we discovered that in 1926, writing from Norfolk, Virginia, a man named Cornelius Washington inquired about admission to the Peabody, only to be rebuffed.

A few years ago, I was invited by the estate of George Orwell to write a retelling of Nineteen Eighty-Four from the point of view of Julia, the lover of the protagonist, Winston Smith. The estate itself wouldn't be paying me to do this, but their endorsement more or less ensured that it would be published and find a readership. I'm one of those people who feels that they were formed by Orwell politically, and I took on the job with unalloyed joy.