i feel like we’re all going to be in this nihilistic mood forever in the cinema world

This would’ve been bumped up to four stars had he interviewed Harmony Korine and Larry Clark

I've somehow watched this twice now, and both times I think I put it on at the end of long night after I'd been drinking. I guess it's just the sort of thing that makes sense to watch that way, when you need something to watch but don't really feel like paying much attention. Despite being only seventy minutes long for some reason it felt twice that length.

Obviously modeled after Wenders' Room 666 (which I've never seen in its entirety), Almereyda asks a bunch of directors at the 1995 Sundance film festival whether they feel optimistic or pessimistic about the future of cinema. Predictably, some of the segments are more interesting than others.

Linklater *would* name-drop the Wim Wenders-helmed Room 666 while participating in this Pixelvision-aided recreation of it. Of value largely as a time capsule and yeah, I've held a Pixelvision camera before so I might be the last surviving member of this film's target audience.

"Something is lost with the advent of sound" - James Mangold, sounding like a pretentious dunce.

"Eddie" Burns, three years before Saving Private Ryan, sounds like a brat and it's hilarious.

Danny Boyle talks about nothing, for minutes on end, and my eyes dilated and my mouth dropped open in a comatose state.

The fact that this was filmed with a PixelVision camera, because the director is trying to be cute, makes me like this documentary half a star less.

Almereyda took his PixelVision camera to Sundance in 1995 and asked a bunch of filmmakers if they were optimistic or pessimistic about the state of the movies. The question's vague enough to be a Rorschach test; some just take the opportunity to talk about their own movies, some bitch about the state of the industry (Tarantino comes up a few times), and some talk more generally about Art and The Cinema. Nothing very profound here, but it's a fascinating time capsule and I like movies in which people are allowed to ramble for the camera.

i feel like we’re all going to be in this nihilistic mood forever in the cinema world

This would’ve been bumped up to four stars had he interviewed Harmony Korine and Larry Clark

An awesome little time capsule shot with a cheap Fisher Price Pixel-Vision camera. The directors are all asked the same typical question about “the future of cinema”, but it’s worth watching now, twenty five years later, with some of the interviews being more prescient than others. They shit talk Tarantino and echo some of the concerns you still see voiced on IndieWire today, but taking into account the careers they would go on to have, it’s cool seeing young Todd Haynes, Gregg Araki, Richard Linklater, Ethan Hawke, James Gray, James Mangold, Danny Boyle, Abel Ferrara, Whit Stillman and others talk about what they thought the future would hold for them. I wonder what they would say today. 

Check it out here.

"It’s always the same on that hill." -Janicza Bravo

There's a director in this that feared movies on VHS, and people watching movies at their homes. And today we're dealing with whether or not a film will have a theatrical release. I wonder what she thinks about the whole streaming discussion.

Once again Linklater is very insipiring.

I've somehow watched this twice now, and both times I think I put it on at the end of long night after I'd been drinking. I guess it's just the sort of thing that makes sense to watch that way, when you need something to watch but don't really feel like paying much attention. Despite being only seventy minutes long for some reason it felt twice that length.

Obviously modeled after Wenders' Room 666 (which I've never seen in its entirety), Almereyda asks a bunch of directors at the 1995 Sundance film festival whether they feel optimistic or pessimistic about the future of cinema. Predictably, some of the segments are more interesting than others.

Linklater *would* name-drop the Wim Wenders-helmed Room 666 while participating in this Pixelvision-aided recreation of it. Of value largely as a time capsule and yeah, I've held a Pixelvision camera before so I might be the last surviving member of this film's target audience.

"Something is lost with the advent of sound" - James Mangold, sounding like a pretentious dunce.

"Eddie" Burns, three years before Saving Private Ryan, sounds like a brat and it's hilarious.

Danny Boyle talks about nothing, for minutes on end, and my eyes dilated and my mouth dropped open in a comatose state.

The fact that this was filmed with a PixelVision camera, because the director is trying to be cute, makes me like this documentary half a star less.

Pretty cool. An inspirational warning to filmmakers.

Almereyda took his PixelVision camera to Sundance in 1995 and asked a bunch of filmmakers if they were optimistic or pessimistic about the state of the movies. The question's vague enough to be a Rorschach test; some just take the opportunity to talk about their own movies, some bitch about the state of the industry (Tarantino comes up a few times), and some talk more generally about Art and The Cinema. Nothing very profound here, but it's a fascinating time capsule and I like movies in which people are allowed to ramble for the camera.