Aspen Film’s new programmer Jane Schottle has quite a festival pedigree. She’s been a part of the Toronto International Film Festival® (TIFF) organization for 18 years. Schottle selected all of the films to be shown at the 39th annual Aspen Filmfest, which is set for Oct 3-8, 2017 in Aspen and Carbondale, Colorado.
Schottle’s introduction to Aspen began last year when she programmed Aspen Film’s Academy Screenings. The selections thrilled Aspen audiences, and the majority of films programmed went on to receive Oscar awards and nominations. What attracts a programmer from one of the top three film festivals in the world to add a more intimate festival to her repertoire? “I got to know the (Aspen) audience and I really, really liked them. They were very engaged, curious and quite sophisticated…and were interested in talking about and seeing challenging films. I found that people seemed to like the films I brought last time, so I was interested in bringing them more.”
As an international programmer for TIFF, Schottle is responsible for programming films from Australia, Germany, New Zealand and Israel, as well as American independent cinema. Having joined TIFF in 2002, her keen eye for discovering new talent was confirmed when films she programmed won the Cadillac People’s Choice Award three years running–Hotel Rwanda in 2004, Tsotsi in 2005 and Bella in 2006. Schottle also founded TIFF’s Kids International Film Festival. TIFF is one of the top festivals in the world, alongside Venice, Berlin and Cannes.
Aspen Film interim director Elexa Ruth said, “Our board is ecstatic to be able to share the talents of such an accomplished programmer with our audiences in the Roaring Fork Valley. Jane’s expertise is unmatched. I’m excited to have our audiences experience these wonderful films next month.”
Schottle says her goal for Aspen Filmfest is, “to keep the audience coming back for more. I want that hunger for experience, learning, curiosity and emotion.”
The lineup for the Aspen Filmfest will be announced later this month and will showcase narrative and documentary features, a dynamic mix of award-worthy fall previews, and acclaimed independent films from the international festival circuit.
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More