A personal reflection from a Chicago filmmaker and former Ebert Fellow about his eye-opening and arduous path to being a filmmaker.
A tribute to the great comedian and writer, Paul Mooney.
The latest and greatest on Blu-ray, including Bill & Ted 3, Spontaneous, Relic, The New Mutants, and a Criterion edition of Parasite.
The latest on Blu-ray and DVD, including Creed II, The Favourite, Green Book, Burning, The Guilty, and more!
An article about the 2017 Governors Awards ceremony.
An article announcing the final slate of films scheduled to be screened at Ebertfest 2017.
An article about various films set to screen at Ebertfest 2017, including the opening night selection, "Hair."
A report from AFI Fest on a presentation of Otto Preminger's "Carmen Jones."
The black film canon; Relevance of "Weiner"; Executive pay higher when women are on boards; Fate of female-driven Wall Street movie; Nate Moore puts Marvel in the black.
By all accounts, 2013 has been a striking year for black film directors. But is the real story about black directors working in television?
Call it a bloodbath. Not literally, of course, but it sure felt like one.
It was a Friday afternoon in late spring 1993 at The American Film Institute. The Class of 1992, which had pretty much killed itself making short films ("cycle projects") since starting the program in September, was waiting for a list. Dreading it, too. Because everybody'd known all year that of 168 "Fellows," as AFI calls them --- only 40 (or just 8 across 5 disciplines - directing, producing, cinematography, editing, production design) would be invited back, making that coveted Second Year cut for the opportunity to produce a second year film.
A top secret selection committee debated late into the day. Even I, then Special Projects Coordinator and right hand to the Dean of Studies, didn't know who was meeting. There was tension everywhere, clinging like the humidity of a Midwestern summer, as the committee decided, and the Fellows waited.
Great Movies
