The 2013 Sundance Film Festival wrapped this past weekend, with director Ryan Coogler’s Fruitvale winning the festival’s Grand Jury Prize and Audience Award for a drama. The film, which was shot on Kodak Super 16mm by cinematographer Rachel Morrison, was one of many independent movies produced on Kodak film and picked up for distribution.
“We feel privileged these innovative filmmakers chose Kodak film to create their unique stories.” says Kodak’s Judith Doherty. “Film is a superb medium for a wide range of productions and budgets. The Super 16mm and 35mm in both three-perf and two-perf formats offer a range of efficient and cost-effective options for capturing maximum image information for post production. And Kodak’s new color asset protection film provides all indie producers – regardless of origination medium – a way to future proof their projects, ensuring they are compatible with whatever distribution platform they get seen on today, or decades from now. We want filmmakers to know they don’t have to compromise their vision.”
Director Ryan Coogler and Cinematographer Rachel Morrison
Fruitvale tells the true story of Oscar Grant, the 22-year-old Bay area resident who was shot dead by a transit police officer in Oakland on New Year’s Day in 2009. It was acquired by The Weinstein Co. This is the second straight year that the film winning Sundance was shot on Kodak Super 16mm. Last year’s narrative winner Beasts of the Southern Wild also originated on the medium, and is now nominated for four Oscars®.
Bradford Young captured Best Cinematography honors for his work with director David Lowery on Ain’t Them Bodies Saints. Shot on Kodak 35mm, the film follows a Texas outlaw (Casey Affleck) who escapes from prison and sets out to reunite with his wife (Rooney Mara). It was picked up by IFC Films.
Scene from Ain't Them Bodies Saints staring Rooney Mara and Casey Affleck. Photo by David Lowery.
Additional films originating on Kodak that made an impact on buyers and audiences this year include:
- Austenlandfrom director by Jerusha Hess and cinematographer Larry Smith, BSC (Sony)
- Don Jon’s Addiction from actor-director Joseph Gordon-Levitt and cinematographer Thomas Kloss (Relativity Media)
- Kill Your Darlings, directed by John Krokidas and shot by Reed Morano (Sony)
- Lovelace from directors Rob Epstein and Jeffrey Friedman, and cinematographer Eric Alan Edwards (RADiUS)
- Mud, directed by Jeff Nichols and photographed by Adam Stone (Lionsgate/ Roadside Attractions)
- Stoker from director Chan-wook Park and cinematographer Chung-hoon Chung (Fox Searchlight Pictures)
- The Spectacular Now, directed by James Ponsoldt with cinematography by Jess Hall, BSC (A24)
- Sweetwater from director Logan Miller and Noah Miller, and cinematographer Brad Shield (ARC Entertainment)