"The Sisters Brothers is a difficult film to talk about because of how fully Audiard embraces the paradoxes of the old West."

"The Sisters Brothers is a sensitive western about brotherly love that just happens to revolve around stone-cold murderers," explains Eric Kohn. "It's a context that requires an original approach to the genre, and that's exactly what French director Jacques Audiard brings to his first English-language effort."

John C. Reilly (left) as Eli Sisters and Joaquin Phoenix as Charlie Sisters in Jacques Audiard's 'The Sisters Brothers,' an Annapurna Pictures release

John C. Reilly (left) as Eli Sisters and Joaquin Phoenix as Charlie Sisters in Jacques Audiard's 'The Sisters Brothers,' an Annapurna Pictures release

Todd McCarthy says, "As are many classic Westerns, this is a tale of pursuit and patience involving a long journey and threats known and unknown. There will also be blood, of course, vast changes of fortune and the decisive matters of chance, daring and luck.

"The Sisters Brothers possesses all of the above, in addition to the curiosity of a filmmaker who has clearly taken great relish in exploring a country that is both familiar (via countless movies) and now quite distant.

"For the genre faithful, it's almost always rewarding to see the classic form being tackled by an interested outsider." To read the full article, click here.

"The western for an American director is really a foundational text," Audiard tells Marshall Shaffer. "For me, no, it isn't. The western is just a period piece for me. Men wearing hats, guns, riding horses. In that sense, my approach is different. Within the mythology, there's a landscape of space. I don't share that mythology, so I don't [focus on] the [literal] landscape. I pay much more attention to dialogue between the characters. For me, the dialogue and the characters are the landscape." To read the full interview, click here.

"In this day and age what is a western, exactly?" muses the director. "We can identify two camps. There are ones that are classically made like Appaloosa and Open Range that carry reverence for archetypes, landscapes, etc. The other way is Quentin Tarantino's approach: irony, more contemporary ultra-violence. For The Sisters Brothers it seems to me that we went a third route: quieting down the western."

John C. Reilly (left) as Eli Sisters and Joaquin Phoenix as Charlie Sisters in Jacques Audiard's 'The Sisters Brothers,' an Annapurna Pictures release

John C. Reilly (left) as Eli Sisters and Joaquin Phoenix as Charlie Sisters in Jacques Audiard's 'The Sisters Brothers,' an Annapurna Pictures release

"I feel very free with the mythology," Audiard continues. "There are things that I really like and are fun for me inside the conventions when I look at them. But in the morning when we start working, we don't say to ourselves, 'Let's do a very original western!' Very often in the western there's something missing about the characters. It's black or white. They don't have dreams or a conscience. When you locate that humanity inside the characters, then something changes, and they exist in a different way." To read the full article, click here.

"Audiard lets The Sisters Brothers unfold like a dream," says Chris Evangelista. "One of the film's most fascinating factors is the way it avoids over-explaining (or really just explaining) things. Everything here feels like it subscribes to dream logic, rather than the logic of the waking world. 

"The Sisters Brothers ride their horses slowly across a beach littered with debris—a dresser, a desk, some chairs, all of it unremarked upon. Eli wakes one morning to find a giant bear dead in the spot where the brothers made camp the previous night. The duo rest up at an inn where a horde of men in animal skins stomp around wildly in circle, like some sort of pagan ritual." 

To achieve the film's visuals, Audiard sought out cinematographer Benoît Debie for the project. "Benoît first and foremost wanted to shoot in 35mm," Audiard recalls. "He's one of the few cinematographers today who seeks to impart color into an image, rather than the de-saturated, blue-dominated look that’s become the standard with digital.

"What came about is a palette that's dark, but when there is light it is very colorful — sometimes even outside. We kept in mind 'tin pans,' those daguerrotypes done on metal plates in the 19th century, enhanced by red velvet or green or—appropriately enough — gold."

"Jacques and I had so much to discuss about the film, and influences ranging from comics panels to western movies," Debie recalls. "[Production designer] Michel Barthélémy and I talked about what the palette of colors would be, both indoors and outside. Jacques felt it was important to have color, but not too intense."

"The Sisters Brothers is a difficult film to talk about because of how fully Audiard embraces the paradoxes of the old West," says Kambole Campbell. "It's a bloody, violent film about the want to escape bloody violence. 

"The film constantly zigs and zags away from convention, eventually culminating in a delightfully bizarre anti-climax, and it becomes crystal clear that the film has no interest in vendettas, stand-offs or blazes of glory. The ultimate goal of the film is to heal, something that can't be achieved via the barrel of a gun." To read the full article, click here.



Black Box Radian Flex Software-Based Video Wall Platform Earns ISE Best of Show Award

Black Box, an industry-leading provider of pro AV connectivity and signal distribution systems, today announced that the company's Radian Flex software-based video wall platform won an ISE Best of Show Award from AV Technology Europe, a Future Publishing magazine. Of the more than 1,000 exhibitors at ISE 2019, only 15 — including Black Box with Radian Flex — earned this award, which recognizes achievements and innovations in product and service development.


Luxul to Bring Reliability and High Performance to IBS 2019 With Latest Networking Solutions for the Smart Home

Luxul, the leading innovator of IP networking solutions for AV integrators, today announced its technology line-up for the NAHB International Builders' Show (IBS), taking place February 19-21 in Las Vegas. In the Legrand booth SU614, the company will exhibit a wide range of solutions for home builders that deliver reliable, high-performance networks in smart homes, including Gigabit switches; the next generation of wireless controller technology; indoor and outdoor wireless access points (APs); wired and wireless routers; intelligent network power distribution units (PDU); and the Wi-Fi Assurance Program exclusively for builders.


HoverCam's Pilot Series and ClassFusion Learning Platform Land Big Wins at TCEA 2019

HoverCam, a leader in innovative, interactive, and engaging education solutions, announced that the company's digital classroom solutions received three major honors from Tech & Learning at the recent Texas Computer Education Association (TCEA) 2019 Conference in San Antonio. At the show, HoverCam's Pilot 3 digital teaching station received the Award of Excellence in the District category, while the company's new Pilot X podium and ClassFusion software platform both earned Best of Show honors. The awards were presented on Feb. 6 at a special ceremony held at Casa Rio restaurant in San Antonio.


College Football Playoff Uses Veritone's AI and Digital Asset Management Solutions to Enable Richer Media Coverage

Veritone Inc. (Nasdaq: VERI), the creator of the world's first operating system for artificial intelligence, aiWARE™, today announced that the College Football Playoff (CFP) leveraged an expanded deployment of Veritone solutions and services for the 2019 CFP National Championship to give members of the media even faster and richer access to its content resources. In addition to the CFP's Digital Media Hub, a white-label digital asset management portal from Veritone, the CFP also utilized Veritone's Live Event Services and aiWARE artificial intelligence platform for the first time. With aiWARE, the CFP was able to apply artificial intelligence to video footage and still images of press conferences, interviews and other Media Day events to produce transcriptions, automated facial recognition of players and coaches, logo identification, and other tasks enabling expedited and enhanced coverage of the 2019 College Football Playoff National Championship. For the first time, the CFP was able to make Media Day press conference clips and images available for search and immediate download within minutes of delivery. Following the success of this deployment, CFP has renewed its agreement with Veritone through the 2020 championship game in New Orleans.