What Comes Next is a romantic comedy about golf, marriage, a squirrel, and some duct tape

What Comes Next is a romantic comedy by Kietryn Zychal, set in the world of professional golf.

Here’s the windup: Professional golfer Kevin and his wife, Betsy, have a great thing going — if Kevin doesn’t blow it, trying to get back on top. Can an eccentric, billionaire golf guru save Kevin’s career — and save Kevin’s and Betsy’s marriage, too?

And the pitch: CADDY SHACK meets AMERICAN BEAUTY. A professional golfer having a midlife crisis risks losing everything — including the woman he loves — before finding out what is truly important in life.

It’s a funny, ambitious parable about marriage (and golf) in post-Tiger-Woods–meltdown America, in the tradition of TIN CUP and PAT AND MIKE. — Read it and laugh.

The Criterion DVD of LA RONDE: Lovely; but in movies, size matters

DVD cover for LA RONDE I have just watched the Criterion Collection DVD edition of LA RONDEMax Ophüls’ adaptation for the screen of Arthur Schnitzler’s play, “Reigen.”

It is wonderful to see this movie in a good, complete instance.

I say, “movie,” and “instance,” because a DVD is not a “print” of a “film.” The distinction is not precious: The differences — between seeing a movie exhibited from a DVD, and watching a properly projected, good, thirty-five–millimeter film print — are considerable.

It is a shame to see a feature on a TV set, rather than on a big screen in a theater.

For one thing — the contrast ratio — the range of gray tones between black and white is far more limited on a small display, than on a great movie screen. Any small-screen picture will be less subtle, and more contrasty than any big screen picture.

For the full experience of a motion-picture entertainment, size matters.

Imagine the difference between standing right in front of the Eiffel Tower, and holding a souvenir reproduction of the tower in one’s hand. The monument and the souvenir look alike, but the experience — the emotions — that one feels when beholding one or the other are entirely different.

The problem is that on a small screen, one looks down on the picture: everything is smaller than life-size. Until very recently feature films were designed to be seen considerably larger than life-size: To be looked up at. A feature film is intended to be a monumental experience.

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Robin Das, director of MAN, FREEDOM AND GOD documentary on India

Picture of Robin Das looking through movie camera viewfinder Cinema Minima’s Twitter community welcomes independent filmmaker Robin Das. He lives and works in Ichipore, Kolkata, India. His documentary — MAN, FREEDOM AND GOD — is an essay on how contemporary India relates to its struggles for independence in the twentieth century.

The Twitter account for the film is “Salute NETAJI SUBASH,” no doubt a reference to a hero of the Indian independence movement, Subhas Chandra Bose, popularly known as “Netaji.”

Robin Das is an award-winning Indian amateur producer and director of zero-budget movies. He began his film career in 2003 as a producer, screenwriter, and director. He is known for stressing the importance of budgeting and resourcefulness.

Robin Das online

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Web video format wars, again! Apple’s H.264 versus Google’s WebM (and all against Flash)

If your plans include exhibiting your movies on the World Wide Web, you should probably be concerned with the changes in video compression formats which are coming soon to Web browsers.

Recently Google — which owns YouTube and promotes the Android operating system for mobile devices — announced that its Web browser, Chrome, would show video using the WebM format, instead of the H.264 format favored by Apple.

Apple’s mobile devices — iPad, iPhone, and iPod Touch — use its own browser, Mobile Safari, to exhibit video which is in H.264 format. None of Apple’s mobile devices will show video which has been prepared for exhibition with Flash.

Both firms wish to to replace the incumbent standard format for Web video, Adobe‘s Flash Video.

Here are some links to articles which explain the controversy.

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