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    International upstart

    FotoFest hits the City of Lights: Houston's Meeting Place portfolio reviewarrives in Paris

    Steven Devadanam
    Nov 4, 2010 | 4:23 pm
    • Paris meet FotoFest.
    • Stefanie Braun, curator, The Photographers' Gallery, London
    • Marta Sánchez Philippe, FotoFest MeetingPlace coordinator
    • Daphné Anglès, European picture coordinator, The New York Times, Paris
    • Jim Casper, founder and editor of Lens Culture
    • Jen Bekman, founder, HeyHotShot!, 20x200, Jen Bekman Gallery, New York
      Photo by Gabriele Stabile

    The signature event of Houston's internationally renowned FotoFest Biennial, the Meeting Place portfolio review, is crossing the pond. For three days in November, FotoFest International is collaborating with Paris-based online photography magazine Lens Culture to present the first large-scale internationally organized portfolio review in Paris.

    "What stands out most is the degree of diversity," Meeting Place coordinator Marta Sánchez Philippe tells CultureMap of the event's participants. All together, Lens Culture FotoFest Paris 2010 will cull 170 photographers and 48 reviewers from 32 countries in Europe, Asia, Latin America and North America. A long waiting list accompanies the event's inaugural year.

    The review's arrival reflects the transcontinental nature of today's art realm, and the success of FotoFest's Meeting Place formula. Established in 1986 with the early Les Recontres d'Arles as its muse, the Meeting Place began a system of modern portfolio reviews in the United States that has been mimicked by over 50 events around the world.

    Taking place at Spéos Paris Photographic Institute on Nov. 15-17, the event has attracted seasoned reviewers from such institutions as the Bibliothèque Nationale de France, Carnegie Museum of Art, The New York Times, Berlin's Kehrer Verlag Publishers and London's The Photographer's Gallery. The mix of curators, publishers, gallery owners, festival directors, agency representatives and art directors will proffer expert feedback, and in the process ink a chance editorial assignment, book publication contract, art gallery representation or a feature article in a magazine, both online and in print.

    Not coincidentally, the Paris Meeting Place coincides with Mois de la Photo and Paris Photo — "considered the preeminent photography fair," says Sánchez Philippe.

    "This November, without doubt, Paris will be the world capital of photography," notes Jim Casper, founder and editor of Lens Culture.

    Casper initially encountered the organizers of FotoFest at the Houston biennial, and the idea for a Paris event came about quite naturally. The director of Spéos Institute, Pierre Yves Mahe, was already familiar with the lionized FotoFest program, and had organized photography workshops in Houston.

    This isn't the first time FotoFest has taken its portfolio review outside of the Bayou City — in 2006, the Meeting Place made its mark in Beijing.

    unspecified
    news/entertainment

    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

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