July 18, 2014 – Boyhood, Actress Patricia Arquette

Boyhood poster IFilmed over 12 years with the same cast, Richard Linklater’s BOYHOOD is a groundbreaking story of growing up as seen through the eyes of a child named Mason (a breakthrough performance by Ellar Coltrane), who literally grows up on screen before our eyes. Starring Ethan Hawke and Patricia Arquette as Mason’s parents and newcomer Lorelei Linklater as his sister Samantha, BOYHOOD charts the rocky terrain of childhood like no other film has before. Snapshots of adolescence from road trips and family dinners to birthdays and graduations and all the moments in between become transcendent, set to a soundtrack spanning"Medium" Press Conference with Patricia Arquette the years from Coldplay’s Yellow to Arcade Fire’s Deep Blue. BOYHOOD is both a nostalgic time capsule of the recent past and an ode to growing up and parenting. It’s impossible to watch Mason and his family without thinking about our own journey. Arquette joins us for a conversation on her role as Olivia and the remarkable journey and artistic growth that making Boyhood became.

For news and updates on Boyhood go to: ifcfilms.com/

Opening July 18th at the following theatres:

San Diego, CA, Hillcrest

Sherman Oaks, CA, Arclight

Pasadena, CA, Playhouse
Pasadena, CA,

Arclight
Woodland Hills, CA, Promenade 16

“Boyhood” is a stunt, an epic, a home video, and a benediction. It reminds us of what movies could be and – far more important – what life actually is.” – Ty Burr, Boston Globe

“As a film that dares to honor small moments and the life they add up to, “Boyhood” isn’t just a masterpiece. It’s a miracle.” – Ann Hornaday, Washington Post

July 18, 2014 – Big Joy – The Adventures of James Broughton, Director Stephen Silha

BigJoy Poster_09Years before the Beats arrived in San Francisco, the city exploded with artistic expressions: painting, theatre, film, poetry. At its center was the groundbreaking filmmaker and poet James Broughton. Big Joy explores Broughton’s passionate embrace of a life of pansexual transcendence and a fiercely independent mantra: ‘follow your own weird.’ His remarkable story spans the post-war San Francisco Renaissance, his influence on the Beat generation, escape to Europe during the McCarthy years, a lifetime of acclaim for his joyous experimental films and poetry celebrating the human body, finding his soulmate at age 61, and finally, his ascendancy as a revered bard of sexual liberation. Co-director Stephen Silha joins us to talk about the joyous and rewarding life of a groundbreaking artist.

For news and updates on Big Joy go to: bigjoy.org/

“I learned and stole a lot from James Broughton. Go see this movie.” – Gus Van Sant

“A wonderful movie that every independent spirit should see and be inspired by.” – Justin Vivian Bond

“Big Joy is more than a tribute to James Broughton, a remarkable film-maker and poet. Big Joy evokes an era that he helped to shape, an era that welcomed unwrapping conventions, undressing bodies, and celebrating life and eros. James combined words with images with an infectious delight that I see throughout Big Joy. – Robert A. Haller, producer of Erogeny

July 11, 2014 – Whitey: United States of America v. James J. Bulger, director Joe Berlinger

The Whitey Bulger film posterOn June 22nd, 2011, the FBI arrested fugitive crime-boss James “Whitey” Bulger and his girlfriend, Catherine Greig, in a modest Santa Monica apartment complex, where they had been hiding in plain sight for 16 years. As the number two person on the FBIʼs “Top Ten Most Wanted List” after Osama Bin Laden, Bulger had managed to escape capture for so many years that there were people who questioned how hard the FBI was looking for him. People wondered whether the FBI was afraid of what Bulger would reveal and whom he would implicate at the Bureau if captured. Many who had followed the case for years had hoped that Bulgerʼs trial in Boston, the town he brutalized for nearly three decades and where he faced a 33-count indictment, would serve as a coming to terms with Boston. They hoped that law enforcement’s sordid, entangled past with the Irish mafia would be forced to the surface and bring to light what exactly had happened during the 70s, 80s and 90s, when Whiteyʼs reign was condoned and even encouraged by members of the FBI, and possibly even the Department of Justice. In the hands of Academy Award-nominated director Joe Berlinger, WHITEY: United States of America v. James J. Bulger becomes a sweeping and revelatory documentary film that examines accusations of multi-faceted corruption within our nation’s law enforcement and legal systems.

Available on iTunes and Video on Demand

#1 film on iTunes during opening week

For news and updates on Whitey: The United States of America v. James J. Bulger go to: magpictures.com/whitey/

“Gripping and Troubling…” – A. O. Scott, New York Times

“Joins the pantheon of great crime documentaries” – Twitch

“Complicated beyond imagining, and, in the end, a genuine shocker.” – David Denby, New Yorker

Opening – 7/11/14

West Los Angeles, CA – Royal

Rhinebeck, NY – Upstate Films 2

Salem, MA – Cinema Salem 3

Scottsdale, AZ – Shea 14 Theatre

Tucson, AZ – The Loft Cinema

July 11, 2014 – The Battered Bastards of Baseball, Co-directors Chapman Russell and Maclain Way

Battered Bastards film posterWhen Portland, Oregon, lost its longtime minor-league affiliate, Bing Russell-who briefly played ball professionally before enjoying a successful Hollywood acting career-bought the territory and formed a single-A team to operate outside the confines of major-league baseball. When they took the field in 1973, the Mavericks-the only independent team in America-started with two strikes against them. What did Deputy Clem from Bonanza know about baseball? Or Portland, for that matter? The only thing uniting his players, recruited at open tryouts, was that no other team wanted them. Skeptics agreed that it could never work. But Bing understood a ballplayer’s dreams, and he understood an audience. His quirky, unkempt castoffs won games, and they won fans, shattering minor-league attendance records. Their spirit was contagious, and during their short reign, the Mavericks-a restaurant owner turned manager, left-handed catcher, and blackballed pitcher among them-brought independence back to baseball and embodied what it was all about: the love of the game. Co-directors Chapman and Maclain Way stop by for a lively conversation about their grandfather and his love for the misfits and dreamers.

Available on Netflix

“The Battered Bastards of Baseball is not just about baseball. It transcends the game and is a charming anti-establishment yarn that should delight audiences who don’t even know an r.b.i. from a balk.” – Duane Byrge, Hollywood Reporter

“So rife with underdog victors and hairpin twists of fortune that, if it weren’t all true, no one would believe it.” – Scott Foundas, Variety

“Vibrant, rebellious, and fun as all hell.” – Michael Nordine, Village Voice

July 11, 2014 – Code Black, Director Ryan McGarry

Code Black film posterWhen do ideals die? When do our hopes fade into the realities of the system? For most everyone, we give up at least some of our naïve dreams in the steady march of our daily grind. But what of doctors, the people entrusted to help save our lives and protect our health? What happens when the will to heal and serve meets the frustrating realities of American health care? Ryan McGarry, a first time filmmaker, who is also a doctor at the hospital, directs the film. He provides a personal account of the residents who train and work at LA County Hospital as they are forced to confront the unexpected realities of life and death in a safety net, and a healthcare system at the brink of overload. Doctor and director McGarry joins us for a lively conversation on wearing two hats and what can be done to save our failing health care system.

“A vigorous companion piece to Peter Nicks’s revealing 2012 documentary, “The Waiting Room,” “Code Black” (the title describes the emergency room’s saturation point) is a keening cri de coeur.” – Jeannette Catsoullis, New York Times

“What will pull viewers in is the empathy of the healthcare workers who battle to retain their idealism in the face of staggering obstacles.” – Ernest Hardy, Village Voic

“Electrifying. A remarkably candid and kinetic documentary about emergency medicine that could have only been done by an ER doctor.” – Wall Street Journal

For news and updates on Code Black go to: codeblackmovie.com

July 4, 2014 – Life Itself, Director Steve James

Life Itself film poster 

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Acclaimed director Steve James (Hoop Dreams, The Interrupters) and Executive Producers Martin Scorsese (The Departed, Raging Bull) and Steven Zaillian (Schindler’s List, Moneyball) present LIFE ITSELF, a documentary film that recounts the inspiring and entertaining life of world-renowned film critic and social commentator Roger Ebert – a story that is by turns personal, wistful, funny, painful, and transcendent.Based on his bestselling memoir of the same name, LIFE ITSELF explores the impact and legacy of Roger Ebert’s life, from his Pulitzer Prize-winning film criticism at the Chicago Sun-Times to becoming one of the most influential cultural voices in America. Roger Ebert is a man who most film lovers may think they already know, but Director James joins us to talk about the tenacity and courage of loving husband, dad and intellectual.

For news and updates on Life Itself go to: kartemquin.com.life-itself

“Profoundly moving. James tells this unapologetic story with little sympathy, as per Ebert’s wishes, and a lot of passion—he wants the audience to really know who Roger Ebert was, and understand the importance of his work. Roger Ebert was a movie lover, and this is the kind of movie he would have loved.” – Chase Whale, Playlist

“DEEPLY ENTRALLING. Documentary master Steve James has put the pieces of Ebert’s life together with extraordinary fascination and vision.” – Owen Gleiberman, EW

“4 STARS. Unusually moving. It gains its universal impact in smaller, earthier revelations.” – Joshua Rothkopf, Time Out NY

“Steve James’ documentary recognizes that Roger Ebert’s genius was that he was not a genius.” – James Roochi, Film.com

July 4, 2014 – The Pleasures of Being Out of Step, Director David L. Lewis

Pleasures of Being Out of Step Poster 

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Pleasures profiles legendary jazz writer and civil libertarian Nat Hentoff, whose career tracks the greatest cultural and political movements of the last 65 years. The film is about an idea as well as a man – the idea of free expression as the defining characteristic of the individual. Hentoff is a pioneer who raised jazz as an art form and was present at the creation of ‘alternative’ journalism in this country. Pleasures wraps the themes of liberty and identity around a historical narrative that stretches from the Great Depression to the Patriot Act. With a potent mix of interviews, archival footage, photographs and music, the film employs a complex non-linear structure to engage the audience in a life of independent ideas and the creation of an enduring voice. At the core of the film are three extraordinarily intimate interviews with Hentoff, shot by award-winning cinematographer Tom Hurwitz. The film also includes interviews with Floyd Abrams, Amiri Baraka, Stanley Crouch, Dan Morgenstern, Aryeh Neier, Karen Durbin, Margot Hentoff and John Gennari, among others. It features music by Duke Ellington, Miles Davis, John Coltrane, Bob Dylan and Charles Mingus, and never-before-seen photographs of these artists and other cultural figures at the height of their powers. Pleasures is designed to engage the audience in a life of independent ideas and the creation of an enduring voice. That is a legacy we cannot ignore. Director David L. Lewis drops by to talk about a fierce defender of the most basic and important American contribution to civil society, free speech.

For News and update on The Pleasures of Being Out of Step go to: pleasuresthemovie.com/

“Brisk and engaging… an amused, amusing, endlessly fascinating man.” – Village Voice

“Terrific” – Toronto Star

“Brilliant, thoroughly engaging” – Cinesource Magazine

“This mellow chronicle of Nat Hentoff is like a tour through New York’s past.” – Joe Nuemaier, New York Daily News

July 4, 2014 – Siddharth, Director Richie Mehta

Siddharth poster 

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After sending away his 12 year-old son Siddharth for work, Mahendra (a chain-wallah who fixes broken zippers on the streets) is relieved – his financial burdens will be alleviated. But when Siddharth fails to return home, Mahendra learns he may have been taken by child-traffickers. With little resources and no connections, he travels across India in pursuit, with the hope that whatever force arbitrarily took his child away will return him unharmed. Director Richie Mehta joins us for a conversation on his chance meeting with a man on the streets of Delhi looking for help finding his son and a place called Dongri.

For News and Updates on Siddharth go to: siddharththefilm.com

“Its portrayal of impoverished, careworn people barking at one another and protecting their territory in a daily struggle is bracingly hardheaded.” – Stephen Holden, New York Times

“A disturbing and devastating descent into Third world poverty, exploitation and desperation, more often than not mere backdrop to the social insularity of most other movies. Yet weighing in provocative ways, struggle and exploitation as inevitably bound.” Prairie Miller, WBAI Radio

“For all its scenes of orphans and hardscrabble street life, and its spirit of shrugging helplessness, Siddharth always feels ferociously personal.” Alan Scherstuhl, Village Voice

“An achingly personal tale of grief and despair amidst the ironies of the modern world, where almost medieval levels of misery live alongside 21st-century horrors.” Flick Filosopher

The Internet’s Own Boy: The Story of Aaron Swartz, Director Brian Knappenberger

Aaron Swartz film poster 

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The Internet’s Own Boy: The Story of Aaron Swartz tells the story of programming prodigy and information activist Aaron Swartz. From Swartz’s help in the development of the basic internet protocol RSS to his co-founding of Reddit, his fingerprints are all over the internet. But it was Swartz’s groundbreaking work in social justice and political organizing combined with his aggressive approach to information access that ensnared him in a two-year legal nightmare. It was a battle that ended with the taking of his own life at the age of 26. Aaron’s story touched a nerve with people far beyond the online communities in which he was a celebrity. The last few years have brought an unprecedented legal crackdown on whistleblowers, activists, leakers and journalists. This film is a personal story of the consequences of that crackdown. It is the story of a tech millionaire forgoing traditional startup culture and putting his programming skills in the service of social justice. Director / Writer and Producer Brian Knappenberger (We Are Legion: The Story of the Hacktivists) joins us for a conversation on what we lose when we are tone deaf about technology and its relationship to our civil liberties.

For news and updates on The Internet’s Own Boy: The Story of Aaron Swartz go to: takepart.com/internets-own-boy

“A spellbinding portrait of the Internet whiz kid’s life and political convictions, which were cut short by his suicide in early 2013.” – Geoff Berkshire, Variety

“…gripping advocacy filmmaking that took less than a year, start to finish, and will introduce a much wider audience to the issues behind the life and death of Aaron Swartz.” – Andrew O’Hehir, salom.com

“The Internet’s Own Boy: The Story of Aaron Swartz connects the dots of Swartz’s past, assembling a vivid portrait of a sensitive genius with a strong moral sense.” – Chris Packham, Village Voice

“The film is far from a technical matter, fiercely promoting Swartz’s legacy and challenging us with the same questions its central subject was compelled to ask.” – Nick Prigge, Slant Magazine

Manakamana, Co-Directors Stephenie Spray and Pacho Velez

manakamana film poster 

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From the producers of Leviathan, comes a stunning new journey, an exhilarating documentary that takes place entirely in the sky. High above Nepal’s lush, mountainous landscape, a cable car carries pilgrims, villagers and the occasional American tourist to an ancient Hindu temple. For centuries, devoted followers had to undertake an arduous multi-day trek to reach the shrine of the wish-fulfilling goddess Manakamana. Today, the trip takes just under 10 minutes. Filmed entirely inside these cable cars as they glide over fog-enshrouded peaks and remote villages, Manakamana captures the conversations of its passengers – personal exchanges, anecdotes, shared observations on the landscape below – and emerges with a rich, vibrant view of Nepal, a land of ancient traditions and rituals on the brink of a technologically-powered future. Co-Directors Stephenie Spray and Pacho Velez join us to talk about how this gorgeous film veers between profane and sacred, absurd and solemn, intimated and removed.

For news and updates on Manakamana go to: manakamanafilm.com

“’Manakamana’ is a haunting experience, one that requires patience (and then some) but that offers spiritual, philosophical, and aesthetic rewards beyond the immediate power of words to describe.” – Ty Burr, Boston Globe

“By focusing on such a narrow slice of Nepali life, Ms. Spray and Mr. Velez have ceded any totalizing claim on the truth and instead settled for a perfect incompleteness.” – Manohlo Dargis, New York Times

“The directors, Pacho Velez (who did the camera work) and Stephanie Spray (who recorded the sound), condense world history into the confined space of a glassed-in bubble.” – Richard Brody, New Yorker

“I’ve never seen anything like it.” – Calum Marsh, Village Voice