An interview with NIELS ARDEN OPLEV the director of THE GIRL WITH THE DRAGON TATTOO — a mystery thriller based on Stieg Larsson’s international best selling novel about a disgraced journalist and a troubled young female computer hacker who investigate the mysterious disappearance of an industrialist’s niece. Oplev graduated from the National Film School of Denmark in 1989. His first feature film Portland (1996) was selected for the main competition in Berlin and his second feature Chop Chop (2001) received both National Danish Film Awards Bodil and Robert. THE GIRL WITH THE DRAGON TATTOO is the Winner of the Guldbagge Award (Sweden’s Oscar Equivalent) for Best Film.
An interview with KIMBERLY REED the director of PRODIGAL SONS. Returning home to a small town in Montana for her high school reunion, filmmaker Kimberly Reed hopes for reconciliation with her long-estranged adopted brother, Marc. But along the way she uncovers stunning revelations, including a surprise relationship to Orson Welles and Rita Hayworth, intense sibling rivalries and unforeseeable twists of plot and gender that force them to face challenges no one could imagine. Winner of the FIPRESCI Prize at the Thessaloniki Documentary Film Festival, Best Documentary Jury Prize at NewFest, and Special Jury Prizes for Fearless Filmmaking at the Florida Film Festival and Bravery in Storytelling at the Nashville Film Festival, Prodigal Sons is a raw and provocative examination of one family’s struggle to come to terms with its past and present.
An interview with DON ARGOTT the director of THE ART OF THE STEAL, a documentary that chronicles the long and dramatic struggle for control of the Barnes Foundation, a private collection of Post-Impressionist and early Modern art valued at more than $25 billion. In 1922, Dr. Albert C. Barnes formed a remarkable educational institution around his priceless collection of art, located just five miles outside of Philadelphia. Now, more than 50 years after Barnes’ death, a powerful group of moneyed interests have gone to court for control of the art, and intend to bring it to a new museum in Philadelphia. Standing in their way is a group of Barnes’ former students and his will, which contains strict instructions stating the Foundation should always be an educational institution, and that the paintings may never be removed.