Sunshine Makers, Director Cosmos Fielding Mellen

A real-life ‘Breaking Bad’ for the psychedelic set, THE SUNSHINE MAKERS reveals the fascinating, untold story of Nicholas Sand and Tim Scully, the unlikely duo at the heart of 1960s American drug counter-culture. United in a utopian mission to save the planet through the consciousness-raising power of LSD, these underground chemists manufactured a massive amount of acid, including the gold standard for quality LSD, ‘Orange Sunshine,’ all while staying one step ahead of the Feds. From the producer of SEARCHING FOR SUGARMAN and LISTEN TO ME MARLON, THE SUNSHINE MAKERS premiered last year at the prestigious DOC NYC film festival to critical acclaim. The documentary has thrilled audiences with its stranger-than-fiction look into the lives of two “LSD evangelists.” Director Cosmos Fielding Mellen joins us for a conversation on his clear eyed look back on the good, the bad and the trippy from the golden age of raised consciousness.

For news and updates go to: the-sunshine-makers

“Theirs is a story about the marriage of idealism and criminality, and it’s recounted in amusing and thrilling detail by The Sunshine Makers…the rare documentary to function as time capsule, philosophical inquiry, and rollicking thriller all at once – as well as a cautionary tale about the crazy lengths people will go to experience a heavenly high. Riveting.” – THE DAILY BEAST

“…it’s an astonishing tale…providing further evidence, not that any was needed, that truth is stranger – and oftentimes a lot more fun – than fiction.” – HOLLYWOOD REPORTER

“For a documentary about two men who were big-time drug dealers back in the day, The Sunshine Makers is a quaint, damn-near-adorable bit of nostalgia.” – Craig D. Lindsey, Village Voice

Slamdance, Co-founder and President Peter Baxter

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It all began when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival. Unwilling to take “no” for an answer, they instead started their own event – Slamdance: Anarchy in Utah. 22 years later, Slamdance has become a year-round organization fostering the development of unique and innovative filmmakers. The organization now consists of the Film Festival, Screenplay Competition and Slamdance Studios. It has also created Slamdance On The Road, a traveling theatrical showcase that brings popular Slamdance films to audiences that otherwise would not have the opportunity to see them. Dan Mirvish, Jon Fitzgerald, Shane Kuhn and Peter Baxter are the founding forefathers who, along with co-conspirator Paul Rachman, fought for truly peter-baxter-slamdanceindependent filmmakers by giving them a voice in 1995 at the very first Slamdance Film Festival. Since then, the festival takes place every January in the breathtakingly stunning, snow-capped mountains of Park City, Utah at the exact same time as the
Sundance Film Festival, to provide a more authentic representation of independent filmmaking. Up-and-coming writers, directors and producers, alongside seasoned veterans and film lovers, converge for the weeklong celebration of independent cinema, realizing that Slamdance is a great place to find those next, great, visionary films. Slamdance lives and bleeds by its mantra By Filmmakers For Filmmakers. No other film festival in the world is entirely run and organized by the creative force that can only be found in filmmakers. Slamdance adamantly supports self-governance amongst independents, and exists to deliver what filmmakers go to festivals for – a chance to show their work and a platform to launch their careers. The festival has earned a solid reputation for premiering films by first-time writers and directors working within the creative confines of limited budgets. Co-founder and President Peter Baxter joins us to talk about this year’s Slamdance, the groundbreaking films and the innovative new distribution and digital initiatives being launched by Slamdance.

For news and updates on 2017 Slamdance Film Festival go to: slamdance.com/

Trespass Against Us, Director Adam Smith

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TRESPASS AGAINST US is set across three generations of the Cutler family who live as outlaws in their own anarchic corner of Britain’s richest countryside. Chad Cutler (Michael Fassbender) is heir apparent to his bruising criminal father, Colby (Brendan Gleeson) and has been groomed to spend his life hunting, thieving and tormenting the police. But with his own son, Tyson (Georgie Smith) coming of age, Chad soon finds himself locked in a battle with his father for the future of his young family. When Colby learns of Chad’s dreams for another life he sets out to tie his son and grandson into the archaic order that has bound the Cutler family for generations. He engineers a spectacular piece of criminal business involving a heist, a high-speed car chase and a manhunt, which leaves Chad bruised and bloodied and with his very freedom at stake. With the law cracking down and his father tightening his grip, Chad is forced into increasingly desperate measures. Featuring incredible performances – and an astonishing score by The Chemical Brothers – TRESPASS AGAINST US is at once an exhilarating crime thriller and a profoundly moving story about love and family. TRESPASS AGAINST US director ADAM SMITH (Director) is an award-winning film, television drama, documentary and music-video director. Smith is best known for his long-term collaboration with the Chemical Brothers, and the critically acclaimed concert film Chemical Brothers: Don’t Think he directed.  Director Adam Smith joins us to talk about his feature film debut and the riveting performances turned in by his three lead performers.

For news and updates go to: trespass-against-us

“Even when Trespass Against Us slumps toward the same generational conflicts at the heart of so many recent indies, these actors refuse to reduce their characters into any recognizable archetypes.” – David Ehrlich, IndieWire

“Dynamic storytelling and powerful performances bring out the pathos in an unusual tale of conflicting loyalties set on the criminal edges of a traveling community.” – Screen International

“At this point we should just accept that Michael Fassbender can play anything. In Trespass Against Us, he turns up his charisma and blunts his native intelligence, and the mixture works remarkably well.” – Norman Wilner, NOW Toronto

“It all boils down to the complicated relationships of fathers and sons, but with some riveting action and heart-tugging drama, Trespass Against Us ends up as thrilling must-see.” – Peter Turner, Starburst

The Mute’s House, Director Tamar Kay

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Eight-year-old Yousef and his deaf mother Sahar are the last Palestinian residents of an otherwise deserted building in the Israeli part of the city of Hebron. Their island within the Jewish quarter is called “The Mute’s House” by Israeli soldiers, even though Sahar isn’t mute at all. Travel agencies have included the property in their tours. Yousef makes good use of his privilege to cross the border when he goes to school. Through the tour guides’ explanations, we learn the story of Yousef and Sahar, who bravely withstand all the threats and bullying. None of Yousef’s Palestinian classmates can come to his house, and filmmaker Tamar Kay isn’t allowed to cross the border to film the Palestinian quarter with Yousef. Despite his disability – Yousef was born with one arm – he amuses himself with the chickens, goats and rabbits that forage among the ruined neighboring houses, and he plays the guitar and video games. The Mute’s House is an intimate portrait that elegantly illustrates the absurdity of the endless conflict. Director Tamar Kay was born in Jerusalem and graduated The Jerusalem Sam Spiegel Film & Television School in 2015, stops by to talk about her moving and heartbreaking portrait of life on the edge of chaos and isolation.

“If someone wrote a fictional script for a film about this story, no one would believe it.” Alan Berliner, (dir. Nobody’s Business, Emmy Award Winner)

*Winner – Special Jury Award – IDFA*

*Winner – President’s Award – Full Frame FF*

Academy Award Shortlist for Short Doc program

BRILLO BOX (3¢ OFF), Director Lisanne Skyler

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In 1969, filmmaker Lisanne Skyler’s parents bought an Andy Warhol Brillo Box for $1,000. A budding collector, her father was drawn to the work of the young, emerging artists of the time—Pop artists, Abstract Expressionists and Photorealists—and saw it as an investment. Unlike critics of the era, who panned Warhol’s consumer-themed sculptures, her mother considered it a delightful addition to the family’s Manhattan living room. Eventually the piece was traded away, largely forgotten except in family artifacts like a snapshot of baby Lisanne perched on top of the yellow cube. The filmmaker often wondered what happened to the now-iconic work that had briefly decorated her childhood. Forty years later, in 2010, the sameandy-warhol sculpture sold for $3 million at a record-breaking Christie’s auction. Fascinated by this eyebrow-raising turn of events, Skyler wondered about all of the personal decisions that shaped this object’s journey. What was the role it played in other lives, and what secrets did it hold about her own family? Colorfully blending Pop Art history with personal narrative, BRILLO BOX (3¢ OFF) follows this Warhol sculpture as it makes its way from a family home to the global art market, exploring the ephemeral nature of art and value, and the decisions that shape family history. Director and daughter Lisanne Skyler to talk about a sweeping and insightful look into the world of POP art and her own intimate family tale.

BRILLO BOX (3¢ OFF) will air exclusively on HBO in June of 2017

For news and updates go to: brilloboxmovie.com

“While tracing the 40-year journey of an Andy Warhol original from her family’s living room to the auction block, documentarian Lisanne Skyler delivers a delightful, nostalgia-tinged snapshot of the American middle class, colorfully framed by a crash course in postmodernism.” – Maggie Mackay, ASPEN INTERNATIONAL SHORTSFEST

“Brillo Box (3¢ off) is about far more than what the sculpture fetched — though that figure is staggering. It considers the aim, meaning, and collection of art. Skyler deftly weaves together photographs, interviews and observations about legacy and family, which makes her story (which is slightly heartbreaking) all the more poignant.” – Gary M. Kramer, FILM INTERNATIONAL