August 10 – Scotty and the Secret Story of Hollywood, Director Matt Tyrnauer

Scotty and the Secret History of Hollywood  is the deliciously scandalous story of Scotty Bowers, a handsome ex-Marine who landed in Hollywood after World War II and became confidante, aide de camp and lover to many of Hollywood’s greatest male — and female — stars. In the 1940s and ’50s, Scotty ran a gas station in the shadow of the studio lots where he would connect his friends with actors and actresses who had to hide their true sexual identities for fear of police raids at gay bars, societal shunning and career suicide. An unsung Hollywood legend, Bowers would cater to the sexual appetites of celebrities – straight and gay – for decades. In 2012, he finally spilled his secrets in the New York Times bestselling memoir “Full Service,” which revealed a dramatic, pre-Stonewall alternate history of Hollywood. While the studio PR machine were promoting their stars as wholesome and monogamous, Bowers was fulfilling the true desires of many of them. This cinema-vérité documentary tells his story, as well as presents eye-opening takes on icons from the Hollywood Golden Age including Cary Grant, Katharine Hepburn, Spencer Tracy, Lana Turner, Ava Gardner and many more. Director Matt Tyrnauer (Studio 54, Citizen Jane: Battle for the City, Valentino: The Last Emperor) joins us for spirited conversation on the days when the Hollywood PR machine mattered more than the lives of the artist who made it successful and the role Scotty Bowers played in breaking that stranglehold on them.

 

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For news and updates go to: scottymovie.com

Scotty and the Secret History of Hollywood open July 27th at the Arclight Hollywood

“Scotty” rolls out across the country beginning August 3, find theatres near you.

Hashtag: #ScottyMovie

Twitter / Instagram: @ScottyTheMovie

Facebook: Facebook.com/ScottyTheMovie

92% on Rotten Tomatoes

“Scotty” is more than just a portrait of the man, also serving as a history lesson on how the film industry once tried to project a repressive, clean-cut image to satisfy moral watchdogs” – Tim Grierson, Screen International

“A nicely filled-out look at different eras, one secrecy-ridden and dedicated to the preservation of illusion, the other wide open and blasé about personal predilections.” – Todd McCarthy, Hollywood Reporter

“There’s plenty of gossip to be found here, but there’s also no shortage of humanity.” – Alonso Duralde, The Wrap

“The present-day footage is more compelling than any of the gossipy bits, which turn out to be the hook that pulls the film into more fraught and complex directions.” – Kevin Ritchie, NOW Toronto

“’Scotty and the Secret History’ is a fascinating portrait that neither lionizes nor judges its subject. It merely lets you take him for what he is.” – Jason Bailey, Flavorwire

August 3 – NICO, 1988, Director Susanna Nicchiarelli

NICO, 1988 features a tour de force performance from Trine Dyrholm’s as the aging Nico (aka Christa Päffgen), interpreting rather than impersonating the famed singer-songwriter as she approaches 50. Leading a solitary existence in Manchester Nico’s life and career are on the ropes, a far cry from her glamorous days as a Warhol superstar and celebrated vocalist for The Velvet Underground. Nico’s new manager Richard (John Gordon Sinclair) convinces her to hit the road again and tour Europe to promote her latest album. Struggling with her demons and the consequences of a muddled life, she longs to rebuild a relationship with the son Ari (Sandor Funtek) she lost custody of long ago. A brave and uncompromising musician, Nico’s is the story of an artist, a mother, and the woman behind the icon. Director Susanna Nicchiarelli joins us to talk about Trine Dyrholm’s raw performance and her own unvarnished look into the post-iconic world of NICO and into the tortuous journey that Christa Päffgen took, as an artist and mother, towards the person she knew she wanted to be.

 

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For news and updates go to: nico1988.com

100% on Rotten Tomatoes

“Writer/director Susanna Nicchiarelli and star Trine Dyrholm craft a late-career biopic that acts not only as a portrait of a complex figure, but recognises the considerable toll of daring not to conform.” – Sarah Ward, Screen International

“Nicchiarelli dives deeply into the life of a tragic but remarkable woman, memorably portrayed by Danish actress and singer Trine Dyrholm as an unpleasant, hurtful junkie plagued with memories and regrets.” – Deborah Young, Hollywood Reporter

“Nico, 1988 shows us how extraordinary the biopic can be when it is freed from unnecessary restrictions to embrace the idiosyncrasies of its subject.” – Lee Jutton, Film Inquiry

“Remarkably personal, with a bold, gritty edge that echoes the intensity of both Nico’s singing and Trine Dyrholm’s thunderous performance.” – Rich Cline, Shadows on the Wall

July 13 – A Midsummer Night Dream, Director Casey Wilder Mott

A Midsummer Night’s Dream is one of Shakespeare’s most beloved creations. The frolicking tale of lovesick young aristocrats, energetic but inept rustics, and mischievous woodland spirits is a staple of stage and screen. In the past, filmed adaptations have emphasized the play’s traditional, Elizabethan qualities. This production however is a fresh and stylish reinvention that takes an entirely different approach.The story takes place in present day Hollywood – a place where glamorous stars, commanding moguls, starving artists and vaulting pretenders all vie to get ahead. Hollywood is sometimes called “The Dream Factory,” and like the world of Shakespeare’s Dream, it’s a place where fantasy and reality collide.In the tradition of Baz Luhrmann’s rapturous reimagining of Romeo + Juliet, this modern vision breathes new life into a classic tale. Combined with a cast of established and emerging stars, as well as a pulsing original soundtrack, the film will appeal to ardent fans of the Shakespeare as well as audiences discovering Shakespeare for the first time. Director and screenwriter Casey Wilder Mott talk with us about the challenges and rewards of re-imagining one of the Bard’s most endearing plays.

 

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For news and updates go to: amidsummernightsdreammovie.com

100% on Rotten Tomatoes

“If you’re hoping to see a production just like the one that would have been done in 1596, this ain’t it. But Mott’s version is a hell of a good time in its own right.” – Nick Allen, RogerEbert.com

“Mott’s “Midsummer Night’s Dream” may not have a high bar to reach to be better than average as filmed Shakespearean comedies go. But by any standard, it’s a modest, resourceful and unexpected delight.” – Dennis Harvey, Variety

“Darned if Casey Wilder Mott’s feature directorial debut doesn’t prove to be a disarmingly effective, visually vibrant frolic.” – Michael Rechtshaffen, Los Angeles Times

“Awake the pert and nimble spirit of mirth and indulge in a film I feel certain Shakespeare himself would enjoy.” – Bradley Gibson, Film Threat

“A vibrant dose of California dreamin’.” – Sheri Linden, Hollywood Reporter

June 29 – Leave No Trace, Director Debra Granik

Will (Ben Foster) and his teenage daughter, Tom (Thomasin Harcourt McKenzie), have lived off the grid for years in the forests of Portland, Oregon. When their idyllic life is shattered, both are put into social services. After clashing with their new surroundings, Will and Tom set off on a harrowing journey back to their wild homeland. The film is directed by Debra Granik (Winter’s Bone) from a script adapted by Granik and Anne Rosellini and based on the novel My Abandonment by Peter Rock. Director Debra Granik joins us to talk about her modern day tale of two people grappling with a sense of place, loyalty, love, and deep wounds.

 

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For news and updates go to: bleeckerstreetmedia.com/leavenotrace

100% on Rotten Tomatoes

“When civilization feels threatened, starting over in the woods seems not only appealing, but maybe even necessary. Especially when seen though Granik’s discerning eye. How lucky we are to have her work.” – Katie Walsh, Tribune News Service

“A profound story about love, family, loyalty, understanding, and compassion.” – Tiffany Tchobanian, Film Threat

“Minimalistic, deliberate and largely silent, “Leave No Trace” clings to each word like an endangered species. It demands patience from the audience, but that patience is richly rewarded.” – J.R. Kinnard, Seattle Times

“The heart of Leave No Trace is the rapport between the father and daughter, and McKenzie and Foster are keyed to each other’s movements, perhaps even each other’s thoughts.”- David Edelstein, New York Magazine

Lowlife, Director Ryan Prows

When a simple organ harvesting caper goes awry, a twist of fate unites three of society’s forgotten and ignored: EL MONSTRUO, a disgraced Mexican wrestler working as hired muscle for a local crime boss. CRYSTAL, a recovering addict desperate enough to arrange a black market kidney transplant to save her husband’s life. And RANDY, a loveable two-strike convict fresh out of prison, cursed with a full-face swastika tattoo and a best friend guilting him into some hair-brained kidnapping scheme. In LOWLIFE we follow  the sordid lives of these small-time criminals collide, as they fight tooth and nail to save a pregnant woman from a certain, and surely gruesome, death. Director Ryan Prows joins for a lively conversation on his hard-charging, high-energy debut feature film.

 

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For news and updates  go to: lowlifethemovie.com

facebook.com/lowlifethemovie

91% on Rotten Tomatoes

“The result is a film that’s as brutal in its imagery as it is funny in its execution.” – Jared Mobarak, Film Stage

“A captivating feature debut despite some missteps, it flashes back to a time when every other filmmaking newcomer wanted to be Quentin Tarantino; surprisingly, it does not provoke the weary eye-rolling that greeted so many of those films.” – John DeFore, Hollywood Reporter

“A movie with the sole purpose of an adrenalin rush, designed to strap you to your seat, entertain you, and spit you back into reality, exhausted but satisfied.” – Brian Tallerico, RogerEbert.com

“Lowlife is such a wild ride that any cinema showing it might want to consider installing seat belts on their chairs. Every second is electrifying.” – Mike McGranahan, Aisle Seat

“Nicely calibrates a twisty course between straight crime melodrama and black comedy, one that has cult-following potential among adventurous genre fans.” – Dennis Harvey, Variety

“Throughout its swirling stories, Lowlife does an impeccable job of teasing, pulling back, and delivering, whether it be violence, drama, or the intermittent moment of temporary joy.” – Scott Beggs, Nerdist

Indian Film Festival of Los Angeles, Mike Dougherty, Director of Programming

The Indian Film Festival of Los Angeles (IFFLA) is a nonprofit organization devoted to a greater appreciation of Indian cinema and culture by showcasing films, supporting emerging filmmakers, and promoting the diverse perspectives of the Indian diaspora. Each year the festival features a rich mix of film programs designed to build and support the growing interest in the Indian entertainment industry. This includes programming that cultivates an audience for Indian films while supporting filmmakers of Indian descent in career development as they navigate the larger studio system in Hollywood. The Indian Film Festival of Los Angeles, runs from Wednesday, April 11 – 15 at Regal Live in downtown Los Angeles, featuring programs that include One-on-One program where film industry professionals from major and independent production and distribution companies are invited to participate in meetings with the IFFLA filmmakers; and panel discussions with speakers from the film industry. We are joined by IFFLA’s Director of Programming Mike Dougherty to talk about the past, present and future of Indian cinema and the increasing acceptance among mainstream American film lovers.

 

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For news, updates and screening information go to: Indianfilmfestival.org

facebook.com/indianfilmfestival

The Green Fog, Director Guy Maddin

Guy Maddin and collaborators Galen and Evan Johnson made this ode to VERTIGO and the city of San Francisco for the closing night world premiere gala of the 2017 San Francisco International Film Festival. The iconoclastic Winnipeg-based filmmakers, working together since 2015’s THE FORBIDDEN ROOM, set themselves the challenge and constraint to remake VERTIGO, creating what they call a “parallel-universe version.” Using Bay Area-based footage from hundreds of sources—studio classics, ’50s noir, documentary and experimental films, and ’70s prime-time TV—and employing Maddin’s mastery of assemblage technique, seen in work like MY WINNIPEG and BRAND UPON THE BRAIN, the result exerts the inexorable pull of Hitchcock’s twisted tale of erotic obsession while paying tribute to the City by the Bay and the ways it looks and feels through the medium of cinema   Composed by Jacob Garchik and performed by Kronos Quartet, the film’s score nods to Bernard Hermann’s classic VERTIGO music as it collides and converses with Maddin and Johnsons’ irreverent and loving footage to create a distinctive musical extravaganza. Through 12 features and many shorts, adventurous artist Guy Maddin exhibits the rare ability to simultaneously subvert and honor the craft of  filmmaking. His credits include the Emmy Award-winning ballet film Dracula: Pages From A Virgin’s Diary (2002); The Saddest Music in the World (2003); My Winnepeg (2007) and US National Society of Film Critics Best Experimental Film Prize-winners Archangel  (1990) and The Heart of the World (2000). Guy Maddin talks about the “City by the Bay,” scriptwriting, storytelling and his favorite film, Vertigo.

 

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For news and updates go to: balconyfilm.com/the-green-fog

94% on Rotten Tomatoes!

“First and foremost, “The Green Fog” is a marvel of film scholarship that looks backward and forward from the Hitchcock masterpiece.” – Ben Kenigsberg, New York Times

“The Green Fog fairly closely follows the structure of Hitchcock’s film; achieving that in itself is some sort of accomplishment. However, it’s not so much an assemblage as it is a conjuring.” – Bilge Ebiri, Village Voice

“The film is a brilliant exercise in meta-narrative, which raises questions galore about reality and representation, time and space, genre and gender, individual and urban identity, cinematic suture and casting. Mainly, though, it’s just very, very funny.” – Geoff Andrew, Sight and Sound

“The work of a sensibility as impish as it is scholarly, animated by a mischievous sense of the medium’s possibilities” – Justin Change, Los Angeles Times

“It demonstrates the act of creation as a perpetually reconstructive effort…” – Lawrence Garcia, Cinema Scope

Beauty and the Dogs, Director Kaouther Ben Hania

BEAUTY AND THE DOGS tells the harrowing story of Mariam, an attractive young Tunisian woman, starts off the evening in carefree spirits at a student party with her girlfriends, where she meets a handsome young man and goes for a walk with him on the beach in the moonlight. In the next scene, she is seen disheveled, running through the streets at night, flinching at every passing car, with her male companion trailing behind. She has been raped by police officers. But her harrowing ordeal has just begun, as she attempts to find help, report the crime, and seek justice, battling overwhelming obstacles to make those guilty accountable. Employing impressive cinematic techniques and anchored by a fiery tour-de-force performance from newcomer Mariam Al Ferjani, Beauty and the Dogs tells an urgent, unapologetic, and important story head-on. A rare film from a female Tunisian writer and director, Kaouther Ben Hania’s startling drama is a striking critique on a repressive society and a forcefully feminist rallying cry. Director and writer Kaouther Ben Hania stops by to talk about her moving portrait of a woman who slowly but surely comes to grips with her increasingly desperate situation.

 

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For news and updates go to: Beauty and the Dogs site at Oscilloscope Films

Beauty and the Dogs is playing at the NuArt Theatre in Los Angeles beginning Friday, March 23 (check out the Nuart listing)

71% on Rotten Tomatoes!

“Beauty and the Dogs plays like an actual, unending nightmare.”

“A crescendo of humiliation, anxiety and abuse, “Beauty and the Dogs” plays like a horror movie where every choice is a Catch-22 and every door a trap.” – Jeanette Catsoulis, New York Times

“Her experience becomes an incendiary account of bureaucracy built to overwhelm, a complex commentary on political capital and how justice for one can be justice for all.” – Jared Mobarak, Film Stage

“It’s not an easy watch. But, with its feminist spin on the continued battle for basic legal rights following the 2011 ousting of Tunisia’s Ben Ali regime, it feels like an important one.” – Wendy Ide, Screen International

“A harrowing and necessary film in only nine shots.” – Boys van Hoeij, Hollywood Reporter

Thoroughbreds, Director Cory Finley

Childhood friends Lily (Anya Taylor-Joy) and Amanda (Olivia Cooke) reconnect in suburban Connecticut after years of growing apart. Lily has turned into a polished, upper-class teenager, with a fancy boarding school on her transcript and a coveted internship on her resume; Amanda has developed a sharp wit and her own particular attitude, but all in the process of becoming a social outcast. Though they initially seem completely at odds, the pair bond over Lily’s contempt for her oppressive stepfather, Mark, and as their friendship grows, they begin to bring out one another’s most destructive tendencies. Their ambitions lead them to hire a local hustler, Tim, and take matters into their own hands to set their lives straight. From first-time writer-director Cory Finley comes a darkly comic psychological thriller exploring friendship, privilege and morality in a rarefied Connecticut setting of sprawling mansions, equestrian stables and elite private schools. Starring Olivia Cooke (Ready Player One, Me and Earl and the Dying Girl), Anya Taylor-Joy (The Witch, Split) and Anton Yelchin (Green Room), in one of his final screen performances, Thoroughbreds takes its cues from classic film noir, locating a deadpan wickedness in the maneuvers of his dual protagonists Amanda and Lily.  Director and writer Cory Finley joins us to talk about his his background as a playwright, adjusting to life on a film set and working with his stellar cast of young actors.

For news and updates go to: focusfeatures.com/thoroughbreds

 

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86% on Rotten Tomatoes!

“It’s a testament to the twisted brilliance of (Cory) Finley’s film that a scumbag drug dealer becomes its moral center.” – Rob Thomas, Capital Times

“Set in the opulent, WASP-y world of teen divas with killer instincts, Cory Finley’s deliciously depraved satire skewers an empathy drain that he sees as sadly emblematic of modern life.” – Peter Travis, Rolling Stone

“Remember the name Cory Finley.” – Peter DeBruge, Variety

“Thoroughbreds was written and directed by first-time filmmaker Cory Finley, and for other amateurs it’s a masterclass in squeezing everything you can out of a small budget.” – Andrew Lapin, NPR

“Thoroughbreds, in other words, has been made with diabolical craft and intelligence, the kind that marks director (Cory) Finley as a major new American talent.” – A.A. Dowd, AV Club

“One of the most assured and impressive American debut movies of the year.” – Oliver Lyttleton, The Playlist

Oh Lucy! – Director Atsuko Hirayanagi

Oh Lucy! follows Setsuko (Shinobu Terajima in an Independent Spirit Award-nominated performance), a single, emotionally unfulfilled woman, seemingly stuck with a drab, meaningless life in Tokyo. At least until she’s convinced by her niece, Mika to enroll in an unorthodox English class that requires her to wear a blonde wig and take on an American alter ego named “Lucy.” This new identity awakens something dormant in Setsuko, and she quickly develops romantic feelings for her American instructor, John (Josh Hartnett). When John suddenly disappears from class and Setsuko learns that he and her niece were secretly dating, Setsuko enlists the help of her sister, Ayako and the pair fly halfway across the world to the outskirts of Southern California in search of the runaway couple. In a brave new world of tattoo parlors and seedy motels, family ties and past lives are tested as Setsuko struggles to preserve the dream and promise of “Lucy.” Director Atsuko Hirayanagi (Spirit Award nominee for Best First Feature) joins us for a conversation on the challenges of making her  multi-cultural comedy / drama and working with the film’s Executive Producers Will Ferrell and Adam McKay.

For news and updates go to: ohlucyfilm.com

 

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100% on Rotten Tomatoes!

“Within the confines of this cross-cultural shaggy-dog tale, Hirayanagi locates both a sharp vein of absurdist comedy and a bitter, melancholy undertow.” – Justin Chang, Los Angeles Times

“Hirayanagi isn’t selling a packaged idea about what it means to be human; she does something trickier and more honest here, merely by tracing the ordinary absurdities and agonies of one woman’s life.” – Manohla Dargis, New York Times

“Japanese filmmaker Atsuko Hirayanagi explores the transformative power of human connection in Oh Lucy!, a film which seems to play like a standard culture clash comedy but reveals itself to run significantly deeper.” – Nikki Baughan, Screen International

“Expanded from her award-winning short of the same title, Oh Lucy! betrays some rough edges in the transition, but Hirayanagi’s idiosyncratic touch marks her as a talent worth tracking.” – Andrew Barker, Variety

The Young Karl Marx, Director Raoul Peck

At the age of 26, Karl Marx (August Diehl; INGLOURIOUS BASTERDS, THE COUNTERFEITERS) embarks with his wife Jenny (Vicky Krieps; PHANTOM THREAD) on the road to exile. In 1844 Paris they meet young Friedrich Engels (Stefan Konarske), son of a factory owner and an astute student of the English proletariat class. Engels brings Marx the missing piece to the puzzle that composes his new vision of the world. Together, between censorship and police raids, riots and political upheavals, they will preside over the birth of the labor movement, which until then had been mostly makeshift and unorganized. This will grow into the most complete theoretical and political transformation of the world since the Renaissance – driven, against all expectations, by two brilliant, insolent and sharp-witted young men. In his first film since the Oscar®-nominated documentary I AM NOT YOUR NEGRO, celebrated Haitian filmmaker Raoul Peck (LUMUMBA) paints a vivid portrait of another of history’s most influential thinkers with THE YOUNG KARL MARX. A fervently intelligent chronicling of the blood, sweat and debate that went into the creation of a manifesto and a movement, the film premiered at the 2017 Berlin International Film Festival. Director Raoul Peck joins us for a lively conversation on capturing the essence of a young Marx and Engels relationship, the relevance of Marxism today and the critical reaction to his film.

 

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For news and updates go to: theorchard.tv/the-young-karl-marx

More on Raoul Peck and his films go to: velvet-film.com

“Against all expectations, “Young Karl Marx” makes this kind of brainy content bracing and dramatic.” – Kenneth Turan, Los Angeles Times

“Both intellectually serious and engagingly free-spirited.” – A.O. Scott, New York Times

“A spry romp through the seven years leading up to the drafting of the Communist Manifesto… Peck’s lively, twinkly drama is at heart a bromance.” – Lee Marshall, Screen International

 “[A] sinewy and intensely focused, uncompromisingly cerebral period drama… It gives you a sense of what radical politics was about: talk.” – Peter Bradshaw, The Guardian

Michael Rabehl – 2018 Cinequest Film & VR Festival, Director of Programming

Cinequest has led the world in its showcase and implementation of the innovations that have revolutionized film making, exhibition and distribution. Over 100,000 attend CQFF, yet the three-block proximity of its state-of-the-art venues along with Cinequest’s renowned hospitality, makes the festival experience as warm and personal as it is electrifying. Cinequest presents over 90 World and U.S. premieres with groundbreaking innovations by 700+ participating filmmakers from over 50 countries each year. Set in the home of the world’s most influential media technology companies (Apple, Cisco, Facebook, Twitter, Netflix, LinkedIn etc.) CQFF showcases premier films, renowned and emerging artists, and breakthrough technology—empowering global connectivity between creators, innovators and audiences. Michael Rabehl has been a member of the Cinequest team since 1994. As the Director of Programming he manages the film selection process for the festival and supervises the programming teams to create a world class line up of films and guests every year. In his role as the Associate Director he is directly involved with the strategic planning of the festival. Michael joins us to talk about the 2018 Conquest film and virtual reality line-up.

 

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For news and updates go to: cinequest.org

Cinequest Film and Virtual Reality Film Festival February 27 – March 11, 2018

“Move over Cannes! Of the more than 4,000 film festivals around the globe, more than half take place on U.S. soil, and many rank among the best of the best. Our panel of film experts, movie buffs and festival gurus were tasked with narrowing down the field to the best 20 film festivals in the nation before we turned it over to USA TODAY and 10Best readers to choose their favorites. After four weeks of voting, we have a winner. Cinequest Voted Best Film Festival!” — USA Today

“Technology always drives the film business. In Cinequest, we have a good window on the future. I think they’re leading the world in this regard.” — Peter Belsito, Executive Vice President, Film Finders

“This festival is one that sets the trends and is actually ahead of the trends. Other festivals are copying Cinequest; I see it all the time.” — Chris Gore, Ultimate Film Festival Survival Guide and Film Threat

“At Cinequest you often haven’t heard of the film before you go see it, but the audiences come anyway. That’s a testament to the festival — that audiences are willing to take that leap of faith.” — Kenneth Turan, Los Angeles Times

Carter Pilcher, Chief Executive of Shorts International

Carter Pilcher founded Shorts International in 2000. Coming from a background in both investment banking and law, Carter has made Shorts International the world’s leading short movie Entertainment Company, functioning as distributor, broadcaster and producer. Carter has extensive experience in short movie production and short movie entertainment. He is a voting member of the British Academy of Film and Television Arts and a member of the Short Film and Feature Animation Branch of The US Academy of Motion Pictures, Arts and Sciences (AMPAS) – the guys who pick the Oscars. Carter, originally from Terre Haute, Indiana, received a B.S. from the U.S. Air Force Academy, a J.D. from Georgetown University, is a member of the New York Bar and attended the London Business School Corporate Finance Evening Program. Carter Pilcher has been and continues to be the highlight of Oscar season here on Film School. His insight, commitment and love of films and filmmaking always makes for a lively and informative conversation on some of the best films you will see all year.

 

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shorts.tv/theoscarshorts/

shorts.tv/theoscarshorts/theatrical-release

SHORT FILM (ANIMATED) NOMINEES

DEAR BASKETBALL

Glen Keane and Kobe Bryant

http://believeentertainmentgroup.com/portfolio-item/dear-basketball/

https://www.facebook.com/DearBasketballFilm/

GARDEN PARTY

Victor Caire and Gabriel Grapperon

https://www.facebook.com/gardenpartymovie/

https://www.gardenparty-movie.com/

LOU

Dave Mullins and Dana Murray

https://www.pixar.com/short-films/#short-films-launch

https://en.wikipedia.org/wiki/Lou_(2017_film)

NEGATIVE SPACE

Max Porter and Ru Kuwahata

http://ikkifilms.com/archives/portfolio/negative-space

https://vimeo.com/user72791802

http://www.thisiscolossal.com/2018/01/negative-space-short-film/

REVOLTING RHYMES

Jakob Schuh and Jan Lachauer

http://www.bbc.co.uk/programmes/b0876ds6

https://en.wikipedia.org/wiki/Revolting_Rhymes_(film)

SHORT FILM (LIVE ACTION) NOMINEES

DEKALB ELEMENTARY

Reed Van Dyk

https://www.dekalbelementaryfilm.com/

https://www.facebook.com/dekalbelementary/

THE ELEVEN O’CLOCK

Derin Seale and Josh Lawson

http://oscar.go.com/nominees/short-film-live-action/the-eleven-o-clock

https://en.wikipedia.org/wiki/The_Eleven_O%27Clock

MY NEPHEW EMMETT

Kevin Wilson, Jr.

https://www.facebook.com/mynephewemmett/

https://www.mynephewemmett.com/

THE SILENT CHILD

Chris Overton and Rachel Shenton

https://www.facebook.com/TheSilentChildFilm/

https://www.thesilentchildmovie.com/

WATU WOTE/ALL OF US

Katja Benrath and Tobias Rosen

https://www.facebook.com/WatuWote.AllOfUs/

http://oscar.go.com/nominees/short-film-live-action/watu-wote-all-of-us

DOCUMENTARY (SHORT SUBJECT) NOMINEES

EDITH+EDDIE

Laura Checkoway and Thomas Lee Wright

https://www.facebook.com/EdithEddieFilm/

https://www.kartemquin.com/films/editheddie

HEAVEN IS A TRAFFIC JAM ON THE 405

Frank Stiefel

http://heavenisatrafficjamonthe405.com/

https://www.facebook.com/heavenisatrafficjamonthe405/

HEROIN(E)

Elaine McMillion Sheldon and Kerrin Sheldon

http://heroinethefilm.com/

https://www.netflix.com/title/80192445

KNIFE SKILLS

Thomas Lennon

https://www.facebook.com/KnifeSkillsDoc/

http://knifeskillsthemovie.com/

TRAFFIC STOP

Kate Davis and David Heilbroner

https://www.hbo.com/documentaries/traffic-stop

http://oscar.go.com/nominees/documentary-short/traffic-stop

The Strange Ones, Co-directors Lauren Wolkstein and Christopher Radcliff

Mysterious events surround two travelers as they make their way across a remote American landscape. On the surface all seems normal, but what appears to be a simple vacation soon gives way to a dark and complex web of secrets. THE STRANGE ONES had its world premiere at the 2017 SXSW Film Festival where it was awarded the Special Jury Recognition for Breakthrough Performance for James Freedson-Jackson.

Director’s Statement – There is a line late in the film where two teenage characters are engaged in an awkward conversation that consists more of silence than words. “It’s crazy to think,” the girl says, “that you like, never really know a person. You know?” The idea of “not knowing” is at the core of The Strange Ones. As filmmakers, we are most interested in stories that leave a strong impression but somehow stop short of surrendering a tidy explanation, and in characters that have secrets that may or may not ever be fully revealed. There is something more satisfying in this for us – as if the truth, by virtue of remaining unseen, can expand upon speculation and become something larger, more profound, and \more fascinating than a straightforward answer. Perhaps we find also that this is a more accurate reflection of real life – so often we believe we understand something or someone in their entirety, only to find out that we have only really glimpsed the surface; and that beneath lies a world of complexity that we might never fully know. In that regard, The Strange Ones is a story that presents a rather simple surface, as well as a more complicated and mysterious hidden dimension.”

Official Website: www.thestrangeones.com
Facebook: www.facebook.com/TheStrangeOnesFilm
Twitter: www.twitter.com/thestrangeones

 

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“Secrets curl with thick dread around a man and boy on the run from a dark past in this elliptical and mysterious road movie.” – Chris Barsanti, Film International Journal

“The Strange Ones is a solid movie on first watch that becomes a seriously good movie on second watch. Maybe that’s a poor framework for an endorsement, but the film is more than the shock of its climax.” – Andy Crump, Paste Magazine

“It’s an artful, boundary-pushing debut from Radcliffe and Wolkstein, with breakthrough performances from Freedson-Jackson, and Pettyfer, perhaps signaling a new direction in his career.” – Katie Walsh, Los Angeles Times

“As with all great films, it takes an angle that we may have never thought of before, and one we may not soon forget.” – Fernando Andres, Film School Rejects

Tomorrow Ever After, Director Ela Thier

Ela Thier is a critically acclaimed writer, director and actor. She is known for creating dramedies that bring laughter and tears to diverse audiences across racial and socio-economic lines, and unifies audiences across political spectra. Thier’s critically acclaimed Tomorrow Ever After (2017) won numerous major festival awards. After a successful theatrical run Tomorrow Ever After is now available on numerous PPV and VOD platforms including iTunes and Amazon. Her award-winning feature, Foreign Letters, was distributed by Film Movement (2012) and shown at over 140 festivals world-wide. Thier directed over a dozen short films winning numerous Best Short awards. Her film, A Summer Rain, screened at hundreds of venues and became a YouTube sensation. Thier worked as a writer-for-hire on Puncture, starring Chris Evans. The film premiered at the Tribeca Film Festival and released by Millenium Films (2011). Thier is a recipient of the Jerome Foundation Film Production Grant (2015), was a nominee of the White House Project Emerging Artist Award (2010), and a recipient of the NYFA Fellowship Grant in Screenwriting (2008). Thier joins us to talk about the multi-platform release of Tomorrow Ever After, filmmaking and her own The Independent Film School workshops. 

My guiding principle has been to create the workshops that I would want to attend. I think back to my beginnings as a filmmaker and I design the workshops that I could have really used: ones that are packed with concrete information made easy to understand, and are super supportive and encouraging. My life would have been easier if I had gotten the encouragement that artists need.” – Ela Their on her Independent Film School workshops

 

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For more on Ela Thier’s filmmakers workshops go to: Theindependentfilmschool.com

Keep up with the latest on Ela Thier at: facebook.com/elathier

For news and updates go to: tomorroweveraftermovie.com

Ela Thier brings a fresh perspective …Thier plays the kooky interloper with the same open and unguarded childlike naiveté as Robin Williams’ beloved alien Mork …Ultimately, “Tomorrow Ever After,” contains a hopeful message that somehow, the world just might end up a better place. – Kate Walsh, LA TIMES

Her writing and direction are resourceful and assured, and her performance is as delightful as it is imbued with political commentary …In its sweet but pointed way, saying a good deal with relatively little, and in unpredictable ways, the film is also a critique of art as corporate product, especially in the realm of sci-fi franchise extravaganzas. – Sheri Linden, THE HOLLYWOOD REPORTER

Played with touching insight and natural beauty …provided me with a newfound hopefulness and a new sense of wonder for my fellow humans. – E. Nina Rothe, THE HUFFINGTON POST

Thier’s sensibility offers such a welcome break… inviting audiences to see our modern-day world through fresh eyes. – Peter Debruge, VARIETY

Wormwood, Director Errol Morris

On November 28th, 1953, mild-mannered military scientist Frank Olson plunged from the window of his 13th-floor New York hotel room and died. His cause of death was described as a “fall or jump” and though many questions remained about the exact circumstances, the case was left unsolved, and Olson’s wife and three young children attempted to move on. Over two decades later, in June of 1975, the Rockefeller Commission issued a comprehensive, high-profile report on myriad illegal CIA activities that featured a passing mention of a 1953 incident in which an army scientist was purposefully drugged with LSD without his knowledge and died from a fall a few days later. This revelation sends the Olson family, led by oldest son Eric, on a decades-long hunt for answers that takes them to the highest corridors of power in the U.S. government and close to some of its darkest secrets. Acclaimed storyteller Errol Morris weaves this mystery into a six-part story exploring the limits of our knowledge about the past and the lengths we’ll go in the search for the truth. Wormwood is the saga of one man’s obsessive, sixty-year quest to identify the real circumstances about his father’s death that tells a hidden history of key events of the second half of the 20th Century. Was Frank’s death an accident? Did he commit suicide after a bad drug trip? Or was he murdered for knowing too much? In Wormwood, Morris connects Frank’s story to the Korean War, mind control experiments, illegal germ warfare, brainwashing, Manchurian candidates, Dick Cheney, Donald Rumsfeld and more.

For news and updates go to: netflix.com/wormwood

 

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“Wormwood is more concerned with its intellectual and philosophical musings on the intangibility everything about this case represents, but it comes at the cost of an emotional impact that’s always just beneath the surface.” – Kevin Jagernauth, The Playlist

“With “Wormwood,” Morris reclaims the approach he popularized by employing accomplished performers such as Molly Parker, Tim Blake Nelson, Peter Sarsgaard and Bob Balaban to bridge the gap between fact, presumption and fantasy.” – Lorraine Ali, Los Angeles Times

“Redefining what a documentary can do and be, Morris’ epic proves a tragedy of systemic corruption, personal mania, and the inability to grasp that which one knows exists, but remains just out of reach.” – Nick Schager, The Daily Beast

“heir testimonies unfolds alongside a series of dramatic reenactments that may or may not illustrate the precise nature of the events being described. The result is a documentary-fiction combination like nothing seen before.” – Eric Kohn, IndieWire

“It has an eerie, something-is-happening-here-but-you-don’t-know-what-it-is-do-you-Mr.-Jones vibe that evokes mid-century American cold war paranoia” – Jordan Hoffman, Vanity Fair

Naples ’44, Director Francesco Patierno, Producers Francesca Barra and Davide Azzolini

In 1943 a young British officer, Norman Lewis, entered a war-torn Naples with the American Fifth Army. Lewis began writing in his notepad everything that happened to him during his one-year stay observing the complex social cauldron of a city that contrived every day the most incredible ways of fighting to survive. These notes turned into the masterpiece NAPLES ‘44. This film adaptation imagines Lewis returning to the city that charmed and seduced him many years later. Filmmaker Francesco Patierno combines riveting archival war footage with clips from movies set in Naples from the 1950s and 60s (featuring Marcello Mastroianni, Alan Arkin, Ernest Borgnine) and Oscar-nominated actor Benedict Cumberbatch narrating a portray of a city that was as much a victim of the war as any individual, but that has come back to life with all the charisma of Vesuvius, its very own volcano. This visionary reminiscence is made up of flashbacks between the places of the present that Lewis revisits and the stories of the past. Cumberbatch gives life to Lewis’ words through the stories and fortunes of the people he meets, by the end of this intimate nostalgic journey we can fully share with him a deep feeling for the city. Director Francesco Patierno and Producers Francesca Barra and Davide Azzolini stop by to talk about this stunning, intimate evocation of a time and place from the not-too-distant past that has much to teach us today.

For the latest on Naples ’44 go to: Naples ’44 at First Run Features

Naples ’44 opens Friday, December 8 at the Laemmle Monica in Santa Monica

 

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“A riveting film, a complex portrait of the mystery of Naples.” – Corriere della Sera

“If it weren’t for the time-chiseled patina on the footage dug out from archives, the powerful images of Vesuvius erupting, or the Caravaggio-esque faces of the faithful praying, there really wouldn’t be much difference between the Naples of this time and the cities martyred by the conflicts of today, like Aleppo, like Mosul.” – Il Mattino

“Magnificent. (An) elegant, moving, balanced war diary.” – Il Foglio

“Naples ’44 is a harrowing portrait of a defiant population which after suffering great losses, finally drove out its Nazi occupiers, and did survive.” Patrick McGrath, New York

Ayiti Mon Amour, Director and Writer Guetty Felin

According to one of many Haitian beliefs, we are born from water and so to water our souls return… but only for a year and a day, after our demise.  Guetty Felin’s AYITI MON AMOUR is set in a land inhabited by spirits looking for their final resting place, mourners seeking closure and ordinary individuals engaged in a precarious dance of survival. It spins the magic neo-realist  tale of Orphée an awkward teen grieving the loss of his father. One day after a freak encounter with an underwater sea creature he develops special electrifying powers, but with power comes certain responsibilities…The world seems to be changing much too rapidly for Jaurès the old fisherman. These days Jaurès is obsessed with the environmental degradation, the rising temperature of the sea and the drought that is starving his cows. But what pre-occupies Jaurès the most is his beloved wife Odessa who is bedridden and homesick. Jaurès is determined to do everything to make her well again even if it means putting his own life in peril…Lastly, there’s the beautiful mysterious Ama, part muse, part wandering soul but also the main character of a novel by an uninspired writer. After five years of waiting for him to complete his masterpiece, she decides to leave him and his story, and sets out to live her own life. With AYITI MON AMOUR the island nation of Haiti has its first ever entry in the Academy Awards category of Best Foreign Language Film. It is also  the first narrative feature entirely shot in Haiti by a Haitian-born female director, Guetty Felin. She joins us to talk about her warm-hearted, humane film and its celebration of her native country.

For the latest news go to: facebook.com/AyitiMonAmourMovie or belle moon productions

 

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**OFFICIAL SELECTION – Toronto International Film Festival**

**OFFICIAL SELECTION – San Francisco International Film Festival**

**OFFICIAL SELECTION – Eurasia International Film Festival**

**WINNER – BlackStar Film Festival – Best Feature Narrative**

**WINNER – Festival Internacional de Cine America – Best Cinematography**

**NOMINATED – Curaçao International Film Festival Rotterdam – Yellow Ribbon Award**

Porto, Director Gabe Klinger

In the haunting, intimate tale PORTO Jake (Anton Yelchin) and Mati (Lucie Lucas) are two expats who experience a brief but intimate connection in the ancient Portuguese city of Porto. He’s an American loner exiled from his family. She’s a student from France embroiled in an affair with one of her professors. After spotting each other from a distance at an archeological site and then again at a train station and a café, Jake works up the courage to approach Mati and they embark on a night of carefree intimacy. This romantic encounter is viewed from years later, both characters still haunted by the powerful connection they shared. Using a mix of film stocks and art direction that evokes a bygone era of European cinema, Porto delivers a cinematic form of saudade – a Portuguese word that describes an emotional state of nostalgic longing for a person or place that one has loved. Director, writer, editor, and producer Gabe Klinger stops by to talk about his bittersweet, heartbreaking, soaring ode to romantic love.

For news and updates go to kinolorber.com/film/porto

 

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New York, NY – November 17 at Landmark Sunshine Cinema

Los Angeles, CA – November 24 at Landmark Nuart Theatre

“A swirling examination of love in all its bittersweet splendor.” – David Ehrlich, Indiewire

“Ravishingly shot. A film that’s in love with love, in love with cinema.” – Guy Lodge, Variety

“An extraordinary and delicate depiction of a fleeting passion. Touches on the most tender and incisive heights of each crest of the European New Wave.” – Richard Whittaker, The Austin Chronicle

“Yelchin’s acting is superb in its minimalism, expressing sensitivity, yearning and sorrow with subtle intensity.” – Catherine Sedgwick, The Upcoming

Mr. Fish: Cartooning From the Deep End, Director Pablo Bryant

Provocative, funny, intelligent and fiercely political, audiences had better be ready to dive in for the new documentary feature MR. FISH: CARTOONING FROM THE DEEP END. Directed by Pablo Bryant, will have its NYC Premiere at the DOC NYC 2017. In this documentary we discover the dangerously funny cartoonist Mr. Fish, struggling to make a living in an industry that is dying out. In a world where consumerism is king, and opportunities are few, will this uncensored artist find a way to sell his art, or be forced to sell himself out?  After a rousing, standing ovation laden World premiere, comes word that director Pablo Bryant’s MR. FISH: CARTOONING FROM THE DEEP END has won the 2017 Hiscox Audience Award for Best documentary at at the Austin Film Festival. Director Pablo Bryant joins us for a lively conversation on free speech, our political culture, and the artistic sensibilities of today’s most scathing and insightful political satirist.

For news and updates go to: mrfishmovie.com

Check out Mr. Fish’s art at: mrfishmovie.com/gallery

 

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Screening times:

Sun., Nov. 12, 2017, 4:30 PM – Cinepolis Chelsea Cinemas

Mon., Nov. 13, 2017, 10:15 am – IFC Center

BPM, Director Robin Campillo

2018 Official Oscar® Entry – FRANCE Best Foreign Language Film BPM tells the story of how a passionate group of Parisian activists goes to battle for those stricken with HIV/AIDS, taking on sluggish government agencies and major pharmaceutical companies in with bold, invasive actions. The organization is ACT UP – the AIDS Coalition to Unleash Power – and its members embrace their task as a literal life-or-death mission. With more than 6,000 new diagnoses made each year in France, there is no time to waste. And yet, the officials and the corporations are not moving fast enough. “BPM” tells the story of that fight from the inside-out. Amid the rallies, fierce debates and ecstatic dance parties, intimate connections are made and vibrant life rages against death. As the activists scramble from boisterous street demonstrations and boardroom face-offs to dance floors pulsing with light and rhythm, Nathan and Sean’s relationship deepens. They confess individual memories of sexual initiation that are profoundly tied, in different ways, to the emerging AIDS crisis, and sexual intimacy itself becomes a kind of resistance. As Sean gets sicker, their passion sparks against the shadow of mortality, and the activist community of activists plots its most dramatic protest yet. Director and writer Robin Campillo joins us for a conversation on his intimate and thoughtful tale of activism and struggle in the face of intractable indifference and antipathy.

For news and updates fo to: bpm.film

 

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France’s entry for 2017 Academy Award Best Foreign Language Film

Opening at the Laemmle Royal Theatre on Friday, November 3, go to: laemmle.com/theaters

98% Rotten Tomatoes

“In its balance of resistance, agony, and joy, BPM (Beats Per Minute) approaches this subject with the nuance and empathy it deserves.” – Josephine Livingstone, New Republic

“BPM is vital for the history it depicts, but it’s also important in the here and now, as a testament to public action – even messy, not-always-effective public action.” – David Edelstein, New York Magazine

“In spite of its historical specificity, “BPM” never feels like a bulletin from the past. Its immediacy comes in part from the brisk naturalism of the performances and the nimbleness and fluidity of the editing.” – A.O. Scott, New York Times

“In its balance of resistance, agony, and joy, BPM (Beats Per Minute) approaches this subject with the nuance and empathy it deserves.” – Josephine Livingstone, New Republic

“BPM is vital for the history it depicts, but it’s also important in the here and now, as a testament to public action – even messy, not-always-effective public action.” – David Edelstein, New York Magazine

“In spite of its historical specificity, “BPM” never feels like a bulletin from the past. Its immediacy comes in part from the brisk naturalism of the performances and the nimbleness and fluidity of the editing.” – A.O. Scott, New York Times

God’s Own Country, Director Francis Lee

In the compelling feature film debut of Francis Lee God’s Own Country Johnny Saxby works long hours in brutal isolation on his family’s remote farm in the north of England. He numbs the daily frustration of his lonely existence with nightly binge-drinking at the local pub and casual sex. When a handsome Romanian migrant worker arrives to take up temporary work on the family farm, Johnny suddenly finds himself having to deal with emotions he has never felt before. An intense relationship forms between the two which could change Johnny’s life forever. This growing chemistry between them results in an intense, instinctive sexual encounter. With both lads struggling to come to terms with what their time on the moor really meant and what they want from each other. With the future of the farm, his father’s life and his fledgling first relationship all hanging in the balance, Johnny feels more isolated and powerless than ever. Sent back to the farm on their own by Deirdre to tend to the animals, Johnny and Gheorghe slip into an unspoken domestic life. But soon Gheorghe’s contract will come to an end… Director Francis Lee joins us to talk about this simple story of struggling people living on the edge drawn into an emotionally complex tale.

For news and updates go to: samuelgoldwynfilms-Gods Own Country

 

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Official Selection

Sundance Film Festival 2017

Berlin International Film Festival 2017

San Francisco International Film Festival

“There will be many people who see themselves in the furtive glances and mud-covered kisses from which “God’s Own Country” weaves its harsh but hopeful narrative, and they will do so while witnessing a finely crafted piece of cinema.” – Jude Dry, IndieWire

“A rigorously naturalistic drama that yields stirring performances from the collision between taciturn demeanors and roiling emotional undercurrents.” David Rooney, Hollywood Reporter

“Skipping some of the more predictable narrative obstacles we’ve come to expect from the coming-out drama, this sexy, thoughtful, hopeful film instead advances a pro-immigration subtext that couldn’t be more timely …” – Guy Lodge, Variety

“This is one of the most assured, fully-formed British debuts of recent years.” – Paul O’Callaghan, Sight and Sound

Tom of Finland, Actor Pekka Strang

This stirring biopic follows the life of the artist Touko Laaksonen (Pekka Strang), known to the world as Tom of Finland, whose proudly erotic drawings shaped the fantasies of a generation of gay men, influencing art and fashion before crossing over into the wider cultural consciousness. But who was the man behind the leather? After serving in the army in WWII, Touko returned to repressive Finnish society of the 1950s, haunted by traumatic experiences. Moving in with his affectionate but unenlightened sister Kaija (Jessica Grabowsky), he fell in love with her lodger, handsome dancer Veli (Lauri Tiklanen), who Kaija also fancied. Unable to express his feelings openly, Touko poured them into his drawings, creating his vision of the hypermasculine leatherman. Soon his art was famous under his secret pseudonym, but getting it published was a struggle that took Touko to California, where he and his art were finally embraced amid the sexual revolution of the 1970s. Tom’s story is one of love, courage and perseverance, mirroring the gay liberation movement for which his leather-clad studs served as a defiant emblem. Finland’s Official Selection for Best Foreign Language Film consideration at the 90th Academy Awards. Actor Pekka Strang joins us for a conversation on his nuanced and winning portrayal of an iconic artist and unexpected champion of equal rights for the LGBTQ community.

For news and updates go to kinolorber.com/film/Tom of Finland

facebook.com/tomoffinlandmovie

 

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Tom of Finland opens on October 20, 2017 at the Landmark Nuart Theatre in Los Angeles with a Q&A with actor Pekka Strang after the Friday 7 PM screening.

For tickets and showtimes go to landmarktheatres.com/nuart

“Though not explicit per se, Tom of Finland is quite visceral; you can practically smell this movie, with many scenes reeking of cigarettes, sweat, and …” – Sherilyn Connelly, SF Weekly

“Pekka Strang does a fantastic job as Laaksonen; his playfully nuanced performance adds to the beautifully sedate way in which the story is told.” – Linda Marric, HeyUGuys

“Karukoski’s film at least honors its subject’s work in some key respects: It’s handsome, smoothly executed and eager to entertain.” – Guy Lodge, Variety

“Strang and Grabowsky deliver fantastic, in-depth performances, shaping the siblings’ personalities with sensitive resoluteness.” – Filipe Freitas, Film Threat

Year By The Sea, Director Alexander Janko

Winner of 16 festival awards – from Audience Choice to Best Feature/Actress/Music and Screenplay – YEAR BY THE SEA chronicles empty-nester Joan Anderson’s (Karen Allen) decision not to follow her relocated husband to Kansas. Instead, she retreats to Cape Cod to rediscover herself and redefine her life. Plagued with guilt, she questions her decision until stumbling upon a spirited mentor, Joan Erikson (Celia Imrie) – author and wife of famed psychologist Erik Erikson (Alvin Epstein), who coined the term “identity crisis.” With a support group that includes her literary agent and a host of locals, Joan learns to embrace the ebb and flow of life – ultimately discovering the balance between self and sacrifice, obligation and desire. YEAR BY THE SEA, based on the New York Times and international best-selling memoir by Joan Anderson and starring highly acclaimed screen and stage actress Karen Allen (Raiders of the Lost Ark, Animal House). Written, directed and composed by Alexander Janko, YEAR BY THE SEA will open at Lincoln Plaza and Landmark Sunshine in New York on September 8 and at Laemmle Royal, Town Center and Playhouse 7 in Los Angeles on September 15. Director Janko joins to talk his life-affirming tale of friendship, love and pushing against expectations.

For news and updates go to: YearByTheSea.com

 

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Opens at Lincoln Plaza Cinema & Landmark Sunshine in New York – September 8

Opens at the Royal, Town Center and Playhouse 7 in Los Angeles – September 15

4 AUDIENCE CHOICE

Rhode Island International Film Festival

Naperville Independent Film Festival

Berkshire International Film Festival

Vail Film Festival

ACTOR AWARDS

Best Actress (Karen Allen) — Hamilton Film Festival

Best Actress (Karen Allen) — Naperville Independent Film Festival

“[Year by the Sea] is not a film trying to show the extraordinary in the mundane, but rather create a space for characters like Joan to figure out what they can become.” – Jose Solis Mayen, The Film Stage

“The movie is not entirely my cup of tea, although it is refreshing in its depiction of diverse, older female characters.” – Glenn Kenny, New York Times

“As it charts its familiar course, the film has soothing, even therapeutic value.” – Alan Scherstuhl, Village Voice

“A life-affirming, breathtaking, and inspirational film that will nourish your heart, mind and soul. It’s the perfect antidote to Hollywood’s blockbusters. Karen Allen gives the best performance of her career! What a triumph!” – Avi Offer, NYC Movie Guru

September 1, 2017 – Viceroy’s House, Director Gurinder Chadha

New nations are rarely born in peace… India, 1947: Lord Mountbatten (Hugh Bonneville) is dispatched, along with his wife Edwina (Gillian Anderson), to New Delhi to oversee the country’s transition from British rule to independence. Taking his place in the resplendent mansion known as the Viceroy’s House, Mountbatten arrives hopeful for a peaceful transference of power. But ending centuries of colonial rule in a country divided by deep religious and cultural differences proves no easy undertaking, setting off a seismic struggle that threatens to tear India apart. VICEROY’S HOUSE delves into the “upstairs/downstairs” real-life history of Lord Mountbatten and his family in 1947 India from the perspectives of both the Mountbattens and the people of India. The story of India’s partition is not only a story of independence, but also one of the greatest refugee crisis in history. With sumptuous period detail, director Gurinder Chadha (Bend It Like Beckham) brings to life a pivotal historical moment that re-shaped the world.

For news and updates go to: Viceroy’s House 

Viceroy’s House at IFC Films

“At the end of this sprawling, passionate but generously non-partisan epic, a moving coda reveals the director’s personal stake in telling the story her way. You should stay for the credits.” – Ella Taylor, NPR

“The film carries a trace of the sweep of a great screen epic along with the straightforward, explanatory qualities of mass-audience TV, and is never less than absorbing.” – Ben Kenigsberg, New York Times

“sing the trappings of old-fashioned romanticism, Chadha envisions the cataclysmic upheaval of millions in the traumatic lives of a few.” – Serena Donadoni, Village Voice