The Mole Agent, Director Maite Alberdi

In Maite Alberdi’s The Mole Agent Sergio is a Chilean spy. Sort of. At least, Sergio is offered the role of one after a casting session organized by Detective Romulo, a private investigator who needs a credible mole to infiltrate a retirement home. Romulo’s client, the concerned daughter of a resident, suspects her mother is being abused and hires him to find out what is really happening. However, Sergio is 83, not 007, and not an easy trainee when it comes to technology and spying techniques. But he is a keen student, looking for ways to distract himself after recently losing his wife. What could be a better distraction than some undercover spy action? While gathering intelligence, Sergio grows close to several residents and realizes that the menacing truth beneath the surface is not what anyone had suspected. Director Maite Alberdi’s The Mole Agent is a stylish combination of an observational dcumentary and a spy movie, with sleek camerawork and wonderfully watchable characters. It’s a unique meditation on compassion and loneliness that will infiltrate your heart and never let go.

 

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For news and updates go to: cinereach.org/films/the-mole-agent

About the filmmaker – Director Maite Alberdi has developed a particular style that is characterized by an intimate portrait of small worlds, and her renowned personal hallmark has made her one of the most important voices in Latin American documentaries. In 2011 she released her first feature The Lifeguard. Her second film Tea Time won more than 12 international awards and was nominated for Best Ibero-American Film at the Goya Awards in 2016. In that same year, her short film I’m Not From Here premiered, and was later nominated for the European Films Award. Her most recent feature film The Grown Ups received 10 international awards. Additionally, she co-authored the book Documentary Film Theory in Chile 1957-1973. Maite is a Global Shaper, Young Leaders by the World Economic Forum (WEF), and a member of Motion Pictures Arts and Sciences (AMPAS).

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“The most heartwarming spy movie ever made.” – Eric Kohn, IndieWire

“Funny, poignant and finely crafted. A refreshing, beautifully made documentary.” – John DeFore, The Hollywood Reporter

“A perfect movie that will make you laugh and break your heart.” – Jonathan Christian, The Playlist

“There’s no small irony here when it takes the perceived artifice of a movie to get at a reality about aging that most of us would rather not face, but the more Sergio is asked to go undercover in “The Mole Agent,” the deeper it gets for everyone.” – Stephen Saito, Moveable Fest

Feels Good Man, Director Arthur Jones and Giorgio Angelini

In November 2016, a nasty election cycle had exposed a seismic cultural rift, and the country suddenly felt like a much different place. For underground cartoonist Matt Furie, that sensation was even more surreal. Furie’s comic creation Pepe the Frog, conceived more than a decade earlier as a laid-back humanoid amphibian, had unwittingly become a grotesque political pawn. FEELS GOOD MAN is a Frankenstein-meets-Alice-in-Wonderland journey of an artist battling to regain control of his creation, while confronting a disturbing cast of characters who have their own peculiar attachments to Pepe. Now, as Pepe continues to morph around the world – FEELS GOOD MAN offers a vivid, moving portrait of one man, one frog, and the very strange reality we’ve all found ourselves living in. Director Arthur Jones and Producer Giorgio Angelini stop by to talk about their mind-blowing journey into an internet / social media / 4Chan rabbit hole where a hippy-dippy cartoon character becomes an avatar and unfathomable messenger of hatred and bigoted propaganda.

 

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For news, updates and screenings go to: feelsgoodmanfilm.com

To watch Feels Good Man go to: feelsgoodman.watch

For more on Pepe the Frog creator mattfurie.com

About the filmmakers: Arthur Jones – Director / Animator / Writer FEELS GOOD MAN is Jones’s directorial debut, but he’s uniquely suited to tell the story. He’s a cartoonist who came up in the same indie comics scene as the film’s subject, Matt Furie. Jones published a book of his illustrations in 2011: Post-it Note Diaries (Penguin/Plume Paperbacks). Over his career, he’s art directed animation and motion graphics for journalists and documentary filmmakers, working with companies including The New York Times, VICE, The Center for Investigative Reporting and The International Consortium of Journalists. Recently he’s been a part of several documentary features: Seed Money: The Chuck Holmes Story (2015), BUNKER 77 (Amazon Studios, 2017), Owned, A Tale of Two Americas (2018) and Hal (Oscilloscope Films, 2018). Jones is a graduate of the Rhode Island School of Design. For more on the work of Arthur Jones go to: futuresmells.com

Giorgio Angelini: Producer / Writer / Cinematographer came into film from a longer, multi-faceted career in the creative arts. After touring in bands like The Rosebuds and Bishop Allen for much of his 20s, Giorgio enrolled in the Masters of Architecture program at Rice University during the depths of the 2008 real estate collapse. It was during this tumultuous time that the seeds for Giorgio’s directorial debut, OWNED: A Tale of Two Americas began to take shape. Following graduate school, Angelini began working with the boutique architecture firm, Schaum Shieh Architects, where he designed the White Oak Music Hall in Houston, Texas, as well as the headquarters for The Transart Foundation for Art and Anthropology, which won the Architect’s Newspaper’s “Design of the Year” award in 2018. 

WINNER – U.S. Documentary Special Jury Award for Emerging Filmmaker – 2020 Sundance Film Festival
WINNER – Best Feature Documentary – 2020 Lighthouse International Film Festival
Official Selection – 2020 True/False Film Festival
Official Selection – 2020 Big Sky Documentary Festival
Official Selection – Festival Favorites – 2020 SXSW Film Festival

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94% on Rotten Tomatoes

“You’ve just got to see it. It is chilling, hopeful, terrible, and wonderful—and made with care, gorgeous animation, and perfect pacing.”Allen Salkin, Los Angeles Magazine

“An expansive forensic look at the life cycle of an idea, a warp-speed analysis of internet sociology, and a harrowingly modern fable about innocence lost.“ – David Ehrlich, IndieWire

“It’s mesmerizing and kind of trippy, but also makes the film feel like a one-of-a-kind creation in the greater context of the Pepe the Frog legacy…an outstanding documentary.” 9/10 – Alex Billington, FirstShowing

“The most urgent and poignant political documentary of the year.” – Matt Patches, Polygon

Get Duked!, Director Ninian Doff

GET DUKED! follows teenage pals from Glasgow Dean, Duncan and DJ Beatroot as they embark on the character-building camping trip — based on a real-life program — known as the Duke of Edinburgh’s Award, where foraging, teamwork and orienteering are the order of the day. Eager to cut loose and smoke weed in the Scottish Highlands, the trio find themselves paired with strait-laced Ian, a fellow camper determined to play by the rules. After veering off-path into remote farmland that’s worlds away from their urban comfort zone, the boys find themselves hunted down by a shadowy force hell-bent on extinguishing their futures. From writer-director Ninian Doff — making his feature debut after a slew of award-winning music videos and short films for artists including Run the Jewels, The Chemical Brothers, Miike Snow, Migos, and Mykki Blanco — comes an anarchic satire of generational politics, hip-hop-loving farmers and hallucinogenic rabbit droppings that pits the youth of tomorrow against the status quo of yesterday. GET DUKED! stars Eddie Izzard, Kate Dickie, Georgie Glen, James Cosmo and a breakout young cast featuring Samuel Bottomley, Viraj Juneja, Rian Gordon, and Lewis Gribben. Creator and director Ninian Doff joins us for a raucous conversation on the brilliance of Eddie Izzard, getting a chance to bring his music video chops to a feature film and why the Brits are so attuned to the power of satire.

 

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Watch Get Duked! at amazon.com/Get-Duked!

About the filmmaker: Ninian Doff is a robot built by the military as an advanced ruthless killing machine. Unfortunately when they booted him up he showed no interest in murder and to their dismay started making films instead. He is considered the greatest military failure in history. Nominated for 9 British Arrows 2020 (Sainsburys and Veg Power), Grammy 2020 Best Music Video Nominated (Chem Brothers), Campaign’s Top 10 Directors 2019, Winner Shots Awards “Television Commercial of the Year – Up to and including 60 second” (Veg Power), BIFA Best Debut Director Nominated (Boyz In the Wood/ Get Duked!), Winner Just Film Grand Prix Talin Black Night Festival (Boyz In the Wood/ Get Duked!), Winner The Siren Award for Best Feature Film 2019 Lund Fantastik Film Festival (Boyz In the Wood/ Get Duked!), Winner Music video of the year Ars Independent Festival (Chemical Brothers), Nominated Best Dance Video UKMVA 2019 (Chemical Brothers), Winner SXSW Audience Award Midnighters (Boyz In The Wood), Winner of Best Director at UKMVA 2016. Winner Best Urban Video, Best Pop Video UKMVA 2016. D&AD Director Pencil 2016. Gold in FilmCraft at Europebest 2015. UKMVA 2015 Best Director Nominee. UKMVA 2104 “Best Director” Nominee. Winner UKMVA 2014 “Best Choreography”. Winner of UKMVA 2013 “Best Indie Video”. Jury and Audience award at ‘Depict13 at Brief Encounters Film Festival 2013. Nominee at UKMVA’s in last 3 years running including “Best New Director”. Selected for Saatchi and Saatchi’s New Director’s Showcase at Cannes 2012 and One Dot Zero’s “New British Talent 11”. Work has been screened at over A BILLION festivals around the world including SXSW, LA Film Festival, London Short Film Festival, Las Vegas Film Festival, Montreal Museum of Modern Art, The V&A London. For more on the filmmaker fo to: niniandoff.com

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“Fabulously funny and subversive.” – Anne Brodie, What She Said

“Serves as a distinctive calling card for a gifted yet twisted comedian, one without the slightest qualms about turning a bucolic countryside jaunt into a bloody “The Hills Have Eyes”-style hunting party.” – Peter Debruge, Variety

“A rambunctious film shot through with daft humour and an endearing, toxic masculinity-smashing sweet streak.” – Jamie Dunn, The Skinny

“An anarchic, pitch black, generation gap horror comedy that’s also one of the funniest films in a year where we are desperately in need of a laugh.” – James Croot, Stuff.co.nz

Nena Erb, Editor, Emmy®-nominated (HBO’s Insecure)

Nena Erb, an ACE and Emmy®-winning editor, for her work can be seen on HBO’s Emmy®  nominated and Peabody award-winning series  INSECURE, episode Lowkey Trying directed by Kerry Washington. As both an Asian American and person of color, she is committed to advancing the stories of others. She is thrilled to be a continuing part of the team showing the reality of life for modern women of color in America.  Her work can also be seen on Apple TV’s groundbreaking Little America series. As an immigrant herself, she’s excited to help shape standout episodes for this series this season including The Son, tackling a gay man’s struggle for safety and love as he attempts a harrowing immigration to the United States and The Silence, which charts love among immigrants in a situation where sound/speaking is forbidden. Emmy nominated editor Nena Erb joins us to talk about the career decision that brought her to the editing suite and why mentoring others is her way of helping others “get into the room” where they can have a positive impact on the stories being told.

 

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For the latest on the work of Nena Erb go to: nenaerb.com

To find out more go to: hbo.com/insecure

About the filmmaker: Nena Erb, a gifted ACE and Emmy®-winning editor born in Taipei, Taiwan and based in Los Angeles. Her family immigrated to the US in the late 70’s to live in a democracy and have the right to vote. Raised in an Asian American immigrant family, Nena’s father wanted her to be a doctor and her mother wanted her to be a pianist with the LA Philharmonic.  Nena wanted to be Andy Warhol. After graduating with an art degree, a friend brought her into the entertainment industry and she started working in various capacities in production. It was her stint as an associate producer that gave her the opportunity to work closely with editors. This proved to be a defining moment for her interest in post-production. Since then, Nena has been the editor on productions for HBO, Universal, CBS, Apple, and others.  She is experienced in multiple genres from drama series to feature films, documentaries and comedy.  In 2016, she received an Emmy® award for her work on HBO’s documentary series Project Greenlight.In addition, she has received two ACE Eddie nominations for her work, one for HBO’s Peabody award-winning series INSECURE and the other for CW’s acclaimed seriesCrazy Ex-Girlfriend. Currently, she is editing Little America, an anthology series on America’s immigrants, produced by Kumail Najiani, Emily V. Gordon, Alan Yang, and Lee Eisenberg

The rePRO Film Festival and mama.film Co-founders Lela Meadow-Conner, Mallory Martin and Debby Samples

The rePRO Film Festival begins its inaugural run this August 12-16. The virtual film festival is dedicated to exploring women’s reproductive healthcare, awareness, advocacy and bodily integrity in America. The lineup of films includes documentaries and narratives dealing with women’s rights, endometriosis, illegal sterilization, access to abortion, and reproductive justice for women of color, among other topics. rePRO Film Festival, will host five days of features, short films and themed-conversations focused on a range of topics including healthcare access, fertility, pregnancy, sexual education, abortion, and issues related to the gender spectrum. In-festival moderated conversations will include call-to-action messaging on how people can get involved in a corresponding initiative or topic. The conversations, designed to spotlight the creators who dare to tell stories about women’s reproductive rights, and to showcase courageous advocators, will be available online for free globally. All feature films playing the rePRO Film Festival are directed by women, and all filmmakers, including shorts filmmakers, are being paid to screen their films. The pay-what-you-can film ticket proceeds for films at the festival will be converted to donations to be split evenly among five beneficiary non-profit organizations – SisterSong, Endometriosis Foundation of America, Center for Reproductive Rights, URGE and Trust Women. Tickets are on sale online at repromamafilm.org. Tickets are all pay-what-you-can ($5, $10 or $15) with a limited number of complimentary vouchers available upon request to ensure access for all. rePro Film Festival and festival sponsor mama.film founders Lela Meadow-Conner, Mallory Martin and Debby Samples join us to talk about the launch of their deep dive into the issues, challenges and stories that face 49% of the world’s population and the people who love them.

 

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For news, screenings and updates go to: repromamafilm.org

About MAMA.FILM – Through the power of cinema, mama.film (link), a 501c(3) non-profit organization, unites nurturers of all kinds to ignite conversation and to reflect upon our shared human experience. Founded in 2019, in a pop-up microcinema in a shipping container in Wichita, Kansas, mama.film has since been awarded expanded programming to Cleveland, and to a virtual platform. Film selections include stories and topics that amplify and explore the evolving realities of the human condition and that spark dialogue and reflection. mamafilm is committed to representing the realities and complexities of a diverse range of nurturers, across race, class, geography, sexual preference, ability and generation.An emphasis is placed on independent and foreign films that are grounded in authentic storytelling. mamafilm is committed to supporting the work of creators who are  nurturers and caregivers. Initial support for rePRO by mama.film was generously provided by a grant from the George R. Tiller, M.D., Memorial Fund for the Advancement of Women’s Health at the Wichita Community Foundation. Follow @mamafilm1 on Instagram or Twitter for updates, or follow rePRO by mama.film on Facebook for more updates.

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Spinster, Director Andrea Dorfman

SPINSTER drops us into the life of Gaby (Chelsea Peretti). Gaby wants desperately to find real love. Recently dumped and on the brink of forty, she feels she doesn’t matter to anyone. Her best friend is pre-occupied with her kids, her family doesn’t get her, and running her own catering business, mostly weddings, serves as a constant reminder of the love that has eluded her. Gaby’s greatest fear, that she’ll end up a lonely and pathetic spinster, seems to be her destiny. After a frenzy of dating leaves her exhausted and demoralized, she admits she might never find love and must create a Plan B. Gaby begins  to build a meaningful and connected life. But when a chance romantic encounter with Mr. Right threatens to uproot her, she realizes the value of her life, even if it doesn’t involve romance. Written by Jennifer Deyell and anchored by a beautifully nuanced performance from Chelsea Peretti (Brooklyn Nine-Nine), SPINSTER Director Andrea Dorfman joins us to talk about her witty, beguiling comedy about being honest with oneself and embracing life.

For news and updates go to: /andreadorfman.com/spinster

SPINSTER will released August 7 through Vertical Entertainment on VOD and Digital platforms including iTunes, Amazon, Apple TV, Google Play, Fandango Now and all major cable/satellite platforms.

About the filmmaker: Andrea Dorfman is a filmmaker, animator and artist. She directed the feature films Parsley Days (2000), a TIFF top ten film, the critically acclaimed Love That Boy (2003) featuring a young Ellen Page, the musical drama, Heartbeat (2014), and the soon-to-be released comedy, Spinster, starring Chelsea Peretti. The short film, There’s A Flower in my Pedal (2005), was runner up to Best Short at TIFF and her documentary, Sluts (2006), won Best Documentary at the Atlantic Film Festival. Dorfman also made several animated films including two with the National Film Board of Canada – the Emmy nominated, Flawed (2010) and Big Mouth (2012). She recently shot and directed the feature doc, also produced by the NFB, The Girls of Meru (2018) and it’s currently screening at film festivals around the world. Her short live action-animation video collaboration with poet-musician, Tanya Davis, How to Be Alone  (2010), has garnered over 8 million YouTube hits and was adapted to a book, illustrated by Dorfman and published by HarperCollins. She also adapted and illustrated  Flawed,  released as a YA graphic memoir by Firefly Canada in 2018. Dorfman occasionally teaches at the Nova Scotia College of Art and Design and was the co-creator of Blowhard, a thematic storytelling series that ran for 7 years in Halifax, Nova Scotia. 

Shine Your Eyes, Director Matias Mariani

Director Matias Mariani’s lyrical new film, SHINE YOUR EYES tells the story of Amadi (OC Ukeje), a musician from Lagos who travels to São Paulo to track down his missing older brother Ikenna (Chukwudi Iwuji) and bring him back home to Nigeria. Following the faint traces of Ikenna’s footsteps, he discovers that his brother was not the distinguished math professor he was supposed to be, but actually had contrived an intricate and nearly delusional series of schemes to accumulate wealth in Brazil. As the mysteries deepen, so too does Amadi’s attraction to this vibrant newfound culture—and to his brother’s Brazilian ex-lover, Emilia (Indira Nascimento). As he closes in on his sibling’s whereabouts, Amadi is faced with choosing between his faithfulness to his family and the possibility of a new life in São Paulo. Director, Producer and Co-screenwriter Matias Mariani joins us to talk about his brilliant, thoughtful mediation on family, culture, identity and self-discovery.

 

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Shine Your Eyes premieres July 29 on Netflix.com

Director’s Statement: Throughout my life the question of identity has always been very important to me. As a kid I moved around a lot within Brazil and abroad, and I always wondered what part of me was I able to bring to each new city and what part I left behind. The idea to reinvent oneself, to shed one’s skin and start anew, has always been a luring fantasy, which I carried with me and that heavily motivated me to write this film. When I was 18, shortly before I started university in New York, I went to West Africa for the first time with my aunt, who used to buy handcrafted wares and fabrics there to sell back in Brazil. We travelled throughout Burkina Faso, Senegal and Mali, and since then I’ve come back every couple of years, travelling through most of the region. A few years after that, when I moved back to São Paulo I’ve noticed the growing influx of West Africans, particularly Nigerian Igbos, moving to the downtown area of the city, which has been in a state of decay for several decades at that point. Together with my partner Maíra Bühler, we started frequenting the informal HQ of the Igbos in São Paulo, the Galeria Presidente, first only for fun and then as pro-bono teachers of Portuguese for the recent arrivals. With the contacts we made there, we proceeded to travel to Nigeria (Lagos, Onitsha, Enugu, Owerri) to extend our research, and that’s how Shine Your Eyes was originally born. – Matias Mariani

“[A] heady, enveloping narrative debut from Brazilian docmaker Matias Mariani…” – Guy Lodge, Variety

“A debut feature shimmering with confidence and talent.” – Caryn James, Hollywood Reporter

“A lyrical Sao Paulo mystery-travelogue that takes us through math, music and into madness.” – Roger Moore, Movie Nation

“An extraordinary, lyrical film about tradition, family and new beginnings…” – Kaleem Aftab, Cineuropa

The Sunlit Night, Writer Rebecca Dinerstein Knight

In Director David Wnendt (Wetlands) beguiling new film, The Sunlit Night, summer is off to a terrible start for Frances (Jenny Slate). Her art school project fails, her boyfriend unceremoniously kicks her out of his Hamptons home, and, to top it all off, her younger sister reveals she’s engaged just moments before her parents announce their separation. Hoping to invigorate her work and expand her horizons Frances hastily takes an opening for an art residency in Norway and heads off to an isolated island where the sun never sets. In a remote village, among the locals, she meets a fellow New Yorker (Sharp), who has come in search of a proper Viking funeral only to find that the Chief (Galifianakis) is but a re-enactor from Cincinnati. The eclectic crew ranges from “home” to “lost,” within the extreme and dazzling landscape of the Far North. Under a sun that never quite sets, and the high standards of an unforgiving mentor, Frances must navigate between ambition, desire, obligation, and risk in order to find a way forward. Author and screenwriter Rebecca Dinerstein Knight joins us to talk her collaboration with actor / producer Jenny Slate and director David Wnendt and finding the right mixture of understated drama and absurdist spirit that informs this charming gem of a film.

 

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For news and updates go to : The Sunlit Night

About the filmmaker(s): “I wrote The Sunlit Night as a stranger in a foreign land: no Jewish New Yorkers had ever moved to the Norwegian Arctic for no reason before, so the locals told me, on the island I had come to share with them, 95 miles north of the Arctic Circle and floating in the Norwegian Sea. Without any Norwegian ancestry to justify my journey, I could only explain my sudden relocation to the Lofoten Islands as a search for beauty, an opportunity to test language against a supreme landscape. I wanted to write about rapture. In the story that resulted, and in our faithful film, the gruffness of ancient mountain rock meets the unpredictable softness of goat’s fur; cultures clash and form new harmonies. Living alone at the top of the planet drove me to ask what connection means. What makes a person feel at home in the world, and who is responsible for the warmth of a welcome? Can geography exert emotional force? How can a woman communicate herself in the absence of common language and custom? How does the practice of art transcend practical circumstances? This is a movie about stretching oneself over the abyss of the unknown and touching the other, quieter side. The blankness and newness that open up there carry the risk of incredible loneliness, and the promise of wild revelation.” Writer Rebecca Dinerstein Knight  

Director David Wnendt made his mark at the 2014 Sundance Film Festival with Wetlands, adapted from the best-selling novel by Charlotte Roche. His next film, Look Who’s Back, grossed over $20 million and was released by Netflix. Wnendt’s debut film, Combat Girls, earned him the Bavarian Film Award for best young director and the Prix Genève Europe for best fiction script by a newcomer. Wnendt was one of Variety’s “10 Europeans to watch” for 2016.

Dirty John: The Betty Broderick Story, Co-Executive Producer and Director Maggie Kiley

Maggie Kiley is the Executive Producer and one of the series directors for the second season of USA Network’s high profile series, DIRTY JOHN: THE BETTY BRODERICK STORY. This season is special for the fact that all eight episodes were directed by women. Kiley directed four out of the eight episodes, including the season premiere and finale. DIRTY JOHN: THE BETTY BRODERICK STORY follows the tumultuous relationship of Betty and Dan Broderick, played by Amanda Peet and Christian Slater, as their marriage turns into what was called one of “America’s messiest divorces” even before it ended in double homicide. DIRTY JOHN: THE BETTY BRODERICK STORY follows a high society woman, mother of four, driven to the edge by her husband’s lies, manipulation, and psychological abuse, that slowly escalates as his extra-marital affair is revealed, a bitter divorce ensues, and blood is shed. This is a warts-and-all depiction of the extremes of erratic behavior provoked under pressure. The creative juggernaut known as Maggie Kiley takes time out of her very busy life to talk with us about her love for storytelling, mentoring other artists and working with her beloved actors.

 

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For news and updates go to: maggiekiley.com

About the filmmaker: Award-winning filmmaker Maggie Kiley, is an alumnae of AFI’s Directing Workshop for Women, both a Fox and Film Independent Directing Fellow. She was recently as the first director chosen for Ryan Murphy’s Half Initiative, which has led to gigs helming episodes of American Horror Story: CultScream Queens, and 9-1-1. Her credits reflect her diversity, since she has made contributions to CW’s Katy Keene, Riverdale, Marvel’s The Gifted, Netflix’s What/If and Syfy’s George R. R. Martin’s  Nighflyers, to name just a few. Kiley recently signed a major  exclusive, multi-year overall deal at Warner Bros TV. Under the pact, she will render director and executive producer services for the studio, in addition to developing new TV projects for broadcast, cable and streaming services. She was the first woman in 30 years to have a TV deal at WBTV like this. Maggie Kiley began her career as an actor with the Atlantic Theatre Company in New York City before making the transition from acting to directing with her award winning short film, Some Boys Don’t Leave. The film stars Jesse Eisenberg and Eloise Mumford and played over 50 festivals, garnering top honors at Tribeca and Palm Springs. Kiley received the Panavision New Filmmaker Grant for her debut feature, Brightest Star which starred Chris Lowell and Allison Janney. Her second feature, Dial a Prayer, released in 2015 starred Brittany Snow and William H. Macy. Her third feature was a thriller with Anna Camp, titled Caught marking the last of three features films in three years.

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Bloody Nose, Empty Pockets – Co-directors Bill Ross IV and Turner Ross

In the shadows of the bright lights of Las Vegas, its last call for a beloved dive bar known as the Roaring 20s. That’s the premise, at least; the reality is as unreal as the world the regulars are escaping from. BLOODY NOSE, EMPTY POCKETS is a mosaic of disparate lives, teetering between dignity and debauchery, reckoning with the past as they face an uncertain future, and singing as their ship goes down. Filmmaking duo Bill and Turner Ross return with an elegiac portrait of a tiny world fading away but still warm and beating with the comfort of community. Their beguiling approach to nonfiction storytelling makes for a foggy memory of experience lost in empty shot glasses and puffs of smoke. Bill Ross IV and Turner Ross (45365, Tchoupitoulas, Western, Contemporary Color) join us for a lively conversation on the fiction and non-fiction filmmaking expectations, the logistical and post-production challenges of making this film and the cinematic inspirations that inform Bloody Nose, Empty Pockets. 

 

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For news and updates go to: departmentofmotionpictures.com             

Renting Bloody Nose, Empty Pockets includes Director Introduction, the Feature Film and Post-Film Q&A with Cast/Crew. Order for July 8th in celebration of National Dive Bar Day! 10% of rental proceeds and 100% of all ‘GIVE’ donations benefit the US Bar Guild Foundation’s Bartender Emergency Assistance Program COVID-19 Relief Fund.

About the filmmakers: Bill Ross IV and Turner Ross are an American filmmaking team whose credits include the award-winning films 45365 (2009), TCHOUPITOULAS (2012), WESTERN (2015), and CONTEMPORARY COLOR (2017). Born and raised in Sidney, Ohio, and both graduates of the Savannah College of Art and Design, Bill and Turner Ross began work in the film industry in Los Angeles, with Bill as an editor and filmmaking teacher, and Turner in art departments on studio features. But they soon decided to eschew the day jobs of Hollywood and continue the creative partnership they began as kids by making their own films. In the years since, their films have brought them renown as some of the most innovative and interesting documentary filmmakers working today, with a style all their own and always evolving — pushing the art of presenting uninhibited portraits of and journeys through places, with all the complicated, humanistic, and lyrical truth that that entails. Their work has been supported by the Sundance Institute, the Rooftop Filmmaker’s Fund, Cinereach, the San Francisco Film Society and a generous grant from the late Roger Ebert. They were honored as Ambassadors for the American Film Showcase and as Sundance Documentary Institute Fellows. They were named Decade Filmmakers by Cinema Eye Honors, and in 2018 they became members of the Academy of Motion Pictures Arts & Sciences. When not making their own films, they collaborate with friends and fellow filmmakers such as Benh Zeitlin (BEASTS OF THE SOUTHERN WILD, WENDY), David Lowery (AIN’T THEM BODIES SAINTS, A GHOST STORY), A.J. Schnack (CAUCUS), Robert Greene (BISBEE ’17), Raoul Peck (I AM NOT YOUR NEGRO), and David Byrne. They live and work in New Orleans. According to Metacritic, Bill and Turner Ross are the 6th best reviewed filmmakers of the 21st century. For more go to: rossbros.net

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‘”Bloody Nose, Empty Pockets” may not be the straight-faced documentary it looks like, but it’s a sober-eyed document of our times nonetheless.’ (A-) – Eric Kohn, indieWire

“Blurs the boundary between documentary and feature filmmaking, making for a playful, compelling sui generis work.” – Leslie Felperin, Hollywood Reporter

“…a tragic piece about the homes away from home that provide comfort, as well as just how fleeting that comfort can feel in the bright light of day.” (A-) – Chris Barsanti, The Playlist

“Reaches for something just as truthful as either pure doc or pure fiction, finding a hybrid place in the middle that makes it no less powerful.” – Brian Tallerico, RogerEbert.com

Mr. Jones, Director Agnieszka Holland

Oscar nominated filmmaker Agnieszka Holland’s thriller, MR. JONES, set on the eve of WWII, sees Hitler’s rise to power and Stalin’s Soviet propaganda machine pushing their “utopia” to the Western world. Meanwhile an ambitious young journalist, Gareth Jones (James Norton) becomes famous after publishing an article about his ride on an airplane with the new Chancellor of Germany – Adolph Hitler. Jones uses his political position in the British government as a foreign affairs advisor to David Lloyd George to get privileged access to the Soviet Union. Once there he searches for his next big story, scrutinizing the political and economic situation in Russia. Jones soon learns of government-induced hunger program, known as Holodomor, imposed on the Ukrainian people. The Soviets, with the help of the British and American governments, keep the starvation of 4 to 5 million people mostly secret. Jones efforts to uncover the truth behind the propaganda and expose an international conspiracy could cost him and his informant their lives. Jones goes on a life-or-death journey to uncover the truth behind the façade that would later inspire George Orwell’s seminal book Animal Farm. Director Agnieszka Holland joins us for a lively conversation on the little known story of mass slaughter prior to the onset one World War II and the craven rationale by the Western Powers willing to look the other way as millions of innocent people perished.

 

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For news, updates and screenings go to: samuelgoldwynfilms.com/mr-jones

Watch on Apple TV, Amazon Prime, Google Play, Vudu and Fandango Now

Writer’s Statement: “It was for my grandfather, Olexji, and the countless others who suffered under the Soviet regime that I wrote and produced this film. The idea first came to me in my final year of university and followed me to Ukraine after college and to a road trip through Wales shortly before my wedding, and many research trips for several years after. I wanted to tell a story that would honor the millions of victims of Stalin, who has been resurrected under Putinism as a great hero, and expose how Kremlin propaganda works – sometimes with the help of corrupt Western journalists and political leaders. Fifteen years ago, I never imagined this film would be relevant. It was always my intention to unearth buried history not hold up a mirror to our own times. As surreal as this journey has been against the backdrop of growing authoritarianism around the world, I have been heartened by how our story has brought together so many talented, fearless people determined to fight for the truth. Agnieszka, who survived prison under Soviet occupation and lost loved ones to the regime, put so much of herself into this masterpiece. Never could I have written in detail the rich wonderland that she created on screen, poetically guiding the audience through an adventure, while giving greater context to the challenges the world faces today. It has been a testament of faith that this film came together with these brave artists, and the timing for its release could not be more urgent.” – Writer Andrea Chalupa

Social Media
facebook.com/samuelgoldwynfilms
twitter.com/goldwynfilms
instagram.com/goldwynfilms
 
Hashtags:
#mrjones #spy #thriller #movie #newrelease
 

Sometimes Always Never, Director Carl Hunter

In the latest collaboration between director Carl Hunter and writer Frank Cottrell-Boyce SOMETIMES ALWAYS NEVER follows a stylish tailor and wayward father, Alan, (Bill Nighy) who is has spent a big chunk of his adult life playing the word game Scrabble. At the expense of his other relationships Alan has spent years searching tirelessly for his missing son, Michael, who stormed out over a game of Scrabble. With a body to identify and his family torn apart, Alan must repair the relationship with his youngest son, Jack (Sam Riley) and identify an online player who he thinks could be Michael, so he can finally move on and reunite his family. A quirky mystery / comedy starring the BAFTA winner Bill Nighy (Love Actually, Shaun of the Dead), SOMETIMES ALWAYS NEVER is a story about redemption, family, and finding the right words. Director Carl Hunter joins us to talk about his on-going work with screenwriter working with Cottrell-Boyce, and the photo that convinced lead actor Bill Nighy to join the project and striking the right visual look for his thoughtful, wryly funny film.

 

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For news, virtual screenings and updates goto: sometimes-always-never.com

About the filmmaker: Carl Hunter is a director, screenwriter and also the bass player for Liverpool band, The Farm, who had a number 1 LP, Spartacus in 1991, 3 top 10 singles and spent a total of 50 weeks in the official top 40s for both LPs and singles. He has been making films, producing and directing, since the late 1990s and in 2019 he directed his first feature film, Sometimes, Always, Never, starring Bill Nighy and produced by Hurricane Films. In 2007, Carl produced and co-wrote the feature film, ‘Grow Your Own.’ He’s currently developing his next ideas with writer Frank Cottrell-Boyce.

Social Media
twitter.com/thefarm_carl
twitter.com/Sometimesmovie
twitter.com/frankcottrell_b

 

“…charming, elegant, whimsical and unexpectedly moving gem.” – Chris Hunneysett, Daily Mirror (UK)

“It’s universally well acted and it’s directed with an inventive, original visual style that matches the audacity of basing a film on Scrabble, by TV director Carl Hunter. The end result is unusual, intriguing and endearing.” – Alexa Dalby, Dog and Wolf

“It’s Nighy who will have you enthralled. He delivers a subtle, nuanced performance that allows the actor to shine while in full support of his costars.” – Kevin Crust, Los Angeles Times

“Screenwriter Frank Cottrell Boyce, who adapted the film from his own short story, has crafted a joy of a script, which seeds its themes as elegantly as Nighy’s character, Alan, a Scrabble-obsessed tailor, wears his suits. – Wendy Ide, Observer (UK)

Crystal Swan, Director Darya Zhuk

CRYSTAL SWAN is set in Belarus a few years after gaining independence in 1990. This vibrant debut feature film by director Darya Zhuk follows the path of young Velya (Alina Nasibullina), who dreams of moving to Chicago where she hopes to pursue her passion for house music.  However, obtaining a U.S. visa proves daunting. After purchasing blank letterhead and forging proof of employment, Velya realizes the American consulate plans to call the fake phone number on her application to confirm her employment. Velya’s only solution is to go to the small factory town and convince the family connected to the phone number to help her. She locates the cramped Soviet apartment on the other end of the line, overrun by a family preparing for the wedding of their son. But Velya’s presence soon upends both the family’s and the town’s order, with potentially disastrous consequences for all. Director Darya Zhuk joins us to talk about where the story behind Crystal Swan came from, casting Velya and how her debut feature film reflects a story about a woman and her country, where feelings of self and belonging are yet to be defined.

 

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For news and updates go to: loco-films.com/crystal-swan

Crystal Swan is available to watch on MUBI

Director’s statement – I’m a Belarus-born film director living in New York. I spent most of my young adult life straddling two worlds: the world of my freshly independent home-country, just starting to define its identity after the split from the Soviet Union, and my new home in America where I stayed after finishing an undergraduate degree at Harvard. Most of this straddling, I spent standing in long cues to the US Embassy in Minsk. I visited my parents a lot, and the visa requirements were quite brutal. It’s in this long line to the embassy that I first thought of Crystal Swan. People waiting on the permission to go to America were like prisoners waiting for the verdict, – they were so stressed out that they often shared their whole life stories with strangers next to them. I wanted to explore what this process of like. My protagonist Velya is a DJ dreaming to go to Chicago to visit the birthplace of house music. We meet her in one of these cues to the embassy. She is young and full of illusions, she still feels like she is the center of her world. She is an archetypal American character placed in the post-Soviet mess. Freedom she seeks is not available, and in the reality where she lives, the individualism doesn’t always win. Her beliefs and approach to life are constantly challenged with every step of her journey. Can she be a free agent in an unfree world? The unfreedom of people around is what stops my main character from reaching her goal. The history, the trauma of the previous history, catches up with her through the abusive actions of the people who surround her. – Darya Zhuk, Director, Co-screenwriter

Social Media
twitter.com/Atlantidarya
twitter.com/crystalswanfilm
instagram.com/beatlezhuk
 
Official Oscar Entry for Foreign Language Film – Belarus 
Best Director – Bridge of Arts Film Festival
Best Actress – Bridge of Arts Film Festival
Best Actress – Cineuropa Film Festival
Best Film – Bratislava Film Festival (Fipresci Jury)
Best Debut of 2018 – Russian Critics Guild
Best Picture – Tbilisi Film Festival

 

100% on Rotten Tomatoes

“Crystal Swan feels like a poison-tipped letter from the filmmaker to her home country that is also an engrossing work of social criticism.” – Phil Guie, Film-Forward.com

“If something stands out above all it’s the excellent performance of Alina Nasibullina, an actress with a lot of presence that dominates the screen at all times.” – Jaime Fa de Lucas, Culturamas

“While some nuances may go over the heads of international audiences, its core social and economic frustrations are universal ones, driven by Velya’s fundamentally sympathetic wanderlust.” – Guy Lodge, Variety

“[Crystal Swan] is so effective at capturing the hopefulness of someone who’s seized by the promise of a better life, and the desperation she feels when that promise starts to slip through her fingers.” – David Ehrlich, indieWire

You Don’t Nomi, Director Jeffrey McHale

In YOU DON’T NOMI, a chorus of film critics and fervent devotees explore the complicated afterlife of 1995’s biggest film flop, Paul Verhoeven’s salacious SHOWGIRLS from disastrous release to cult adoration and extraordinary redemption 25 years later. Showgirls was met by critics and audiences with near universal derision. YOU DON’T NOMI traces the film’s redemptive journey from notorious flop to cult classic, and maybe even masterpiece.The film features Adam Nayman (Vice Guide to Film), April Kidwell (I, Nomi) and Peaches Christ (Milk) as well as archive interview footage with the cast and crew of Showgirls. While SHOWGIRLS is the main subject of YOU DON’T NOMI, the documentary is also a retrospective of Verhoeven’s directing career from RoboCop, Total Recall, Basic Instinct, Starship Troopers and Elle, among others. It explores the themes that unite his films, while showcasing Verhoeven as a genius and as a controversial figure all at the same time. Director Jeffrey McHale joins us to talk about his own Showgirls odyssey and how he came to document the subculture that celebrates a film that cinephiles often vilify and embrace at the same time.

 

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For news, screenings and updates goto: youdontnomifilm.com

Available Tuesday, June 9 on Amazon Prime Video, iTunes, Google Play & Fandango NOW

About the filmmaker Jeffrey McHale, Director / Producer / Editor, is a documentary filmmaker based in Los Angeles. His feature film debut, YOU DON’T NOMI, is the zenith of what he calls his “Showgirls adventure.” While McHale’s inspiration for You Don’t Nomi originated with the unexpected viral success of his 2010 trailer mashup of Paul Verhoeven’s  Showgirls and Darren Aronofsky’s Black SwanNomi also synthesizes recurring themes in McHale’s work, including the examination of queer subcultures and the exploration of how identities are articulated. As a television editor, McHale’s work includes acclaimed technology and science news series TechKnow for Al Jazeera English and most recently the groundbreaking World Cup docuseries Phenoms for Fox. Earlier projects, including documentary shorts and music videos, have screened at NewFest, Frameline, Austin Gay & Lesbian International Film Festival, and the Melbourne Queer Film Festival. A native of Michigan, McHale began his career at WGN America after studying film at Columbia College Chicago.

Social Media
twitter.com/youdontnomifilm
instagram.com/youdontnomifilm

89% on Rotten Tomatoes

“You Don’t Nomi makes a compelling case that the much-maligned pop-culture landmark can be judged as either tawdry rubbish or subversive comic triumph.” – David Rooney, Hollywood Reporter

“This is the most thoughtful deconstruction of a film imaginable, as well as an ideal festival choice for those who used to buy DVDs just for the commentaries.” – Kent Turner, Film-Forward.com

“While far from a straightforward documentary about a widely marginalized film, You Don’t Nomi reminds us that it’s okay to like things with rough edges, that streamlined perfection is overrated…” – Chuck Foster, Film Threat

“Nomi leaves it up to audiences to decide if Showgirls is trash, a masterpiece, or a “masterpiece of trash,” but one thing is certain: no matter how good or how bad one considers the film’s objective quality, one can enjoy Showgirls all the same.” – Pat Mullen, POV Magazine

American High, Founder Jeremy Garelick

Yale graduate Jeremy Garelick started in the mailroom at the Creative Artists Agency, before going on to work as assistant to legendary writer/director, Joel Schumacher on Tigerland, Bad Company, Phone Booth, and Veronica Guerin. Jeremy made his feature screenplay debut with the Vince Vaughn vehicle The Break-Up and followed that by teaming up with Todd Phillips to pen the production draft of The Hangover, establishing himself as the go-to A-list comedy writer in Hollywood. In 2015 Jeremy directed his first feature film, The Wedding Ringer starring Kevin Hart and Josh Gad. Between writing, directing, and show running his Netflix original limited series, Best. Worst. Weekend. Ever., and executive producing his YouTube Red original, Side Swiped, Jeremy also formed his own production company, American High. Staked with a $45 million film fund, American High has shot five indie comedies in Garelick’s recently acquired school-turned-studio in Syracuse, NY, including Big Time Adolescence, starring Pete Davidson, Jon Cryer, and Sydney Sweeney, which was recently invited to compete in dramatic competition at the 2019 Sundance Film Festival. In addition, American High Founder Jeremy Garelick is set to direct and produce a slate of three higher budget high school comedy features in 2020.

 

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For news and updates go to: americanhigh.com

 

About American High: Do for this generation what John Hughes did for the audiences of the 1980’s. Embrace the R-rated reality of high school and tell stories from eclectic characters from diverse backgrounds as they navigate the most formative (and often most hilarious) years of their lives. Why high school? Simple. Because it is one of the only shared experiences that we all go through. It’s where every challenge feels like life and death, where every victory is your greatest accomplishment. It’s a world of firsts. It’s where you first snuck out of your house and got in real trouble. Where you first learned how to drive and crashed into a lake. It’s your first kiss. The first time you touched a boob or someone touched yours. Where you discover who your friends are, the music you love, the movies you love, what your style is, who you are. In 2019 American High produced HULU’s very first original film, THE BINGE, starring Vince Vaughn and directed by American High founder Jeremy Garelick.

American High is using its sound stages for manufacturing 3-D Face Shields for our COVID first responders, Watch this video and go to the American High website to see how you can join them. 

Raising Buchanan, Creator and Actor Amanda Melby

Inspired by a couple of true presidential corpse stories: the 1876 plot to steal Abraham Lincoln’s body, and the exhumation of Zachary Taylor in 1991, RAISING BUCHANAN took the idea of presidential corpse stealing to extraordinary lengths of dark comedy delight with terrible dead presidents. Because there’s certainly something to be learned from terrible presidents, as well as laughing at them. Finding their inspiration in the off-kilter tone of the dramatically rooted comedies of Alexander Payne, the Coen Brothers, and Hal Ashby, the RAISING BUCHANAN stars Amanda Melby (Candid Camera), René Auberjonois (Star Trek: Deep Space Nine), Cathy Shim (Reno 911!), Robert Ben Garant (Reno 911!), Terence Bernie Hines (The Secret Life of Walter Mitty), Jennifer Pfalzgraff  (21 Grams), Steve Briscoe (Covet), Lynnette ‘L.A.’ Brown (Kerry and Angie), and M. Emmet Walsh (Blade Runner). Produced by Melby and Joe Gruberman (Eleven Eleven), this award-winning feature film swept the film festival circuit racking up multiple awards, including: Best Feature, Best Dramedy, Best Actress (Melby) and Best Screenplay (Bruce Dellis), among others. Creator and lead actor Amanda Melby stops by for a lively conversation on her wryly funny and endearing film, Raising Buchanan, and her collaboration with the late, great René Auberjonois.

 

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For news and updates go to: raisingbuchanan.com

Social Media
facebook.com/raisingbuchananmovie
twitter.com/raisingbuchanan
instagram.com/raisingbuchanan

 

“Auberjonois is so good as the feckless leader, nobly defending his poor decisions, that it makes you long for a full one-man show that will never come.” – Josh Bell, Crooked Marquee

“Surely, Buchanan was never going to earn the kind of cinematic lionization that so many American filmmaking greats (like Steven Spielberg and John Ford) gave to good old Abe Lincoln, but he could have done a whole lot worse than this.” – Nick Rocco Scalia. Film Threat

“Simply as a showcase for two of the best character actors of the last fifty years, Raising Buchanan deserves praise.” – M.V. Moorhead, Phoenix Magazine

The Plagiarists – Screenwriters Robin Schavoir and James N. Kienitz Wilkins

Co-written by experimental filmmakers James N. Kienitz Wilkins and Robin Schavoir (who, along with Paul Dallas, served as producers), The Plagiarists is at once a hilarious send-up of low-budget American indie filmmaking and a probing inquiry into race, relationships, and the social uncanny. A young novelist (Lucy Kaminsky) and her cinematographer boyfriend (Eamon Monaghan) are waylaid by a snowstorm on their way to visit a friend in upstate New York and are taken in by the kindly yet enigmatic Clip (Michael “Clip” Payne of Parliament Funkadelic), who puts them up for the night. But an accidental discovery months later recasts in an unnerving light what had seemed like an agreeable evening, stoking resentments both latent and not-so-latent. Exhilaratingly intelligent and distinctively shot on a vintage TV-news camera, The Plagiarists is a work whose provocations are inseparable from its pleasures. Screenwriters James N. Kienitz Wilkins and Robin Schavoir join us to talk about whip-smart project, as well as their creative process, white privilege, blending together acting styles and Dogma 95.

Background – The Plagiarists is a dramatic comedy about the clash of money and culture, reality and desire, race and identity. It’s a social satire about who has the privilege to say what in today’s world. It was conceived as a playful critique of the mannerisms of “indie film” used by aspiring filmmakers to denote authenticity of performance, often resulting in the casual perpetuation of stereotypes. The Plagiarists is at once the thing it mimics: a completely independent micro-budget feature shot entirely on vintage news cameras from the 1980s, despite a contemporary subject matter. The camera cited in the story is also the production camera, recording on real Betacam SP videotape (sourced from eBay) to create a visual style reflecting the internal debate over obsolescence, nostalgia, and the heavy weight of originality.

 

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For news and updates go to: kimstim.com/film/plagiarists

Social Media
twitter.com/hashtag/theplagiarists
twitter.com/automaticmoving
twitter.com/hashtag/jamesnkienitzwilkins

“An adventurous comic thumping worth the working over of your sensibilities.” – Robert Abele, Los Angeles Times

“Its crude imagery and the sharp editing that implicitly contradicts it are deliberate components of a termite-like digging into the permutations of postmodern cultural work.” – Glenn Kenny, New York Times

“The Plagiarists’ perfectly judged mimicry of independent cinema illustrates the profound effect a lack of diversity has on the type of art that gets made.” – Patrick Gamble, CineVue

“The film improves upon reflection, raising, as it does, some knotty questions about originality in art and in life, as well as provocatively positing that even a copy of a copy of a copy has the potential to move hearts and minds.” – Keith Uhlich, Hollywood Reporter

Selah and the Spades, Director Tayarisha Poe

SELAH AND THE SPADES tells the beautifully complex story of an insulated world at an elite Pennsylvania boarding school, Haldwell, where the student body is run by five factions. Seventeen-year-old Selah Summers (Lovie Simone) runs the most dominant group, the Spades, with unshakable poise, as they cater to the most classic of vices and supply students with coveted, illegal alcohol and pills. Tensions between the factions escalate, and when Selah’s best friend/right hand Maxxie (MOONLIGHT’s Jharrel Jerome) becomes distracted by a new love, Selah takes on a protégée, enamored sophomore Paloma (Celeste O’Connor), to whom she imparts her wisdom onruling the school. But with graduation looming and Paloma proving an impressively quick study, Selah’s fears turn sinister as she grapples with losing the control by which she defines herself. In her feature debut, writer/director Tayarisha Poe immerses us in a heightened depiction of teenage politics. This searing character study encapsulates just how intoxicating power can be for a teenage girl who acutely feels the threat of being denied it. Exciting newcomer Lovie Simone’s performance beautifully embodies both Selah’s publicly impeccable command and the internal fears and uncertainty that drive it. Director and writer Tayarisha Poe joins us for a lively conversation on her own high school experience, The Godfather, the importance of showcasing powerful young women and the remarkably talented actors who make Selah and the Spades so riveting.

 

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Selah and the Spades premieres April 17 on Amazon Prime

About the filmmaker: Director / writer Tayarisha Poe is a storyteller from West Philadelphia who believes that all stories are inherently multi-sensory and multi-dimensional, and thus should be told that way. She was chosen as one of the 25 New Faces by Filmmaker Magazine in 2015, and in 2016 she received the Sundance Institute’s Knight Foundation Fellowship. In 2017 she was selected for the Sundance Screenwriters and Directors Labs. Her first feature film, SELAH AND THE SPADES, premiered at the 2019 Sundance Film Festival.

For more about Tayarisha Poe go to: tayarishapoe.com

Social Media
twitter.com/tayarisha
twitter.com/jointhespades
instagram.com/tayarisha
twitter.com/PrimeVideo
#jointhespades

 

100% on Rotten Tomatoes

“Selah and the Spades shows a great deal of promise for writer/director Tayarisha Poe, who demands your attention with style and story in her directorial debut.” – Nick Allen, RogerEbert.com

“Quietly confident in its unconventional yet clear point of view, Selah and the Spades signals a bright future for a promising young filmmaker.” – Beandrea July, Hollywood Reporter

“The level of craft in Poe’s feature debut exceeds that of directors with more experience and portends a long career with more wonderful art to come.” – Bradley Gibson, Film Threat

“More than the sheer delight of watching a powerful Black girl, Selah and the Spades is an earnest celebration of youth and power -something long-reserved for white teens while excluding young people of color.” – Aramide Tinubu, Shadow and Act

Saint Frances, Director Alex Thompson

Flailing thirty-four-year-old Bridget (Kelly O’Sullivan) finally catches a break when she meets a nice guy and lands a much-needed job nannying six-year-old Frances (played by a scene-stealing Ramona Edith-Williams). But an unwanted pregnancy introduces an unexpected complication. To make matters worse, she clashes with the obstinate Frances and struggles to navigate a growing tension between Frances’s moms. Amidst her tempestuous personal relationships, a reluctant friendship with Frances emerges, and Bridget contends with the inevitable joys and shit-shows of becoming a part of someone else’s family. Director Alex Thompson joins us to talk about his collaboration with screenwriter / lead actor Kelly O’Sullivan, the casting of Frances and his approach to guiding this beautifully rendered story of three women and a child in search of family, love and power over their own lives.

 

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An open letter from Saint Frances writer and lead actor, Kelly O’Sullivan When I got pregnant in my early thirties and knew immediately I would get an abortion, I had no idea what to expect. My mom got me the “What to Expect When You’re Expecting” pregnancy book one Christmas, hoping I would hurry up and give her a grandchild, but nobody proudly hands you a guidebook on what to expect with abortion. I had no idea my abortion could be induced just with pills, and I had no idea how long my post-abortion bleeding would last. Women and girls are encouraged, outrightly or subliminally, to keep abortion, postpartum depression, periods, or any other innate part of womanhood that’s considered messy, “gross,” or shameful to ourselves. That makes for lonely, confusing, and isolating experiences. When my Mom finally learned what this movie was about, she said, “Well, you’re the first one in our whole family to get an abortion!” And I clarified, “Maybe I’m just the first person you know about.” Saint Frances endeavors to normalize and destigmatize those parts of womanhood that we’re encouraged not to talk about. I wanted not only to talk about these subjects, but to show them onscreen unapologetically, realistically. This movie could be called “There Will Be Blood 2,” and a sense of humor is a vital intention of the film. Saint Frances tries to show that abortion doesn’t always have to equal trauma, periods shouldn’t equal shame, and postpartum depression shouldn’t equal isolation. This story and these characters are filled with sincerity, empathy, humor and 6 tons of love. And there’s that healthy amount of blood. Thank you for watching. I truly, truly hope you enjoy. – Kelly O’Sullivan

For news and updates go to: saintfrances.oscilloscope.net

For more on the work of Director Alex Thompson go to: runawaytrainchicago.com

Social Media
facebook.com/oscopelabs
twitter.com/oscopelabs
instagram.com/oscopelabs
@oscopelabs
facebook.com/saintfrancesmovie
twitter.com/2019_saint
instagram.com/saintfrancesmovie
#saintfrancesmovie
#indiefilm
#alexthompson
#kellyosullivan
#saintfrancesfilm

 

98% on Rotten Tomatoes

“Kelly O’Sullivan writes and stars in the small masterpiece that’s both thought-provoking and wildly entertaining.” – Richard Roeper, Chicago Sun-Times

“I believe that everyone, especially women, should check out Saint Frances. It will make you laugh, it will make you cry, and it will make you think. That doesn’t happen all that often in the same movie.” – Lorry Kikta, Film Threat

“O’Sullivan and her creation are riveting, and when the film comes to an emotional end that hinges on all its early strengths, the result is satisfying and hard-won, a coming-of-age story told on just a slight delay.” – Kate Erbland, indieWire

“With a warm heart and a nonjudgmental mind, “Saint Frances” weaves abortion, same-sex parenting and postpartum depression into a narrative bursting with positivity and acceptance.” – Jeannette Catsoulis, New York Times

Banana Split, Director Benjamin Kasulke

It’s the end of April’s (Hannah Marks, Slash) senior year of high school, when she and longtime boyfriend Nick (Dylan Sprouse, The Suite Life of Zack and Cody) break up. While getting trashed at a house party, she bumps into Dylan’s new squeeze, Clara (Liana Liberato, also in To the Stars), a recent transplant from Fresno. BANANA SPLIT is set against the backdrop of April’s last days before heading off to college. Her plans for her last few high school months are about to hit a snag when she becomes best friends with her ex-boyfriend’s new squeeze. Usual teen social norms mean that they have to hate each, but it turns out they have way more in common than a mutual beau. Over the summer Clara and April develop a perfect kindred-spirit friendship in ways they never thought possible, all while working overtime to keep their relationship secret from Nick. Director Benjamin Kasulke (Your Sister’s Sister, Safety Not Guaranteed), stops by to talk about working with co-writer / co-star Hannah Marks, making the transition from cinematographer to director and finding the sweet spot of believability in this very entertaining teen drama / comedy.

 

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About the filmmaker
Benjamin Francis Kasulke is a director, cinematographer, and Stranger Genius Award recipient born in 1977 in Syracuse, NY. After earning degrees in film from Ithaca College and FAMU  (Film and TV School of the Academy of Performing Arts) in Prague, he worked as a negative cutter with the Image Treasury in Seattle. His cinematographer career began while working extensively with the local dance film community, which he turned into collaborations with the likes of Guy Maddin, Lynn Shelton, Megan Griffiths, and Colin Trevorrow. He became a vital component of the Pacific Northwest film community, acting as cinematographer on such films as Humpday and The Immaculate Conception of Little Dizzle (both SIFF 2009), The Freebie (SIFF 2010), The Off Hours (SIFF 2011), Your Sister’s Sister (SIFF 2012), Safety Not Guaranteed (2012), Touchy Feely (SIFF 2013), Laggies (2014), and My Last Year With The Nuns (SIFF 2014). Banana Split marks his feature directorial debut.

For news and updates go to: facebook.com/bananasplitmov

Social Media
twitter.com/bananasplitmov
twitter.com/benkasulke
twitter.com/hannahmarks

91% on Rotten Tomatoes

“[Banana Split] understands, perfectly, the enormous pressure teenagers face.”—Refinery29

“It is absolutely lovely. If I was going to watch a movie virtually this weekend, I would absolutely pick this one.” – Amy Nicholson, FilmWeek (KPCC – NPR Los Angeles)

“Like any romance, “Banana Split” is constrained to some familiar beats, but Kasulke, Marks, and Power have such a handle on what makes the film tick – and Marks and Liberato are so charming and fun – that even expected turns feel clever and fresh.” – Kate Erbland, indieWire

“Bolstered by a thoughtful script and beautifully authentic performances, Banana Split provides a fresh take on the coming-of-age romantic comedy.”

“Banana Split” is a supremely well written film, showing Hannah Marks not only to be a tremendous actress, but a wonderful screenwriter as well. She’s phenomenal on both ends. – Joey Magidson, Hollywood News

Phoenix Oregon, Director Gary Lundgren

PHOENIX OREGON is the story of two friends, a graphic novelist and a chef, seizing an unlikely opportunity to reinvent their lives, quit their jobs to restore an old bowling alley and serve the “world’s greatest pizza.” Phoenix, Oregon stars James Le Gros (Drugstore Cowboy, Living in Oblivion), Lisa Edelstein (Girlfriends’ Guide to Divorce, House), Jesse Borrego (Fame, Blood In Blood Out), Reynaldo Gallegos (Triple Frontier, American Sniper), Diedrich Bader (Napoleon Dynamite, Office Space, Veep), and Kevin Corrigan (The Departed, Pineapple Express, True Romance). PHOENIX OREGON takes a comedic look at the existential crisis many face when trying to find meaning and relevancy at midlife. Despite controlling bosses, dead-end jobs, and broken relationships, the two leads must awaken hibernating courage and resilience in order to take new risks and keep dreams alive. Director and writer Gary Lundgren (Calvin Marshall, Redwood Highway, Black Road) stops by to talk his own midlife angst and inspiration for this disarming gem of a film, working with a stellar cast and his love for the Pacific Northwest.

 

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For news, screenings and updates go to: phoenixoregonmovie.com

For more about the work of Gary Lundgren go to: jomafilms.com

For information on Phoenix Oregon screenings in Southern California go to: laemmle.com/film/phoenix-oregon

Social Media
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“Walks a gorgeous line between pathos and comedy… having more to say about depression, anxiety, art, friendship and love than any dozen movies I’ve seen in the theater this year.” -SOURCE WEEKLY

 

Honesty Weekend, Director Leslie Thomas

Premiering at the Pasadena International Film Festival HONESTY WEEKEND begins when John and Ada’s therapist challenges them to be completely honest with each other for an entire weekend, a young married couple attempts to execute this advice over two days with good friends at a country house. At first amused by the couple’s newfound honesty, soon everyone is infected with the “honesty virus”. Secrets spill and desires flare to life. And when husband John’s sexy lesbian friend Delaney arrives to stir the pot, the whole thing heats up until it boils over. At the heart of this relationship comedy is a young marriage in trouble, but look deeper and you’ll see the angsty discomfort of early thirty-somethings struggling to embrace intimacy and true adulthood. In this grounded, smart, funny film writer-director Leslie Thomas exercises her distinct comedic voice and a wry understanding of our poignant and ridiculous human blind spots. HONESTY WEEKEND stars Adam Bartley (This Is Us), Sabina Gadecki (L.A.’s Finest), Dioni Michelle Collins (General Hospital), Pete Ploszek (Captain Marvel), Evan Watkins (College Humor Originals),  Allan Wasserman (Big), and Susan Walters (The Vampire Diaries). Director and writer Leslie Thomas joins is for an engaging conversation on a compressed shooting schedule, holding out for the right cast of actors, as well as the challenges and rewards of being a first time director.

 

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For news and updates go to: honestyweekend.com

Honesty Weekend screens at PIFF on Saturday, March 14 at 6:15 PM

About the filmmaker: LESLIE THOMAS produced the 2018 Emmy-winning documentary feature KEVYN AUCOIN Beauty & The Beast In Me (now on Netflix). She is the showrunner of ratings record breakers HALLOWEEN, HOLIDAY & KIDS BAKING CHAMPIONSHIPS on Food Network. She’s a playwright and a California native who studied Film & TV at Loyola Marymount University. Honesty Weekend is her first feature.

For more on the work of Leslie Thomas go to: puttimedia.com

 

Extra Ordinary, Co-directors Mike Ahern and Enda Loughman

Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ & tries to ignore the constant spirit related requests from locals – to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager- making her levitate. Her terrified father, Martin Martin, asks Rose to help save his daughter. Rose has to overcome the fear of her supernatural gift & work with Martin to save the girl, get the guy and be home in time for a light snack…maybe a yogurt or something… Co-directors Mike Ahern and Enda Loughman join us for a conversation on the making of their oddly endearing, winning comedy about everyday apparitions, Rose, Martin Martin and Christian and reconnecting with their Talents. 

 

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For news, screenings and updates go to: crankedupfilms.com/extraordinary

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“A near-perfect balance of outrageousness and subtlety. It’s a special film with a large imagination.” – Brian Orndorf, Blu-ray.com

“A fun, heart-warming and genuinely funny film, prepare for belly laughs and warm fuzzy feelings. Buoyed by great comedic, chameleon-like performances, and a rich fictional world, Extra Ordinary is extraordinarily charming.” – Kat Hughes, THN

“Extra Ordinary, writing-directing duo Mike Ahern and Enda Loughman’s feature film debut, is a remarkable achievement – a wholly unique cinematic experience that is grounded with a lot of heart.” – Sarah McIntyre, RTÉ (Ireland)

“A cracking debut feature from Irish writer-directors Mike Ahern and Enda Loughman.” – Peter Bradshaw, Guardian

Goldie, Director Sam de Jong

Goldie is a star – well, not quite yet, but at least in the eyes of her little sisters Sherrie and Supreme she is. The rest of the world is bound to take note soon too. Her big break surely awaits, she’s just got to pick up that golden fur coat she’s had her eye on first. And land a role as a dancer in a hip-hop video. And keep child welfare services from separating her from Sherrie and Supreme, after their mother is locked up. Holding onto those dreams isn’t easy when fate has placed such daunting obstacles in her path. With Goldie, Dutch director Sam de Jong has delivered a real New York film: raw and glamorous, unflinchingly realistic and relentlessly optimistic, with a ton of heart and at least as much attitude. Director / writer Sam de Jong joins us to talk about his tale of dreams, expectations and reality crash together in this verite explosion.

 

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About the filmmaker: Director Sam de Jong
After graduating from the Dutch Film academy with the acclaimed “Magnesium” Sam went on to write and direct the short film “Marc Jacobs” and entered the Berlinale shorts competition in 2014. With largely the same cast he returned to Berlinale the next year with his first feature Prince. Prince opened the Generations 14 competition in 2015. After Prince, Sam went on to make Goldie with 20th Century Fox and Vice Films. His short work has been shown around the world at festivals like Sundance, Berlin and AFI fest. His first feature Prince was theatrically released in the Netherlands, the United States and in Mexico. His work is heavily influenced by present-day youth culture and studies the implications of growing up in the 21st century: in the face of our rapidly changing multi-ethnic society where pop culture is the new predominant religion. From a mash up of different genres, lavishly coated in bright esthetics, Sam wants to research the meaning of our quest for recognition and identity. Red Sand will be Sam’s first international co-production together with longtime collaborator HALAL. With this movie Sam wants to explore new themes and broaden his horizon.

For news and updates go to: filmmovement.com/goldie

For February 21 Los Angeles screenings go to: lumierecinemala.com/film-goldie

 

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“This film is filled with bursts of color. The high energy visuals counterbalance the tragic malaise of Goldie’s life perfectly.” – Lorry Kikta, Film Threat

“Suspension between can-do spirit and come-down reality pumps blood into the irrepressible heart of this scrappy tale, along with the natural charisma of model Slick Woods, making a disarming feature debut in the title role.” – David Rooney, The Hollywood Reporter

“Goldie (played by fashion model Slick Woods in her first movie role) is a lot like the film that bears her name: full of attitude, bursting with scrappy New York style, and stuck under the thumb of a merciless system that won’t let her shine like she knows she can. “ – David Ehrlich, IndieWire

“De Jong brings a jolt of brash energy to a social realist scenario that could easily have attracted Ken Loach or the Dardenne brothers. A charismatic, eye-catching debut performance from Instagirl fashion world star Slick Woods adds considerably to the film’s appeal.” – Allan Hunter, Screen Daily

After Midnight (Something Else), Co-directors Christian Stella (Jeremy Gardner)

For small-town bar owner Hank (Jeremy Gardner), his 10-year relationship with Abby (Brea Grant) has been storybook-quality. Abby, however, wants more: marriage, to be exact, which Hank doesn’t seem ready to initiate anytime soon. As a result, she leaves him without so much as a note or any subsequent communication. Hank is crushed. Even worse, Abby’s departure seemingly triggers the arrival of an unseen monster that claws at Hank’s front door at night. As the nocturnal threat intensifies, Hank must figure out how to not only save his relationship, but also himself. Co-director Christian Stella (Jeremy Gardner) stops by to talk about the multi-layered film that is After Midnight (Something Else) and his creative cinematography that gives the film its lyrical power.

 

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For news and updates go to: facebook.com/somethingelsefilm

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“Something Else promises monsters but delivers more demons of the human experience variety, as this sweet and sincere creature feature is far more romantically heartfelt than expected.” – Matt Donato, We Got This Covered

“Sublime and emotional, Something Else is one hell of a love story, a nightmarish monster movie, and an overall fantastical experience.” – Michelle Swope, Dread Central

“There’s an honesty in Something Else that makes this man against (his) monsters story one that’ll give you deep meaning, beautiful cinematography, and just the right amount of wtf.” – Kristy Strouse, Film Inquiry

“Jeremy Gardner and Christian Stella’s winsome tale of thirtysomething angst, romance and existential terror, is beautifully written and played.” – Jennie Kermode, Eye for Film