Izzy is the textbook definition of a hot mess. She wakes up hungover from a one-night stand, puts on her stained clothes from the night before and plans to start yet another aimless day. That is, until she finds out that her ex is getting ready to celebrate his engagement to her former best friend. Izzy has to make it to the other side of town to break them up, and nothing will stand in her way. Further proving that she’s one of the most promising new actresses working today, Mackenzie Davis plays Izzy with a manic energy that is utterly electrifying. Featuring a killer supporting cast made up of Carrie Coon, Haley Joel Osment, and Alia Shawkat,Izzy Gets the F*ck Across Town is a chaos-filled ride through Los Angeles, one that introduces a bold new voice in indie cinema. Director and writer Christian Papierniak talks about the making of his kinetic, off-kilter vehicle for the amazing MacKenzie Davis and working with a brilliant cast of supporting performers.
Impulse follows 16-year-old Henrietta, AKA Henry, (Maddie Hasson) who discovers she has the ability to teleport. The first time she realizes this, she is in a truck with her high school’s Golden Boy, who tries to rape her. She has a seizure and teleports, in the course of which she inadvertently crushes him, leaving him a paraplegic. Impulse explores Henry’s need to reconcile what her assaulter tried to do with the consequence, and her feelings about discovering she can teleport with her feelings about the assault. Impulse is an American dramaweb television series based on the novel Impulse by Steven Gould. The ten-episode series recently premiered on YouTube Premium. The series executive producers include Lauren LeFranc, Doug Liman, David Bartis, and GeneKlein.Director and Executive Producer Doug Liman reveals how his independent filmmaking roots (Swingers, Go) continues influence his work and the advantages of long form storytelling. Actor Maddie Hasson talks about the challenge of expressing her character’s deeply conflicted emotions and her desire leave it all behind.
Izzy Klein has (barely) graduated from college, broken up (sorta) with her boyfriend, and is stranded in New York City with a bad case of pre-real-world millennial-itis. Unsure of what the next step is, her movie star little sister Sabrina convinces her to move back home to Los Angeles and into her shared apartment with movie star boyfriend Sebastian, where they can keep an eye on rudderless Izzy. Emotionally unable to deal with the loss of her father, and slightly distracted by her mother Deb’s newfound love affair with loopy yogi Amythyst, Izzy funnels her energy into dating a colorful bouquet of five complicated and spectacular men: Aaron, Ross, Logan, Mikey, and Charlie, over the course of the next year. Coping just barely with the help of her trusty notebook, she falls in and out of some not so romantic romances, and figures out that when it totally feels like the end of your story, it’s often just the beginning. Written by Madelyn Deutch and directed by Lea Thompson (Some Kind of Wonderful, Back to the Future) The Year of Spectacular Men is a charming, beguiling observational comedy about family, relationships, and facing an uncertain future. Director Lea Thompson joins us for a lively conversation on working with her daughters, Madelyn and Zooey, independent filmmaking, and the joys of creativity.
In the hip Brooklyn neighborhood of Red Hook, single dad and record store owner Frank played by Nick Offerman (Parks and Rec) is preparing to send his hard-working daughter Sam played by Kiersey Clemons (Dope) off to college, while being forced to close his vintage shop. Hoping to stay connected through their shared musical passions, Frank urges Sam to turn their weekly “jam sesh” into a father-daughter live act. After their first song becomes an Internet breakout, the two embark on a journey of love, growing up and musical discovery. In addition to Offerman and Clemons, Hearts Beat Loud also stars Ted Danson (Cheers), Sasha Lane (American Honey), with Blythe Danner (Meet the Parents) and Toni Collette (Little Miss Sunshine). Director Brett Haley sits down for a conversation on the power of music, the bond of a dad and daughter and his endearing, funny and touching film, Heart Beat Loud.
“Hearts Beat Loud steals your heart, makes it beat faster and you’ll love this story out loud.” – Jamie Broadnax, Black Girl Nerds
“Both actors are capable of projecting nuclear levels of charisma, so it’s fun just to watch them share the screen.” – Jason Bailey, Crooked Marquee
“The real charm isn’t in the way the story unfolds, but in the human moments shared onscreen. Offerman and Clemons feel at first like an unlikely pair, but their chemistry is genuine.” – Neil Miller, Film School Rejects
“Kiersey Clemons proves she’s the real deal. As for the film around her, Haley’s 21-drum solo salute to the passage of time is, like Frank, merely fine.” – Amy Nicholson, Variety
“Hearts Beat Loud will put a spring in your step. The music is great, the story is heartwarming, plus Offerman and Clemons make a great father/daughter duo.” – Fred Topel, Monsters and Critics
Directed by Slamdance Film Festival co-founder Dan Mirvish (BETWEEN US) from a long-lost script by Oscar/Pulitzer-winning cartoonist and screenwriter Jules Feiffer (Mike Nichols’ CARNAL KNOWLEDGE, Robert Altman’s POPEYE) based on characters that date back to 1957, BERNARD AND HUEY is the story of roguish Huey (David Koechner, ANCHORMAN) and nebbishy Bernard (Oscar-winner Jim Rash, THE WAY WAY BACK), who are unlikely collegiate friends in late 1980s New York. Years later, a bedraggled Huey crashes at Bernard’s upscale bachelor pad. As the two reconnect, Bernard falls in love with Huey’s estranged daughter Zelda (Mae Whitman, GOOD GIRLS), an aspiring graphic novelist who’s got a seductive new creative partner, Conrad (Eka Darville, JESSICA JONES). Huey slowly gets his mojo back and tries to seduce the various women in Bernard’s life, including his off-again girlfriend Roz (Sasha Alexander, RIZZOLI & ISLES) and colleague, Mona (Nancy Travis, SO I MARRIED AN AXE MURDERER), while reconnecting with his ex-wife(Bellamy Young, SCANDAL) and brother (Richard Kind, ARGO). As Bernard and Huey return to their old ways, at least one of them finds himself in danger of marrying a woman old enough to be his wife. An award-winning film that’s screened at over 25 festivals in 5 continents, BERNARD AND HUEY is a particularly timely story of two men behaving badly, and the smart women who rein them in. Director Dan Mirvish joins us for a conversation on getting older, acknowledging that we get older, love, romanced the genius of Jules Feiffer.
In this raucous new comedy, Social Animals Zoe Crandle’s life didn’t exactly turn out the way she planned. She’s facing eviction, her business is going under and she is resigned to a life of one-night stands. Just when it seems her whole world is unraveling, she meets Paul, a fellow loveable loser, and the pair have an instant connection. There’s only one problem, Paul is married. With help from her best friend, Zoe devises a plan to save her business and salvage her love life. Social Animals is an honest, uncompromising comedy of modern relationships that stars Noël Wells, Josh Radnor, Aya Cash, Carly Chaikin, Fortune Feimster and Samira Wiley. Director and writer Theresa Bennett stops by to talk about the perils and rewards of low budget filmmaking and working with a talented cast of rising talents.
“‘Social Animals’ has its funny business and lightness, and the picture’s comfort with sexuality is refreshing, but there’s realism just underneath the surface that’s intriguing.” – Brian Orndorf, blu-ray.com
“This rom-com from writer and first-time director Theresa Bennett is easy viewing.
Filmworker is an observation on how legends and legendary works are created. The complex, productive and interdependent relationship between Leon Vitali and Stanley Kubrick was founded on devotion, artistic passion, sensibility, sacrifice and the grueling joy of the creative process. It’s a rare person who would give up fame and fortune to toil in obscurity for someone else’s creative vision. Yet, that’s exactly what Leon Vitali did after his acclaimed performance as ‘Lord Bullingdon” in Stanley Kubrick’s Barry Lyndon. On the brink of a successful acting career, the young actor stepped back from the limelight in order to become the right-hand man to perhaps the most influential and ground-breaking filmmaker of his time, Stanley Kubrick. Vitali played a crucial part in the director’s career, working tirelessly in close collaboration with Kubrick in helping to make and maintain his extraordinary legacy of work. Vitali’s unique working relationship with Kubrick is explored through anecdotes about his candid, funny (and sometimes shocking) experiences with the director, enhanced with a rich variety of previously-unseen archival materials including photos, videos, letters and notebooks from Vitali’s personal collection, and brought together through interviews with actors, family, and key film industry professionals who worked with both Kubrick and Vitali. Filmworker. Director Tony Zierra joins us to talk about the creative process, Stanley Kubrick and his closest and most dedicated collaborator, Leon Vitali, who once described his own occupation simply as “Filmworker.”
Street Food Cinema is the ultimate outdoor movie experience! Founded in 2012 by the dynamic husband and wife team of Steve Allison & Heather Hope-Allison, Street Food Cinema has developed a strong community of entertainment and food enthusiasts across Los Angeles. Every Saturday throughout the summer, Street Food Cinema features beloved cult classic movies on a huge 50 foot screen alongside LA’s favorite food trucks like Cousins Maine Lobster, Street Kitchen LA and Churro Stix as well as emerging music artists such as Alex G., Past Action Heroes and The Urban Renewal Project: punctuated with themed audience games hosted by professional comedians to complete the interactive experience. Their Season 6 opener in 2017 was the worlds biggest La La Land screening AND the biggest Street Food Cinema to date at over 5,000 attendees. With their visionary idea to take the outdoor movie experience to fully inclusive night out –they incorporated a variety of fascinating food trucks, pre-movie live entertainment and cool interactive experiences to massive audience appeal in three major markets: Los Angeles, San Diego and Phoenix. Their 7th season offers so many exciting titles, beginning with the incredible 2018 Oscar nominees“Get Out” and “I, Tonya” on May 5th,“The Greatest Showman” on June 16th, “Lady Bird” on July 21st and “Coco” on October 27th. As well as anniversary screenings for beloved fan favorites “Dazed & Confused” starting our season on April 28th, “The Land Before Time” on May 19th, “The Big Lebowski” on June 9th, “Mrs. Doubtfire” on June 16th, “Stand and Deliver” on June 23rd, “The Sandlot” on June 30th, “Grease” on July 21st, “Mamma Mia!” on August 4th, “Casablanca” on August 25th, “The Wedding Singer” on September 1st, “Nick & Nora’s Infinite Playlist” on September 8th, “Practical Magic” and “The Nightmare Before Christmas” on September 29th and “Twilight” and the original cult classic “Halloween” on October 13th. We’ll also debut our first double-feature PJ party“The Craft” & “Teen Witch” on September 15th and many more great films. Co-founder of Street Food Cinema Heather Hope-Allison (Steven Allison) joins us to run down the upcoming films, where they will be screening and all of the family-friendly options available to film lovers in Southern California.
When UCLA Film & Television Archive launched its annual UCLA Celebration of Iranian Cinema in 1990, it was the first showcase for new Iranian films in the U.S. It has been a platform for exciting new voices in cinema as well as a dialogue to foster cultural understanding—and in that time Iranian filmmakers have moved to the forefront of the cinematic world. It has also been a barometer of global politics. In partnership with Farhang Foundation, this year’s UCLA Celebration of Iranian Cinema offers Los Angeles the chance to see a stellar lineup of new Iranian films that includes four Los Angeles premieres and three U.S. premieres, along with the revival of a modern classic. From fraught intimate relationships to big social issues, these expertly crafted films reveal the complexities – and universalities – of contemporary Iran. The annual celebration, now entering its 28th year, showcases the best in contemporary Iranian Cinema. Paul Malcolm is the film programmer for UCLA Film & Television Archive where he began in 2007. He was an associate programmer of feature and short films for the Los Angeles Film Festival 2006-2010. As adjunct faculty at Chapman University, he has taught classes on the history and aesthetics of 3D cinema and film reviewing at Chapman University. He was also assistant film editor and film critic for the LA Weekly from 1998-2006. Malcolm graduated from USC with a BA in journalism and he received his MA in Film Studies from UCLA. He is a Sundance Institute Arts Writing Fellow (2001).
Visual Communications, the nation’s premier Asian Pacific American media arts center, announced its outstanding program of films and events for the upcoming 34th edition of the Los Angeles Asian Pacific Film Festival (LAAPFF) running MAY 3 – MAY 12, 2018. The all encompassing annual film celebration is presented across Los Angeles in West Hollywood, Downtown LA, Little Tokyo, Koreatown, and Hollywood. Visual Communications proudly celebrates the Film Festival’s 34 years as Southern California’s largest and most prestigious film festival of its kind. LAAPFF launches the celebration of Asian Pacific Heritage Month through this year’s slate of over 100 films from both Asian Pacific American and Asian international artists. For over three decades, the Festival has presented nearly 5,000 films by Asian Pacific American and Asian International talent. This year, 39 feature films and 79 shorts from the over 800 submissions will be showcased during the ten-day fest. The Festival opens with the Los Angeles premiere of Aneesh Chaganty’s feature debutSEARCHING starring John Cho and Debra Messing giving audiences an early chance to see the movie that took the NEXT audience award and the Alfred P. Sloan award at the 2018 Sundance Film Festival. Other programs includeCENTERPIECE FILMS will feature two outstanding world premieres with IN THE LIFE OF MUSIC and FICTION & OTHER REALITIES. Centerpiece Films will be presented on Saturday, May 5th at the Aratani Theatre at the Japanese American Community and Cultural Center (JACCC) in Little Tokyo – Downtown Los Angeles. The CLOSING NIGHT FILM will be the Los Angeles premiere of the acclaimed 2018 Sundance World Documentary Special Jury Award winner MATANGI/ MAYA/ M.I.A., directed by Stephen Loveridge. Inspired by her roots, M.I.A. created a mashup, cut-and-paste identity that pulled from every corner of her journey; a sonic sketchbook that blended Tamil politics, art school punk, hip-hop beats and the voice of multicultural youth. Los Angeles Asian Pacific Film Festival Co-Director David Magdael will join us to talk about this years’s exciting festival line up.
Centuries ago, many cultures believed the Earth was a flat disc. As scientific thought and technology evolved, the Earth was revealed to be a globe, a view that’s widely accepted today—but not by everyone. In Daniel J. Clarks feature documentary, Behind the Curve explores the internet fueled resurgence of the flat Earth movement. These conspiracy theorists deny the scientific model of the globe and join together through conventions, forums and online platforms to discuss their belief system. On the other end of the spectrum, the scientific community aims to counter this resurrected myth, resulting in an ever- growing public battle of conspiracies and anti-intellectualism. Giving a well-rounded look at all sides of the debate, Behind the Curve shows that no matter where you stand on this issue, the conversations and people around it are anything but flat. Director Daniel J. Clark joins is to talk about all of the various factions and personalities that make up flat-earth society and his film’s debut at the 2018 Hot Docs Film Festival.
“Unlike a few other films about people who hold questionable beliefs, Behind The Curve is a remarkably clear-eyed look at the Flat Earth movement, in which people around the globe (but mostly in America) labour to convince the rest of us that our planet is flat – more like a terrarium, really – but sinister forces have gone to elaborate lengths to keep it quiet.” – Norman Wilner, NOW
In Rachel Israel’s endearing feature debut Keep the Change, we meet aspiring filmmaker David (Brandon Polansky), mandated by a judge to attend a social program at the Jewish Community Center, whois sure of one thing: he doesn’t belong there. But when he’s assigned to visit the Brooklyn Bridge with the vivacious Sarah (Samantha Elisofon), sparks fly and his convictions are tested. Their budding relationship must weather Sarah’s romantic past, David’s judgmental mother (Jessica Walter), and their own pre-conceptions of what love is supposed to look like. Under the guise of an off-kilter New York romantic comedy, Keep the Change does something quite radical in offering a refreshingly honest portrait of a community seldom depicted on the big screen. Rarely has a romcom felt so deep and poignant. Thoroughly charming and quite funny, the film’s warmth and candor brings growth and transformation to the characters, and ultimately, to us. Director and writer Rachel Israel stops by to talk about her friendship with lead actor Brandon Polansky, making the short film version of Keep the Change as well as the personal and artistically rewarding process of making this beguiling film.
Best U.S. Narrative Feature – Tribeca Film Festival
Best New Narrative Director – Tribeca Film Festival
Special Mention, Nora Ephron Prize – Tribeca Film Festival
100% on Rotten Tomatoes
“This gently humorous, fiercely honest indie film is a step forward in the quest for a move inclusive Hollywood, which seems to one of the themes of the cultural moment.” – Kerry Lengel, Arizona Republic
’“Keep the Change” is not a seamlessly crafted movie, but it’s awfully tenderhearted and thoroughly disarming. It deserves to be widely seen.’ – Glenn Kenny, New York Times
“What distinguishes it are Israel’s empathetic characterizations – she’s known Polansky for 15 years – and the winning performances, not only by the leads but also by the supporting players” – Mark Jenkins, Washington Post
“Hilarious and warm, finding its own voice as Israel creates a special space for her cast to shine, preserving idiosyncrasies and timing to best reinforce the unusual atmosphere of pure personality on display.” – Brian Orndorf, blu-ray.com
“An ode to self-discovery and acceptance that’s as funny as it is sweet.” – Nick Schager, Variety
Following their Lovecraftian modern cult classic SPRING, acclaimed filmmakers Moorhead and Benson return with this mind-bending thriller that follows two brothers who receive a cryptic video message inspiring them to revisit the UFO death cult they escaped a decade earlier. Hoping to find the closure that they couldn’t as young men, they’re forced to reconsider the cult’s beliefs when confronted with unexplainable phenomena surrounding the camp. As the members prepare for the coming of a mysterious event, the brothers race to unravel the seemingly impossible truth before their lives become permanently entangled with the cult. Co-director Justin Benson (Aaron Moorhead) stops by to talk about this remarkably accomplished, mind-bending cinematic journey into the unknowable.
“The Endless isn’t just terrific – it’s poised to be that breakout genre hit that It Follows and The Babadook were in past years. ” – Jamie Righetti, /FILM
“Unique, mind-bending delights…Aaron Moorhead and Justin Benson are wizards of ingenuity ” Peter Debruge, VARIETY
“The Endless will fuck your brain…Justin Benson and Aaron Moorhead deliver an enticing, mysterious genre experiment that stands to be their best work yet.”- Brad Miska, BLOODY DISGUSTING
“(Justin) Benson and (Aaron) Moorhead are in every frame of this film. Together they give the cosmos-mangling insanity a grounded truth and a light hilarity” – Richard Whitaker, Austin Chronicle
“The Endless feels like a thunderstorm. It brews slowly, softly, and then in the blink of an eye, has consumed you, booming with fury and jaw-dropping force.” – Kristy Puchko, Pajiba
“The Endless [is] a meta-commentary of the nature of storytelling and a self-examination of the creative mind, the film will likely have its audience questioning their perception of time as they look to sky for falling photographs.” – Shelagh Rowan-Legg, Screen Anarchy
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.
“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
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’sDirector of Programming Mike Dougherty to talk about the past, present and future of Indian cinema and the increasing acceptance among mainstream American film lovers.
Guy Maddin and collaborators Galen and Evan Johnson made this ode to VERTIGOand 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.
“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
Barbara Thorson (Madison Wolfe) is your new hero. A quick-witted, sharp- tongued middle-schooler who isn’t afraid of anything. As the only girl in school carrying an ancient Norse warhammer in her purse and killing giants for a living, why wouldn’t she be? I Kill Giants is the sweeping, bittersweet story of a young girl struggling to conquer monsters both real and imagined as her world crumbles at the feet of giants bigger than any one child can handle.Based on the best-selling graphic novel by Joe Kelly. I Kill Giants features terrific performances from Zoe Saldana and Imogen Poots. Academy Award winning director Anders Walter joins us to talk about his clever, creative and emotionally resonant feature film debut.
“This intimate story about a troubled 12-year-old who’s on a mission to save her town is virtually tone perfect.” – Jeanette Catsoulis, New York Times
“A sweetly imaginative, tenderly played coming of age drama.” – Allan Hunter, Screen International
“The vivid cinematography, affecting performance by Wolfe, and lack of saccharine allow the film to resonate not only with the teen target demographic but older viewers as well.” – James Beradinelli, ReelReviews
“I Kill Giants is a dark piece of work for children, which is far from a bad thing.” – Ann Storm, Film Journal International
“Like its heroine, I Kill Giants isn’t afraid to tackle the darkness or rage of little girls, or their fear and pain.” – Katie Walsh, Los Angeles Times
When ‘Lady’ Sandra Abbott (Academy Award nominee Imelda Staunton, Maleficent, Vera Drake) discovers that her husband of forty years (John Sessions) is having an affair with her best friend (Josie Lawrence) she seeks refuge in London with her estranged, older sister Bif (Celia Imrie), The Best Exotic Marigold Hotel, Bridget Jones’ Baby). The two could not be more different – Sandra is a fish out of water next to her outspoken, serial dating, free-spirited sibling. But different is just what Sandra needs at the moment, and she reluctantly lets Bif drag her along to a community dance class, where gradually she starts finding her feet and romance as she meets her sister’s friends, Charlie (Timothy Spall), Jackie (Joanna Lumley) and Ted (David Hayman). Director Richard Loncraine talks about his endearing and touching film about seconds chances and finding love.
“The cast lend charm to this feel good fairy tale and Celia Imrie is especially good as the inspiring Bif.” – Allan Hunter, Daily Express
“The cinematic equivalent of a pair of comfy slippers. This is a charming, oft-told tale of second chances in life and love, and it is filled with fine performances only let down occasionally by an indulgent run time and some stunted dialogue.” – Linda Maric, HeyUGuys
“It’s about real adults living ordinary, important and sometimes difficult lives. Finding Your Feet is rightly billed as comedy-drama; yet, although it’s full of rib-tickling dialogue, it’s the drama that cuts deep.” – Stephen Romei, The Australian
“Its love-in-later-life insights are well-worn, but with Staunton on song, Richard Loncraine’s film mines genuine feeling.” – James Mottram, Total Film
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.
“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!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 hermulti-cultural comedy / drama and working with the film’s Executive Producers Will Ferrell and Adam McKay.
“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
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.
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
Pregnant and newly aware of her runaway husband’s crack addiction – what a fantastic start to motherhood! A young woman trapped in an impossible situation, Luba (Nicole Maroon) strives to turn her life around while juggling a floundering love-life, odd jobs, and custody with a recovering addict. As Lubatries to move forward, her past catches her off guard and pulls her back, farther than ever imaginable. Will she succumb? This powerful story about family bonds shines a bright light on the power of trust, with an unforeseen twist that will leave you speechless. Producer and lead actor Nicole Maroon stops by to talk about her compelling story of a woman running as fast as she can.
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.
Written & directed by Michele Remsen (“Juke,” “Two in the Morning”),Toss It will make it’s world premiere during the Hollywood Reel Independent Film Festival at the LA Live Regal Cinemas on Sunday, February 25th. Opening on the last two bitter singles at a wedding — smart-skeptical Emily and obsessive-compulsive-flirt Finn – (latter-day Rosalind Russel and Cary Grant types) who can witty-banter-for-days and seem a perfect match — then everything gets tossed. Finn wonders why he’s so fucked up, and Emily wonders why she’s so drawn to him. A younger couple, sophisticated parents, a wise great-uncle, and a flaky friend impact both, driving them apart until they take a leap. Then a major curve-ball hits, the curtain gets pulled-back on dearly held traditions and reveals what made them who they are. Discovering the real-deal goes down in back-hallways, Finn and Emily kick against convention to find some kind of truth of their own.Toss It explores women as the real power players because women, by and large, run and nurture the fundamental unit of society: family. Director and screenwriter joins us to talk about love, relationships, fast-paced filmmaking and writing modern day cinematic dialog.
5 Doctors follows Spencer, a miserable young stand-up comedian and hypochondriac, convinced that he’s dying from a bizarre array of symptoms. After a few years trying to make it in L.A., he’s got nothing to show for his efforts except for a viral YouTube video and an indifferent agent who does most of her business via text. Out of options and armed with a binder full of WebMD printouts, Spencer takes drastic action: he flies cross-country to his quaint hometown in upstate New York to consult with his five childhood doctors in a single day, planning to take the redeye back to L.A. that night without seeing any of his friends or family. Spencer’s unwitting accomplice is Jay, who happily agrees to chauffeur him to his appointments. Tearing through town, eluding his loved ones, Spencer is prodded, dilated, and biopsied into accepting that the cause of his symptoms and his reasons for coming home may be more complicated than he thought. 5 Doctors stars: Matt Porter (“New Timers,”“Hasta La Vista”), Max Azulay (“Argyle,” “First Time”), Emily Walton (“Submission,” “Deliverance”), Bobby Moynihan (“Saturday Night Live,” CBS’ “Me, Myself & I”), Eddie Pepitone (“Old School,” “The Muppets”), Peter Friedman (“Love & Other Drugs,” “Single White Female”), Adam Dannheisser (“Down to Earth,” “Nine Minutes”), Jodi Long (“The Hot Chick,” “Splash”), Jeremy Shamos (“The Big Sick,” “Magic in the Moonlight”), Jordan Baker (“Escape from L.A.,” “Another Earth”),and Annabelle Zasowski (“The Blacklist,”“Orange is the New Black”). The co-directors Matt Porter and Max Azulay join us to talk about their funny and touching debut feature.