Snapshots, Director Melanie Mayron

SNAPSHOTS has been compared to the award winning films THE KIDS ARE ALL RIGHT, CLOUDBURST, DIVINE SECRETS OF THE YA YA SISTERHOOD, FRIED GREEN TOMATOES, and STEEL MAGNOLIAS. All of these films show the strength and resilience of people as they cope with the fragilities of life. SNAPSHOTS resonates with every person who has lived through the complexity of family relationships, It reminds us that if we are loved no secret is too difficult to hear and accept. Or is it? Rose (Piper Laurie) is the matriarch. She has lived in this house for over fifty years. She and her deceased husband Joe raised their daughter Patty (Brooke Adams) in this home. Patty, now a widow in her early 50’s, lives in St. Louis. Each year Patty and her newly married daughter Allison (Emily Baldoni) spend a laughter filled girl’s weekend with Gran. This year will be different. Director Melanie Mayron (The Babysitter’s Club, Freaky Friday, Thirtysomething Grace and Frankie) joins us for a conversation on working with talents like Piper Laurie and Brooke Adams and her story of life, love, struggle and the roads not taken.

 

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For news and updates go to: snapshotsthefilm.com

Social Media:

Facebook:facebook.com/threewomeninabox

Twitter:@SNAPSHOTSmovie

Instagram: @Snapshotsthefilm

“Performances all around are strong, with Piper Laurie’s Rose taking the lead and directing us through the story’s narrative. We are invited to soak in the retro atmosphere as the story unfolds at a leisurely pace.” – Paul Parcellin, Film Threat

Netflix’s Dark Tourist, Director David Farrier

Netflix newest series Dark Tourist is the latest project of New Zealand journalist / filmmaker David Farrier, (Tickled), the doc that uncovered an unbelievable tickle fetish empire. In the new NETFLIX series, Farrier travels around the world trying to find the most dangerous and scariest experiences available to tourists. In the show we see a wounded Farrier going into an eerie hospital, being at the center of a war zone, a man breaking a statue on his own head, a killer named Popeye holding the gun at someone, and a woman telling Farrier to stay back because she doesn’t want him to be “possessed.” In one Los Angeles based episode Farrier is warned that he’ll be hurt, drowned, and buried. And yet nothing seems to deter this intrepid thrill seeker. Dark Tourist Director and creator David Farrier joins us to talk about the where, why and WTF of his newest adventure.

 

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For news and updates go to: netflix.com

A Midsummer Night Dream, Director Casey Wilder Mott

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

 

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For news and updates go to: amidsummernightsdreammovie.com

100% on Rotten Tomatoes

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

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

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

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

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

Under the Tree, Director Hafsteinn Gunnar Sigurdsson

UNDER THE TREE is a dark comedy based on real conflicts between neighbors that can often turn violent over trees (yes trees) in Iceland. There is a scarcity of trees in Iceland (which is why they are so treasured) and also a lack of sunshine….so you can see how a conflict would arise when a tree you’d never chop down in your backyard is blocking your neighbor’s sunlight. The films’ director Sigurdsson said he came up with idea when examining how minor conflicts between otherwise friendly neighbors become blown out of proportion and violent. UNDER THE TREE was Iceland’s Oscar entry for Best Foreign Language Film at the 90th Academy Awards last year. The film was directed by Hafsteinn Gunnar Sigurdsson (Either Way) and produced by Grimar Jonsson. Hafsteinn joins us to talk about working with actors primarily known for comedic roles, conveying the film’s escalating tension without passing judgement on the characters actions.

 

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For news and updates go to: underthetreefilm.com

85% on Rotten Tomatoes

“The tone is deliberately odd … blending the naturalism of the day-to-day emotions of relationships and grief, with the altogether more heightened tensions of a revenge thriller, while still keeping a cheeky eye on the absurdity of a mooning garden gnome” – Amber Wilkinson, Eye for Film

“Unsettlingly perceptive as well as absurdly comedic, Under the Tree chronicles domestic tensions left to fester; when grudges branch out like a leafy tree in a suburban backyard, everyone suffers.” – Sarah Ward, Screen International

“What the film occasionally lacks in human finesse, it makes up for in sheer anything-goes resolve.” – Guy Lodge, Variety

“Each character resonates as a problematic individual whose foolishness escalates first into drama, then tragedy.” – Deborah Young, Hollywood Reporter

Official Selection: World Premiere: Venice Film Festival 2017

Official Selection: North American premiere: Toronto International Film Festival 2017

Winner: Best Director (Comedy), Fantastic Fest 2017

Winner: Best Film,  Denver International Film Festival 2017

Winner: International Feature Film, Zurich Film Festival 2017

Winner: Best Narrative Feature, Hamptons International film Festival 2017

Winner: Best Cinematography, Dublin Film Critics Circle Awards 2018

Winner: Best Music, HARPA Nordic Film Composers Award 2016

Izzy Gets The F*ck Across Town, Director Christian Papierniak

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.

 

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For news and updates go to: izzygetsacrosstown.com

“brilliant absurdity” – The Hollywood Reporter

“includes a spellbinding performance by Davis and Coon of the riot grrrl anthem “Axemen” – Los Angeles Times 

“…dizzying mashup of frenetic visual styles and clashing narrative techniques” – The Hollywood Reporter  

“…Davis embodies the idea of betrayal and hurt, but also a resilience that’s hard to shake” – Cromeyellow 

“…Mackenzie Davis is bound for greatness” – Cut Print Film 

“…electrifying” – Cut Print Film 

Opening June 22 at the following theatres:

Laemmle Monica – Santa Monica

Laemmle’s Playhouse 7 – Pasadena

Edwards University Town Center 6 – Irvine

AMC Fullerton 20 – Fullerton

AMC Ontario Mills 30 – Ontario

AMC Puente Hills 20 – City of Industry

AMC Rolling Hills 20 – Torrance

Director Doug Liman and Actor Maddie Hasson

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 drama web 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 LimanDavid 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.

 

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For news and updates go to: youtube.com/red

“‘Impulse’ is smart enough to give the other adult characters, such as Cleo and Tom, some meaningful emotional beats of their own.” – Mark A. Perigard, Boston Herald

“The focus is Henry’s journey, however complicated and messy. Impulse takes care to make it feel real.” – Audra Schroeder, The Daily Dot

“Impulse doesn’t take the conventional route for a show with immense powers. In uncharted territory, it’s a show that’s finding its way.” – Steve Greene, IndieWire

“Intense, downbeat teen superhero series deals with assault.” – Joyce Slayton, Common Sense Media

The Year of Spectacular Men, Director Lea Thompson

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.

 

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For news and updates go to: marvista.net-The Year of Spectacular Men

70% on Rotten Tomatoes

“Madelyn Deutch, Zoey Deutch, and Lea Thompon are a triple threat in this quarter life crisis tale that deserves your attention.” – Scott Menzel, We Live Entertainment

“…the Deutch duo hold the screen with charm and intelligence to spare.” – Sheri Linden, Hollywood Reporter

Hearts Beat Loud, Director Brett Haley

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.

 

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For news and updates go to: Hearts Beat Loud

95% Rotten Tomates

“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

Bernard and Huey, Director Dan Mirvish

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.

 

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For news and updates go to: bernardandhueymovie.com

76% on Rotten Tomatoes

“Devoted Feifferites, not to mention fans of Mr. Rash and Mr. Koechner, who get to flex their muscles nicely here, will be well sated.” – Glenn Kenny, New York Times

“Mirvish has stylishly blended the past and present for a comfortable vibe that makes the film fun and cool despite the ridiculous relationship chaos swirling around.” – Bradley Gibson, Film Threat

“As you might hope for a film with a script from the great Jules Feiffer, Dan Mirvish’s Bernard and Huey bristles with anxious, circuitous, hilarious talk.” – Alan Scherstuhl, Village Voice

“Feiffer’s distinctive writing resonates even decades later.” – Frank Scheck, Hollywood Reporter

Social Animals, Director Theresa Bennett

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.

 

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Social Media:

Facebook: SocialAnimalsMovie

Instagram: @socialanimalsmovie

Twitter: @SocAnimalsMovie

“‘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.

“ – Ann Storm, Film Journal International

Filmworker – Director Tony Zierra

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.”

 

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For news and updates go to: kinolorber.com/film/filmworker

93% on Rotten Tomatoes

“Movie love at its purest. A celebration of its anonymous inhabitants’ role in bringing our collective dreams to life.” – Ann Hornaday, The Washington Post

“Five stars! Tender. A revealing and stirring celebration of one of cinema’s unacknowledged heroes.” – Gwilym Mumford, The Guardian

“An arresting cinemaniac documentary. Pure candy for Kubrick buffs.” – Owen Gleiberman, Variety

“Revealing. A fascinating portrait of Stanley Kubrick’s devoted aide de camp. Honors the hard-working, often unacknowledged craftsmen in the film industry.” – Stephen Farber, The Hollywood Reporter

“Catnip to Kubrick obsessives.” – Tim Grierson, Screen Daily

“The ultimate fan story: a tale of what it means to live vicariously through a genius.” – Ben Kenigsberg, RogerEbert.com

Street Food Cinema – Co-founder Heather Hope-Allison (Steve Allison)

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. 

 

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Season 7 Season Line-Up available at: streetfoodcinema.com/home/los-angeles

Information on other Street Food Cinema cities go to: streetfoodcinema.com

UCLA Celebration of Iranian Cinema – Paul Malcolm, FIlm Programmer

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).

 

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WHAT: UCLA Celebration of Iranian Cinema sponsored by Farhang Foundation

All films originate from Iran and are in Persian or Azari with English subtitles.

WHEN: April 28 – May 19, 2018

WHERE: UCLA’s Billy Wilder Theater, 10899 Wilshire Blvd., Los Angeles, CA 90024

TICKETS: Regular screenings: $10 general admission available here.

For news and updates go to: UCLA Celebration iranian Cinema

For information on the Billy Wilder Theater

Los Angeles Asian Pacific Film Festival, Festival Co-Director David Magdael

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 debut  SEARCHING 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 include  CENTERPIECE 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.

 

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For news and updates on the Los Angeles Asian Pacific Film Festival go to: Festival.VConline.org/2018

Behind the Curve, Director Daniel J. Clark

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.

For news and updates go to: behindthecurvefilm.com

Behind the Curve at HotDocs 2018

“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

Keep the Change, Director Rachel Israel

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, who  is 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.

 

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For news and updates go to: kinolorber.com/film/keepthechange

Social Media:

facebook.com/keepthechangefilm

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

The Endless, Co-directors Justin Benson and Aaron Moorhead

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.

 

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For news and updates go to: theendless-movie.com

The Endless on Social Media:

facebook.com/TheEndlessFilm

96% on Rotten Tomatoes!

“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

Lowlife, Director Ryan Prows

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

 

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For news and updates  go to: lowlifethemovie.com

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91% on Rotten Tomatoes

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

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

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

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

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

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

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

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

 

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

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The Green Fog, Director Guy Maddin

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

 

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

94% on Rotten Tomatoes!

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

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

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

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

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

I Kill Giants, Director Anders Walter

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.

 

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For news and updates go to: xyzfilms/i-kill-giants

80% on Rotten Tomatoes!

“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

Friday, March 16, 2018 – Finding Your Feet, Director Richard Loncraine

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.

 

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For news and updates go to: findingyourfeetfilm.com/home

70% on Rotten Tomatoes!

“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

Thoroughbreds, Director Cory Finley

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

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

 

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86% on Rotten Tomatoes!

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

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

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

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

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

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

Oh Lucy! – Director Atsuko Hirayanagi

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

For news and updates go to: ohlucyfilm.com

 

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100% on Rotten Tomatoes!

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

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

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

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

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

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

 

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For news and updates go to: cinequest.org

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

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

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

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

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