Inspired by the massive use of new technologies which intersect with psychopharmacology for therapeutic purposes. Algorithm: Bliss takes a look into how humanity and technology intersect and examines the unintended consequences of applications and innovations that come out of good intentions. Algorithm: Bliss explores where and how lines of morality get blurry once people are dealing with the reality of the noble aspirations for a product versus the potentially dangerous reality of implementation. It’s Edgar Allen Poe’s “The Tell-Tale Heart” for a digital age. Vic Beckett (Sean Faris) is a brilliant researcher, creates the ultimate App that taps into the pleasure center of the brain and transmits a feeling of nirvana to the user. Instant celebrity and unlimited commercial applications corrupt his altruistic intention and when problems arise with his creation, he justifies doing whatever is necessary to keep the app online. Algorithm: Bliss stars Sean Faris (Never Back Down), Sarah Roemer (Disturbia), Frank Deal (The Bourne Legacy), James Saito (Life Of Pi), Frank Deal (The Outsider), and Kimberley Locke (American Idol). Algorithm: Bliss is co-directed by Dena Hysell-Cornejo and Isak Borg, from a screenplay by Borg and Golan Ramraz (Iron Man).
Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ & tries to ignore the constant spirit related requests from locals – to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager- making her levitate. Her terrified father, Martin Martin, asks Rose to help save his daughter. Rose has to overcome the fear of her supernatural gift & work with Martin to save the girl, get the guy and be home in time for a light snack…maybe a yogurt or something… Co-directors Mike Ahern and Enda Loughman join us for a conversation on the making of their oddly endearing, winning comedy about everyday apparitions, Rose, Martin Martin and Christian and reconnecting with their Talents.
“A fun, heart-warming and genuinely funny film, prepare for belly laughs and warm fuzzy feelings. Buoyed by great comedic, chameleon-like performances, and a rich fictional world, Extra Ordinary is extraordinarily charming.” – Kat Hughes, THN
“Extra Ordinary, writing-directing duo Mike Ahern and Enda Loughman’s feature film debut, is a remarkable achievement – a wholly unique cinematic experience that is grounded with a lot of heart.” – Sarah McIntyre, RTÉ (Ireland)
For small-town bar owner Hank (Jeremy Gardner), his 10-year relationship with Abby (Brea Grant) has been storybook-quality. Abby, however, wants more: marriage, to be exact, which Hank doesn’t seem ready to initiate anytime soon. As a result, she leaves him without so much as a note or any subsequent communication. Hank is crushed. Even worse, Abby’s departure seemingly triggers the arrival of an unseen monster that claws at Hank’s front door at night. As the nocturnal threat intensifies, Hank must figure out how to not only save his relationship, but also himself. Co-director Christian Stella (Jeremy Gardner) stops by to talk about the multi-layered film that is After Midnight (Something Else) and his creative cinematography that gives the film its lyrical power.
“Something Else promises monsters but delivers more demons of the human experience variety, as this sweet and sincere creature feature is far more romantically heartfelt than expected.” – Matt Donato, We Got This Covered
“There’s an honesty in Something Else that makes this man against (his) monsters story one that’ll give you deep meaning, beautiful cinematography, and just the right amount of wtf.” – Kristy Strouse, Film Inquiry
What happened to Carolyn Harper? Part suburban nightmare, part neon-soaked teenage fever dream, this tantalizing mystery traces the wave of fear and distrust that spreads across a small Midwestern town in the wake of a high school girl’s mysterious disappearance. As the loneliness and darkness lurking beneath the veneer of everyday life gradually comes to light, a collective awakening seems to overcome the town’s teenage girls—gathering in force until it can no longer be contained. Unfolding in a hallucinatory haze of lushly surreal images, Knives and Skin is a one-of-a-kind coming-of-age noir that haunts like a half-remembered dream. Director / writer Jennifer Reeder joins us for a lively conversation on her heady melange of a film that bends multiple genres to its razor sharp will.
Director’s Statement: I tell stories about unruly women and the landscapes they transform. This is a story by a woman that proposes girlhood as a place of transcendence and transgression. I am committed to this voice and to producing unexpected narratives. I write scripts from actual experience and observation and my films are specific in mood and perspective. I am influenced by Ohio, where I grew up—all that sky and flatness. And even more so by the Midwestern people and their kind of everyday destructiveness and determination to cope. This awkward emotionality is evident in my films as scenes unfold like sticky flypaper and characters make one small mistake after another. – Jennifer Reeder
“The film’s approach to narrative structure is both messy and strangely confident and alluring, poising Knives and Skin as a bold and complicated cross-genre anomaly, much like the women Reeder lovingly depicts.” – Chloe Leeson, Screen Queens
“At times fraught with anxiety, haunting in quiet horror, blackly comedic, and aching with with sorrow and love, Knives and Skin is many things and also defies easy categorization, as it puts forth a perspective that is multiple and complicated.” – Shelagh Rowan-Legg, ScreenAnarchy
At the turn of the 1900’s, two years after a quiet murder involving an out-of-town stage actor and a local doctor’s daughter, an esteemed Opera House welcomes a progressive Vaudevillian troupe from the East for its first performances since the tragedy; and along with it, a veiled actress with a curious intent. With tensions still thick surrounding past events, this mysterious performer discovers she isn’t the only one seeking revenge: someone or something has been “haunting” the assailant already. When the two conspirers uncover each other’s secrets, they decide their dual efforts will be more successful in subduing their enemy. THE RIOT ACT is a multi-award winning independent film that deftly immerses audiences in a layered tale of a caste system on the brink of violence where humanity and love are expendable in the eyes of society in the early 1900’s. Following a wildly successful festival and theatrical run, the film will be available to audiences everywhere on October 8th, 2019. The feature film directorial debut from auteur writer / director Devon Parks (Step Into: Miss Laura’s, The Help), THE RIOT ACT stars Lauren Sweetser (True Detective, Winter’s Bone), Brett Cullen (Joker, 42, Dark Knight Rises), Connor Price (Cinderella Man), Micah Hauptman (Homeland, Rust Creek), Brandon Keener (Traffic, The Purge: Anarchy) and Travis Joe Dixon (NCIS, Blackish). Director and writer Devon Parks joins us to talk about his intriguing mystery period piece, the he orchestrates from a very talented group of actors.
“While there are a few narrative implausibilities, they never derail the story, and while the story takes on a bit more thematically then it can ultimately deliver, it is generally preferable that a film’s reach exceeds its grasp.” – Dan Jardine, Cinemania
“A troupe that claims to offer “high-end vaudeville” arrives, not only to seriously heat up plot possibilities, but prove that Parks might have a real future at the movies.” – John Urbancich, Your Movies (cleveland.com)
MONOS, Alejandro Landes’ awe-inspiring third feature, is a breathtaking survivalist saga set on a remote mountain in Latin America. The film tracks a young group of soldiers and rebels — bearing names like Rambo, Smurf, Bigfoot, Wolf and Boom-Boom — who keep watch over an American hostage, Doctora (Julianne Nicholson). The teenage commandos perform military training exercises by day and indulge in youthful hedonism by night, an unconventional family bound together under a shadowy force known only as The Organization. After an ambush drives the squadron into the jungle, both the mission and the intricate bonds between the group begin to disintegrate. Order descends into chaos and within MONOS the strong begin to prey on the weak in this vivid, cautionary fever- dream. With a rapturous score by Mica Levi (only her third, after UNDER THE SKIN and JACKIE), director Alejandro Landes examines the chaos and absurdity of war from the unique perspective of adolescence, recalling LORD OF THE FLIES and BEAU TRAVAIL in a way that feels wholly original. Landes brings together a diverse young cast of both seasoned professionals (including Hannah Montana’s Moisés Arias) and untrained neophytes and thrusts them into an unforgiving, irrational and often surreal environment where anything can happen — even peace. Director Alejandro Landes talks about the grueling production challenges of shooting in a jungle, working with a young cast and how his collaboration with screenwriter Alexis Dos Santos and composer Mica Levi helped to create an intense, high-wire cinematic journey.
SUNDANCE FILM FESTIVAL – Special Jury Award
CARTAGENA INTERNATIONAL FILM FESTIVAL – Audience Award
BUENOS AIRES FILM FESTIVAL – Best Original Score
SLOVAKIA ART FILM FEST – Blue Angel – Best Film
NEWPORT BEACH FILM FESTIVAL – Best Director, Best Cinematography, Best Actress
MONTCLAIR FILM FESTIVAL – Best Fiction Feature
TRANSILVANIA INTERNATIONAL FILM FESTIVAL – Transilvania Trophy Best Film
ODESA INTERNATIONAL FILM FESTIVAL – Best Director
“There’s a bicep-flexing quality to Landes’s direction, with its bursts of colour and chaos, its conjuration of a surreal experience out of tactile reality. You tumble out of it bruised, bewildered, mesmerised.” – Tim Robey, Daily Telegraph (UK)
TIGERS ARE NOT AFRAID is set in an unnamed Mexican northern border town.The young 10-year-old girl Estrella (Paulo Lara) has 3 wishes: The first one, that her missing mother comes back and it happens. Her mother returns but she is dead and follows Estrella everywhere. Petrified, Estrella tries to escape from her by joining a gang orphaned by violence. Soon she realizes that dead are never left behind and when you are in the middle of brutality and violence, wishes never come true the way you want them to be. A haunting horror fairytale set against the backdrop of Mexico’s devastating drug wars, TIGERS ARE NOT AFRAID follows a group of orphaned children armed with three magical wishes, running from the ghosts that haunt them and the cartel that murdered their parents. Filmmaker Issa López creates a world that recalls the early films of Guillermo del Toro, imbued with her own gritty urban spin on magical realism to conjure a wholly unique experience that audiences will not soon forget. Director / writer Issa López joins us to talk about her inventive and viscerally chilling film about dreams, politics, violence against the powerless and justice.
Fantastic Fest 2017: Best Horror Director
Screamfest 2017: Best Actress, Actor, Editing, Director and Picture
Dedfest 2017: Best Picture, Audience Award
Mórbido 2017: Mórbido Award (Best Picture) & Press Award
ITHACA FANTASTIK 2017: Cinema Pur Audience Award, for Best Movie
Paris Fantastic Film Fest 2017: Best Feature, Cinema+ Award, Audience Award
10 nominations for the 2018 Ariel Awards (Mexican Academy Awards)
Best Child Actor, Best Child Actress, Best Support Actor, Best Makeup Design, Best Visual Effects, Best Editing, Best Production Design, Best Sound, Best Script, Best Director*
“Heartbreaking, thought-provoking and exquisitely beautiful in equal measure, López unflinchingly rejects the fetishization of young people and their experiences so typical of narratives about childhood trauma.” – Alexandra Heller-Nicholas, AWFJ Women on Film
“What it gets right, it does brilliantly. The acting is superb, the mix of fantasy and realistic drama is sublime, and the story is haunting and fascinating in equal measure.” – Bobby LePire. Film Threat
THE MOUNTAIN is a dark, hypnotic and surreal satire about repression and conformity set against the 1950’s “golden age” of American male domination. (Tye Sheridan, READY PLAYER ONE, MUD), whose mother was sent to an asylum years ago, is an introverted young photographer at loose ends, ignored by his father (cult actor Udo Kier). After the death of his father, Andy is befriended by renowned lobotomist Dr. Wallace Fiennes (Jeff Goldblum, THE GRAND BUDAPEST HOTEL, JURASSIC PARK) and joins him on a tour to promote the doctor’s recently-debunked procedure. As Andy increasingly identifies with the asylum’s patients, he falls in love with a rebellious young woman, Susan (Hannah Gross), and encounters the burgeoning New Age movement of the West. Also starring Denis Lavant (HOLY MOTORS). Director and co-writer Rick Alverson (THE COMEDY, ENTERTAINMENT) joins us for a conversation on the subversive performances of Goldblum and Sheridan and the ways his harrowing, brilliant film cuts to the core of savage male brutality in the guise of “science.”
Rick Alverson Productions
Opening in Los Angeles at the NuArt Theatre on July 26 – 11272 Santa Monica Blvd, Los Angeles, CA 90025
(Q&A with Jeff Goldblum and Rick Alverson following the 7:00 pm screening on Saturday, July 27th)
Official Selection at: SXSW / Venice Film Festival / Sundance Film Festival
“A beautiful… singular portrait of America’s fractured identity.” – Eric Kohn, Indiewire
“Genuinely menacing. A near-hypnotic pall of strangeness.” – Guy Lodge, Variety
“Shimmeringly surreal. Lanthimos meets Roy Andersson meets a heavy dose of lithium.” – Jessica Kiang, The Playlist
“Dark and visionary.” – Deborah Young, The Hollywood Reporter
“Surreally gorgeous. Replete with unsettling, rewarding pleasures.” – Leonard Goi, MUBI
A rainy night. A dazed and numb young cabdriver, Luz, drags herself into the brightly lit entrance of a rundown police station. Across town in a nightspot, Nora seductively engages police psychiatrist Dr. Rossini in a conversation. Nora is possessed by a demonic entity, longing for the woman it loves – Luz. She tells the Doctor about her old schoolmate Luz’s rebellious past at a Chilean school for girls. Increasingly drunk on her story, Rossini turns into an easy prey in Nora’s hands, but he’s soon called away to the police station to examine Luz. Supervised by his colleagues, the doctor puts Luz in a state of hypnosis that initiates a series of flashbacks, unfolding the events leading to her arrival. But the entity that has taken control of the doctor wants something more. Bit by bit it slips into Luz’ reenactment and makes old memories come to light. Shooting entirely on 16mm, first time feature film director Tilman Singer pays homage to horror masters David Cronenberg, Dario Argento and Lucio Fulci, while infusing the genre with a fresh take of his own. Director Tilman Singer stops by to talk about his mind-bending, trip through a fevered tale of “demonic” possession, ruptured identity and menacing dread.
”LUZ is a story about identity, a lack of one, or maybe even denying one’s own. For the most part this is told by forces (archetypal characters, institutions, or personifications of moral arguments) influencing and manipulating our titular character Luz. I structured the narrative as a panic attack, of repressed memories and confusion. It is purposely open to interpretation by the viewer. LUZ is a sensuous thriller that plays with the sensory perception of the audience. Initially, I wanted to write a simple story that could only be told audio-visually. How we ended up telling it cinematically, nested within diegetic flashbacks, got a little more complicated. For example, we use an additional layer of sound that adds a past reality to a present one. Given that we are observing a moment relived under hypnosis, the credibility of both realities is questioned at all times. The viewer who attempts to answer this question of credibility has to, with sharpened senses, fully engage in image and sound.”
“Working with very little resources, (writer/director) Singer creates a wholly unique story of possession, obsession, loneliness, manipulation, and ultimately self-destruction that is incredibly ambitious and impressively executed.” – Rob Dean, Daily Grindhouse
“Though there’s a split in audiences around what constitutes horror … the one thing that’s agreed upon is that the genre seeks to unsettle and provoke. In this regard, Singer’s Luz is an undeniable triumph.” – Douglas Davidson, Elements of Madness
ENDZEIT – EVER AFTER, is a post-apocalyptic feminist gothic fairy tale that takes place two years after zombies have overrun Earth. Two young women, Vivi (Gro Swantje Kohlhof) and Eva (Maja Lehrer), develop an unlikely friendship in order to survive. They are stranded in the no-man’s land of the Black Forest where they have to rely on each other and on nature, while in search of a more humane world. But their survival has also unleashed demons from their past that they must confront. In the end, love arises not only for each other, but also for the fantastic natural world surrounding them. According to the director Carolina Hellsgård: “ENDZEIT – EVER AFTER reflects upon our future existence, how we choose to live, and what our options will be in a world where nature strikes back. The aesthetics are inspired by the quirky and refreshing style of Olivia Vieweg’s graphic novel, which the script is based on.”
About the filmmaker: Carolina Hellsgård is a writer-director, born in Sweden and based in Berlin. She studied experimental media design at the Berlin University of Arts and film directing and screenwriting at Cal Arts in Los Angeles. Her critically acclaimed debut feature film WANJA premiered at the Berlinale 2015 and was nominated for Berlinale Best First Feature Award. It won Best Screenplay (Valletta Film Festival) and Best Feature Film Debut at the Biberacher Filmfestspiele. She is currently in post-production for the feature film project SUNBURNED.
“Endzeit has definitely become one of my favorite films of the year, and one of my favorites of the genre. It is a refreshing take on not only these horrific creatures but also the meaning behind them and the apocalypse they bring.” – Stephanie Archer Film Inquiry
“It’s this ecological theme that leads to some truly inspired visuals which sustain the film until its unexpected, conciliatory conclusion. Endzeit is an unbalanced film, to be sure, but proof nonetheless of zombies’ enduring relevance in horror cinema.” – Christopher Machell CineVue
An expectant couple’s intimate weekend turns to terror when they discover their secluded country inn is a haunted maternity home where unwanted infants and mothers were murdered. Inspired by the true story of the infamous ‘Butterbox Babies’, THE CHILD REMAINS is a twisting supernatural thriller and homage to slow-burn vintage horror like The Shining, Rosemary’s Baby and Session 9. Starring Cannes’ Best Actress winner Suzanne Clement (Mommy), Allan Hawco (Hyena Road), Shelley Thompson (Labyrinth) and genre hero Geza Kovacs (Scanners, The Dead Zone), THE CHILDREMAINS is a character-driven, psychological scary movie for adults that will leave audiences breathless. Director Michael Melski stops by to talk about the real-life horror story behind THE CHILD REMAINS, filming in his hometown in beautiful Nova Scotia and putting together a first rate cast of accomplished actors.
The Child Remains will also be released digitally on June 7 (iTunes, Amazon, Vudu, Google Play, Fandango Now, and Xbox
For the last 20 years the Newport Beach Film Festival has brought the best of classic and contemporary filmmaking from around the world to Orange County. Under the direction of CEO and Co-founder Gregg Schwenk and the festival’s staff have been committed to entertaining and enlightening the public with a first-class international film program as well as providing a forum for cultural understanding and enriching educational opportunities, the Festival focuses on showcasing a diverse collection of both studio and independent films. The Festival supports the creation and advancement of innovative and artistic cinematic works from both emerging and seasoned filmmakers and proudly embraces the passion, vision and independent spirit of these talented artists. With the integration of the local community and educational institutions, the Festival stimulates an interest in the study and appreciation of film and encourages people of all ages and backgrounds to participate. The Community Outreach Program was created with the idea that film offers new perspectives and possibilities for a changing world. Each year, the Festival partners with over 40 non-profit organizations and pairs each philanthropic organization with a film that aligns with their mission. The Festival gives non-profit organizations a forum to voice their message to large audiences and spread awareness of their organization and mission through the medium of film. Areas of focus include the arts, health and human services, the environment, education, children’s causes, seniors’ and veterans’ programs, and alumni clubs. CEO and Co-founder Gregg Schwenk joins us to talk about a remarkable festival line-up of comedies, dramas, short films, action sports, classics, documentaries, musicals and foreign film excellence.
BODY AT BRIGHTON ROCK is a psychological thriller about a part time summer employee, Wendy, (Karina Fontes) at a mountainous state park, takes on a rough trail assignment at the end of the season, trying to prove to her friends that she’s capable enough to do the job. When she takes a wrong turn and ends up deep in the backcountry, she stumbles upon what might be a potential crime scene. Stuck with no communication after losing her radio and with orders to guard the site, Wendy must fight the urge to run and do the harder job of staying put — spending the night deep in the wilderness, facing down her worst fears and proving to everyone – including herself – that she’s made of stronger stuff than they think she is. Director and writer Roxanne Benjamin made her directorial debut in the anthology SOUTHBOUND, which world premiered at the Toronto International Film Festival. She was last in the director’s chair for “Don’t Fall”, part of Magnolia Pictures’ all-women-helmed horror anthology XX, which premiered at Sundance in the Midnight section last year. Director Roxanne Benjamin stops by to talk about her slow-burn thriller and the challenges of a wilderness shoot.
“Deftly employing the power of suggestion and an emotionally potent sound design, “Body at Brighton Rock” is a well-crafted thriller with some crafty tricks up its sleeve.” – Joe Leydon, Variety
“Body at Brighton Rock shifts from being a fun and colorful throwback to something a little darker and deeper.” – Meredith Borders, Slashfilm
“Relating to Wendy, and to her terror, is easy, and immediate, and lets the movie hook its claws into the viewer with jolting urgency.” – Andy Crump, Paste Magazine
“Anchored by a star-making lead turn and sporting superb sound design, Body At Brighton Rock is a bloody good time.” – Alan Ng, Film Threat
In a media environment dominated by increasingly concentrated corporate interests, eight distribution companies who have long championed the best in independent features, documentaries, and social issue films, have joined forces to help launch a new subscription streaming service, OVID.tv. Starting today, OVID.tv offers more than 350 quality documentaries and art-house films from the collections of its founding content partners: Bullfrog Films, The dGenerate Films Collection, Distrib Films US, First Run Features, Grasshopper Film, Icarus Films, KimStim, and Women Make Movies. Most of the films on OVID.tv are not available on any other streaming platform, and OVID.tv will be adding even more films every two weeks–14 fiction feature films and one 10-part documentary series are already scheduled for release. Despite the odds and with little capital, Icarus Films, Docuseek, and our partners have decided that the time has come to step forward and build a new, independent space, dedicated to the films that we believe in and care about, and that we believe you care about, and value as well. OVID.tv co-founder Jonathan Miller joins us to talk about an affordable option for film lovers looking for the highest quality cinema experience presented by people who share your passion.
For now OVID.tv is only available in the U.S.
“A cornucopia of international movies and documentaries… recent ones as well as classics. It’s far better for recent movies than FilmStruck ever was, and its spectrum of new movies is far more substantial than that of Netflix, wider-ranging than that of Amazon.” – Richard Brody, The New Yorker, March 22, 2019
Based loosely on Scottish ghostly folklore with inspiration from Greek sirens, the tale is set in 1846 on a remote island off the west coast of Scotland, where three survivors from a mysterious sinking of their merchant ship find themselves stranded on a small misty isle. The isle’s four sole secretive residents, an old harbor man, a farmer, his niece and a young mad woman, are anything but welcoming and reluctant to aid the sailors back to the mainland. The promise of a boat never materializes leading one of the sailors to question why people had abandoned the island. Through his investigation he discovers that every year around the same date a tragedy at sea would occur and young men from the island would perish. When his two shipmates meet with fatal accidents, the myth of a ghostly siren haunting the island leads him to try and uncover the truth. Directed and co-written by British filmmaker Matthew Butler Hart (TWO DOWN), the film stars Olivier Award-winning, Tony-nominated actor Conleth Hill (HBO’s “The Game of Thrones”), Alex Hall (SUBURBICAN, BBC’s “The Miniaturist”), Fisaya Akinade (BAFTA-nominated GIRL WITH ALL THE GIFTS with Glenn Close and Gemma Arterton), THE ISLE co-writer and producer, Tori Butler Hart (MISS IN HER TEENS), Alix Wilton Regan (THE WIFE) and Graham Butler (Showtime’s “Penny Dreadful”). Director Matthew Butler Hart stops by to talk about his gorgeous, haunting new film.
Official Selection, Newcastle International Film Festival 2018
Winner, Jury Prize for Best Cinematography Manchester International Film Festival, 2018
Winner, Jury Prize for Best Sci-Fi/Horror Film London Independent Film Festival, 2018
“The Isle is the kind of cinema that is getting far too rare. Superbly shot, exquisitely paced and genuinely compelling and surprising – indeed astonishing – in its development of plot and character.” – Stephen Fry
“Beautifully shot… subtle and measured in execution… a refreshing entry in a genre so often saturated by repetition.” – Flickering Myth
“…genuinely surprising and engaging…innovative, finely-drawn and confident…” – Warped Perspective
“Exquisitely-wrought… quintessentially intelligent Gothic horror: all in a surprisingly large scope and absolutely unforgettable cinematic experience. “ – The 405
THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT follows the epic adventures of an American legend that no one has ever heard of. Since WWII, Calvin Barr (Sam Elliott) has lived with the secret that he was responsible for the assassination of Adolf Hitler. Now, decades later, the US government has called on him again for a new top-secret mission. Bigfoot has been living deep in the Canadian wilderness and is carrying a deadly plague that is now threatening to spread to the general population. Relying on the same skills that he honed during the war, Calvin must set out to save the free world yet again. Director Robert D. Kryzkowski joins us to talk about working with two-time Academy Award nominated director John Sayles and visual effects wizard and two time Academy Award winner, Douglas Trumbull (Blade Runner and 2001: A Space Odyssey) and how he was able to fashion an endearing, bittersweet saga of a heavy hearted man driven by a profound sense of duty.
“The Man Who Killed Bigfoot and Then Hitler is a real movie – one more emotionally resonant and character-driven than that deceptively goony title suggests.” – Simon Abrams, NPR
“In spite of the premise at hand, Sam Elliott–one of America’s greatest treasures–quietly delivers another astonishing performance.” – Danielle Solzman, Solzy at the Movies
“A wise, odd, and unforgettable ballad.” – Nick Allen, RogerEbert.com
“From its world-weary hero to its no-nonsense, casual swapping of fiction for fact, The Man Who Killed Hitler and Then The Bigfoot uses action and something like science fiction to deliver an wholly entertaining, yet poignant message.” – Slashfilm
Reed (Christopher Abbott) is going on a business trip. He kisses his wife and infant son goodbye, but in lieu of a suitcase filled with clothes, he’s packed a toothbrush and a murder kit. Everything is meticulously planned: check into a hotel and kill an unsuspecting victim. Only then will he rid himself of his devious impulses and continue to be a good husband and father. But Reed gets more than he bargained for with Jackie (Mia Wasikowska), an alluring call girl who arrives at his room. First, they relax and get in the mood, but when there’s an unexpected disruption, the balance of control begins to sway back and forth between the two. Is he seeing things? Who’s playing whom? Before the night is over, a feverish nightmare will unfold, and Reed and Jackie will seal their bond in blood. Based on the critically acclaimed cult novel by Ryu Murakami, Director Nicolas Pesce (THE EYES OF MY MOTHER) talks about how he was able to blend psychological horror with comedy and stylish neo-noir, resulting in a sly take on the fantasy of escape and the hazards of modern romance.
“Piercing is a quirky and nasty black comedy, essentially a two-hander-so if you don’t mind spending an hour and twenty minutes with a deranged duo doing their twisted tango, then, by all means, tune in.” – Staci Layne Wilson, We Live Entertainment
“Piercing is an unnerving mix of loveliness and lunacy.” – Bilge Ebiri, New York Magazine
“What a deliciously demented and disturbing drama Nicolas Pesce’s “Piercing” is, dripping with gore and laden with forbidden innuendo.” – Katie Walsh, Tribune News Service
“Pesce deploys a potent arsenal of stylistic tools – urban landscape miniatures, plushly disquieting Lynchian interiors, flashbacks, creature effects, and florid gore – to tell the story of Reed.” – Robert Abele, Los Angeles Times
It all began when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival. Unwilling to take “no” for an answer, they instead started their own event – Slamdance: Anarchy in Utah. 24 years later, Slamdance has become a year-round organization fostering the development of unique and innovative filmmakers. The organization now consists of the Film Festival, Screenplay Competition and Slamdance Studios. Dan Mirvish, Jon Fitzgerald, Shane Kuhn and Peter Baxter are the founding forefathers who, along with co-conspirator Paul Rachman, fought for truly independent filmmakers by giving them a voice in 1995 at the very first Slamdance Film Festival. Since then, the festival takes place every January in the breathtakingly stunning, snow-capped mountains of Park City, Utah at the exact same time as the Sundance Film Festival, toprovide a more authentic representation of independent filmmaking. Up-and-coming writers, directors and producers, alongside seasoned veterans and film lovers, converge for the weeklong celebration of independent cinema, realizing that Slamdance is a great place to find those next, great, visionary films. Slamdance lives and bleeds by its mantra By Filmmakers For Filmmakers. No other film festival in the world is entirely run and organized by the creative force that can only be found in filmmakers. Slamdance adamantly supports self-governance amongst independents, and exists to deliver what filmmakers go to festivals for – a chance to show their work and a platform to launch their careers. The festival has earned a solid reputation for premiering films by first-time writers and directors working within the creative confines of limited budgets. Co-founder and President Peter Baxter joins us to talk about this year’s Slamdance, the groundbreaking films and the innovative new distribution being launched by Slamdance.
Slamdance Film Festival will take place January 25-31, 2019 in Park City, Utah
From the creator of the Final Destination franchise comes a new tale of death. Following the passing of his father, Aaron Hammond (Michael Welsh) returns to his hometown to help his devastated mother (Lin Shaye) and to confront his past demons. Sifting through his father’s belongings, Aaron comes upon a mysterious item that is far more than it seems. The Final Wish Director Timothy Woodward Jr. and lead actor Michael Welsh joins us for a conversation on continuing the cinematic legacy of Final Destination and bringing a creative energy to a familiar story of demonic possession, family struggles and reckoning with the past.
“If you’re looking for a spooky little flick that forges some new ground against a backdrop of familiar terror tropes, The Final Wish will grant you that.” – Steve Barton, Brainwaves
“The Final Wish is an easy watch, fun and simple. It’s perfect for that night when you just want to sit back, relax and enjoy.” – Staci Layne Wilson, We Live Entertainment
“There’s still a lot to The Final Wish that I really appreciated and enjoyed, and it would make for a killer double feature with Wish Upon.” – Heather Wilson, Daily Dead
“THE FINAL WISH is yet another example of taking a low budget and bringing a fresh new take on a familiar storyline. It offers a well written script and a cast worth investing in.” – Jimmy O, Movie Emporium
Lunacy Productions helmed by prolific producer Stu Pollard is excited debut for you their latest film “Rust Creek,” which is being distributed theatrically by IFC Midnight beginning January 11th, 2019. “Rust Creek” starring Hermione Corfield (“Mission: Impossible – Rogue Nation”), Jay Paulson (“Mad Me”), Sean O’Bryan (“Olympus Has Fallen”), Micah Hauptman (“Homeland”), Daniel R. Hills (“The Resident”), Jeremy Glazer (“Letters From Iwo Jima”), and John Marshall Jones (Con Air”); chronicles the presence of mind and skill an ordinary woman, utilizes while summoning extraordinary courage to survive a nightmare odyssey in this harrowing survival thriller. This film takes the woman in jeopardy premise and turns it on its head with agility and smarts. This is the latest female driven (both in front of & behind the camera) film from Pollard & his team at Lunacy. Lunacy’s team are incredibly committed to supporting gender parity in filmmaking, producing several films featuring female protagonists (This Is Home, Rust Creek, Short History, Plus One) and working with female filmmakers like Jen McGowan (“Rust Creek”), Ani Simon Kennedy (“Short History of the Long Road”), and documentarian Alex Shiva (“This Is Home: A Refugee Story”) among others. Half of the department heads on “Rust Creek” are women and for many of the female crew, “Rust Creek” was their first feature film or their first opportunity in an elevated position (including DP Michelle Lawler, make-up artist Allie Shehorn, art director Priyanka Guterres, and postproduction supervisor Alex Jensen). Pollard has also directed two features: NICE GUYS SLEEP ALONE and KEEP YOUR DISTANCE. In his spare time he teaches at USC’s School of Cinematic Arts and Film Independent. He holds a degree in business from Georgetown and an MFA in film from USC, is a member of the DGA and PGA, and serves on the boards of the Louisville Film Society and GU’s Alumni Board of Governors. Director, producer and head of Lunacy Productions Stu Pollard joins us to talk about his company’s commitment to gender equity on both sides of the camera.
Rust Creek is a gripping tale of an ordinary woman who must summon extraordinary courage to survive a nightmare odyssey. Sawyer (Hermione Corfield) is an ambitious, overachieving college senior with a seemingly bright future. While on her way to a job interview, a wrong turn leaves her stranded deep in the frozen Kentucky woods. Suddenly, the young woman with everything to live for finds herself facing her own mortality as she’s punished by the elements and pursued by a band of ruthless outlaws Hollister (Micah Hauptman) and Buck (Daniel Hill). With nowhere left to run, she is forced into an uneasy alliance with Lowell (Jay Paulson), an enigmatic loner with shadowy intentions. Though she’s not sure she can trust him, Sawyer must take a chance if she hopes to escape Rust Creek alive. Director Jen McGowan joins us to talk about her multi-faceted, nuanced “woman in distress” storyline and her decision to work with a predominantly female crew.
“Rust Creek, in addition to its success as a thriller, also has a strong emotional core in its consistent admonishment of amorality and apathy, a deceptively layered thriller that touches upon the inherent horror in being a woman.” – Christina Tucker Film Inquiry
ASTRAL is the story of a son coming to terms with the explanation of his mother’s untimely death. Searching for answers, Alex turns to spiritual contact after the relationship with his father breaks down. As a student of metaphysics, Alex learns of the “scientific” premise of astral projection-the ability to project your spirit into an unseen spatial dimension. Attempting to astral project, Alex becomes plagued by shadow spirits-malevolent entities vying to enter his body to access our world. Alex soon learns that he is not the only member of his family to have been besieged by such beings, as his mother’s dark past is brought to his attention. ASTRAL was co-written by Chris and Michael Mul and is Chris Mul’s directorial debut. The film stars Frank Dillane (FEAR THE WALKING DEAD) and features a bright up-and-coming cast of young actors. Vertical Entertainment will release ASTRAL in a multi-city theatrical release with markets including LA and NY among others on November 23. The film will also be made available on digital platforms such as iTunes, Amazon, Google Play, Xbox, Fandango Now, Direct TV, Dish Network and through local cable providers. Director and co-writer Chris Mul (Michael Mul) joins us to talk about shooting his slick and stylish psychological thriller on an insanely tight production schedule while trying to optimize the performances from talented cast of young actors.
In her latest project,SNAPSHOTS, legendary actor Piper Laurie plays family matriarch Rose.. The story will resonate 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 (Gran) is the matriarch. She has lived in this house for over fifty years. She and her deceased husband Joe raised their daughter Patty 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 spend a laughter filled girl’s weekend with Gran. This year will be different. Piper Laurie joins us for a conversation on the making of her latest project (Snapshots) in a legendary film career that includes three Academy Award nominated performances (The Hustler, Carrie, Children of a Lesser God) and an Emmy nomination for David Lynch’s groundbreaking television serial (Twin Peaks).
“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
In the deserted hills of an Indonesian island, Marlina, a young widow, is attacked and robbed of all her livestock by a gang of seven bandits. She then defends herself, setting out on a journey to find justice, empowerment, retribution and redemption. But the road is long, especially when she begins to be haunted by the ghost of her victim. A stunning ‘Scope western set to a Morricone-inspired score, this unique tale of female cinematic revenge takes no prisoners. Marlina the Murderer in Four Acts, was directed by Indonesian-born Mouly Surya. This feminist revenge tale had its world premiere at Cannes’ Directors’ Fortnight. It opens nationwide, including Los Angeles at the Laemmle’s Monica Film Center on July 6, 2018. Mouly Surya is considered one of Indonesia’s most gifted filmmakers, Surya premiered her award-winning debut, Fiksi, at the Busan International FIlm Festival. Her second feature What They Don’t Talk About When They Talk About Love had its world premiere at Sundance and went on to many festivals including Karlovy Vary and Rotterdam, where it received the NETPAC Award. In addition to making films, she also teaches directing. Marlina the Murderer in Four Acts, is her third film. Mouly Surya joins us to talk about her elegant allegory on revenge, justice and self-determination.
Selected Awards & Film Festivals
Winner, Grand Prize, Tokyo FilmEX
Winner, Best Actress, Sitges Cataonian Film Festival
Winner, Best Picture, QCinema International Film Festival
Winner, Special Mention, Jogja-NETPAC Asian Film Festival
Winner, NETPAC Award, Five Flavors Film Festival
Winner, Best Film, Best Actress, Best Camera,
Best Score and Best Art Direction, Maya Awards
Cannes International Film Festival
97% on Rotten Tomatoes
“Simmering with righteous fury.” — Variety
“AN UNWAVERING SLOW BURN… Ms. Surya gives Marlina a stark, steady, captivating look that keeps you engaged.” —Manohla Dargis, The New York Times
“[Marlina] is, like so many classic gunslingers, a killer by circumstance, a desperado with an honorable cause.” – CinemaScope
“The feminist satay Western you need to see; satisfyingly deadpan, viciously vengeful and full of surprises. One of the most ravishingly beautiful films at Cannes.” – The Irish Times
“Going to be loved by arthouse audiences.” – Film Inquiry
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.
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