Joan and Tom (Academy Award® nominee Lesley Manville and Liam Neeson) have been married for many years. An everyday couple with a remarkable love, there is an ease to their relationship which only comes from spending a lifetime together. When Joan is unexpectedly diagnosed with breast cancer, the course of her treatment shines a light on their relationship as they are faced with the challenges that lie ahead and the prospect of what might happen if something were to happen to her. Co-directors Lisa Barros D’sa (Good Vibration) and Glenn Leyburn (Cherrybomb) join us to talk about their collaboration with two top tier actors, striking a balance in the tone and look for their extraordinarily empathetic look at two people who truly care about each other.
“A beautifully understated look at intimacy and devotion in the face of potentially devastating loss; stars Leslie Manville and Liam Neeson tap effortlessly into the relatable routines, rhythms and nuances of a lived-in, long term relationship.” – Todd Gilchrist, TheWrap
“Armed with an incandescent screenplay and unforgettable performances, Ordinary Love is affecting in its own quiet way, as it showcases a deeply moving portrait of a marriage tested under strain after a cancer diagnosis.” – Laura Delaney, RTÉ (Ireland)
“An achingly intimate portrait of a marriage weathering a storm, the third feature from directing team Lisa Barros D’Sa and Glenn Leyburn (Good Vibrations) is anything but ordinary.” – Wendy Ide, Screen International
“Everything is completely believable, the relationship and the home clearly lived in, and it’s this that gives Ordinary Love its quiet, but sometimes overwhelming, power.” – Jack Blackwell, One Room With A View
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
“Sublime and emotional, Something Else is one hell of a love story, a nightmarish monster movie, and an overall fantastical experience.” – Michelle Swope, Dread Central
“There’s an honesty in Something Else that makes this man against (his) monsters story one that’ll give you deep meaning, beautiful cinematography, and just the right amount of wtf.” – Kristy Strouse, Film Inquiry
“Jeremy Gardner and Christian Stella’s winsome tale of thirtysomething angst, romance and existential terror, is beautifully written and played.” – Jennie Kermode, Eye for Film
In the days after the shooting at Marjory Stoneman Douglas High School in 2018 that killed 17 people and launched a nationwide student movement, filmmakers Emily Taguchi and Jake Lefferman embedded with students and families whose lives were forever transformed. They include senior David Hogg, who recorded his class during the attack and became the face of the Never Again movement; freshman Brooke Harrison, who was in the first classroom under attack; Sam Zeif, a senior who was locked down in the same building, texting with his little brother and unsure if they would ever see each other again; Andrew Pollack, the father of 18- year-old Meadow, who was killed after being shot nine times; and the loved ones of 17-year-old Joaquin Oliver, including his parents Manuel and Patricia, girlfriend Victoria Gonzalez, and best friend Dillon McCooty. The filmmakers developed trusting relationships with these students and families, who opened their doors during some of the most difficult moments of their lives, and followed their private journeys as they rose to challenge the nation to end gun violence. Weaving together candid, in-depth interviews, vérité footage, and personal videos, the film chronicles moments both intimate and defining – from the quiet hours of grief and reflection, to those of political awakening, and onto milestones on the public stage – creating a moving portrait of one community’s crusade to turn tragedy into progress. Co-directors Emily Taguchi and Jake Lefferman join us to talk about developing the relationships with the students, parents and community that made their intimate, wrenching and hopeful film possible.
“The movie succeeds where it counts: showing the reverberations of violence long after most cameras left.” – New York Times
“’After Parkland’ is that gentle exchange of a movie – listening, being there – and sometimes that’s all an aftermath doc can be and should be.” – LA Times
“The film records this experience in a moving and memorable way. After you’ve seen it, you know more about the meaning of this kind of horror than you did before, and that’s a vital thing.” Owen Gleiberman, Variety
“What feels important in Parkland is less about pushing any kind of political agenda or viewpoint than about simply listening, and bearing witness.” – Entertainment Weekly
AND THEN WE DANCED is a passionate tale of love and liberation set amidst the ultraconservative confines of modern Georgian society, AND THEN WE DANCED follows Merab, a devoted dancer who has been training for years with his partner Mary for a spot in the National Georgian Ensemble. The arrival of another male dancer, Irakli—gifted with perfect form and equipped with a rebellious streak—throws Merab off balance, sparking both an intense rivalry and romantic desire that may cause him to risk his future in dance as well as his relationships with Mary and his family. Director, writer and editor Levan Akin joins us to talk about is sensitive and moving account of finding love, no matter the cost and the way his film has opened a hopeful dialog in his beloved Georgia.
Director’s Statement: In Georgia there are three things that are upheld as the paragon of Georgian Tradition and National Identity: the Church, the traditional polyphonic singing, and the traditional national dance. The lead person I follow in the film actually shares the same name as me, his name is Levan and he is a dancer, I too used to dance when I was younger and I imagined being him in an alternate reality. I interviewed a lot of dancers and they all told me stories of how gender conservative and strict the Georgian Dance scene was. So I decided to set the story in this setting. The Georgian Dance would represent the “old” and the burgeoning love between two of the dancers would represent the new. With this film I find myself really going back to my roots as a filmmaker, working in an organic way, where the real lives of the people in the film and what’s going on in Georgia now affects the story. It is ever evolving. Telling the story of young LGBT+ people and their struggles on a smaller scale but also showing the history and situation of Georgia today on a larger scale. This film will not only be a very interesting look into a part of the world not so many people are familiar with but also a heartfelt movie about the importance of being free. – Levan Akin
Twenty-five years after the 1995 Chicago heat wave, COOKED: Survival by Zip Code examines the events that led to the deaths of 739 people, mostly Black and in the poorest neighborhoods of the city. The film arrives at a time of growing calls across the country to declare racism a public health crisis and to reinvest in communities ravaged by the long-term impact of structural racism. A recent NYU study found life expectancy differentials as wide as 20-30 years linked to racial and ethnic segregation between neighborhoods in American cities. Adapted from Eric Klinenberg’s ground-breaking book ‘HEAT WAVE: A Social Autopsy of Disaster in Chicago,’ the film is directed and produced by Peabody Award-winning director Judith Helfand (Blue Vinyl, A Healthy Baby Girl, Everything’s Cool), produced by Fenell Doremus (co-producer of Academy Award-nominated Abacus: Small Enough to Jail), and Kartemquin Films, the award-winning Chicago documentary production house behind Minding the Gap and Hoop Dreams. In COOKED, Helfand challenges herself, and ultimately all of us, to respond to the man-made disasters taking place in towns and cities across the country before the next unprecedented “natural” disaster hits. Director Judith Helfand joins us to talk about the systemic racism that makes the neighborhoods of the poorest the most likely location for
Independent Lens:COOKED: Survival by Zip Code will have its national television debut on the PBS television series Independent Lens on Monday, February 3 at 10:00 pm (check local listings), preceding coverage of the Iowa Caucuses. The film will also be available to stream at PBS.org and on the free PBS Video App throughout Black History Month.
Each week this award-winning series bring you an original documentary film made by one of the best independent filmmakers working today. Independent Lens films have won 19 Emmy Awards, 16 Peabody Awards, five duPont-Columbia University Awards, and have received 10 Academy Award nominations. Independent Lens won the 2013, 2014, 2015 and 2017 International Documentary Association (IDA) Award for Best Continuing Series.
Bruce Franks Jr. is a 34-year-old battle rapper, Ferguson activist and state representative from St. Louis, Missouri. Known as Superman to his constituents, he is a political figure the likes of which you’ve never seen – full of contradictions and deep insights, who has overcome unspeakable loss to become one of the most exciting and unapologetic young leaders in the country. This short verité documentary follows Bruce at a critical juncture in his life, when he is forced to deal with the mental trauma he’s been carrying for the nearly 30 years since his 9-year-old brother was shot and killed in front of him, in order to find peace and truly fulfill his destiny as a leader for his community. Co- director Smriti Mundhra (Sami Khan) join us to talk about how a dynamic and charismatic man from a traumatized community took tragedy and turned into action.
About the filmmakers:Smriti Mundhra’s A SUITABLE GIRL premiered at Tribeca in 2017 and won the Albert Maysles Award for Best New Documentary Director. KHOYA, Sami Khan’s feature debut, was selected for the Tribeca Film Institute’s Tribeca All Access® fellowship.
WALK RUN CHA-CHAhas been nominated for Documentary Short Subject at the 92nd Academy Awards®. Directed by Laura Nix, the film follows Paul and Millie Cao, who lost their youth to the aftermath of the Vietnam War. Forty years later, they have become successful professionals in Southern California-and are rediscovering themselves on the dance floor. WALK RUN CHA CHA is now streaming on New York Times Op-Docs.
About the Filmmaker: Director Laura Nix Laura Nix is an award-winning fiction and nonfiction filmmaker based in Los Angeles. WALK RUN CHA-CHA is adapted from a feature-length documentary in progress. It was produced by Concordia Studio for The New York Times Op-Docs and premiered at the 2019 Tribeca Film Festival. Laura’s work also includesother work includes her feature documentary INVENTING TOMORROW, about teenagers from around the globe tackling environmental issues through science, THE YES MEN ARE REVOLTING, a comedy about activism and climate change, the documentary THE LIGHT IN HER EYES, about a Syrian Qur’an school for women and she was a writer on the Emmy-nominated documentary CALIFORNIA STATE OF MIND: THE LEGACY OF PAT BROWN. In 2001, Nix co-founded the production company Automat Pictures, where she produced and/or directed over 100 presentations, including the feature documentary WHETHER YOU LIKE IT OR NOT: THE STORY OF HEDWIG, which played in over a dozen film festivals in the U.S. and worldwide. Previously she was a member of Oscar-winning filmmakers Rob Epstein and Jeffrey Friedman’s production company Telling Pictures, where she was Associate Producer on THE CELLULOID CLOSET.
“Laura Nix’s WALK RUN CHA-CHA is a moving, poignant portrait of two aging refugees who have endured a great deal, and who now face one of life’s biggest challenges: figuring out how to stay in love. Through them, Nix also evokes the textures, tastes, and sounds of Vietnamese refugee life, and mixes them in with everything that is good about the United States. Ultimately, WALK RUN CHA-CHA is an optimistic film about both love and hope—the hope that our country will continue to believe in welcoming strangers from other lands, who in the end are not that strange at all.”– Viet Thanh Nguyen, Pulitzer Prize-winning author of The Sympathizer
THE NEIGHBORS’ WINDOW tells the story of Alli (Maria Dizzia), a mother of young children who has grown frustrated with her daily routine and husband (Greg eller). But her life is shaken up when two free-spirited twenty-somethings move in across the street and she discovers that she can see into their apartment. Inspired by a true story, the film was written and directed by three-time Oscar-nominated documentary filmmaker, Marshall curry. Starring tony-nominated Maria Dizzia (Orange is the New Black, 13 Reasons Why, White We’re Young); Greg Keller (Law and Order); and Juliana Canfield (Succession).
About the filmmaker: Marshall Curry is a three-time academy award nominated documentary director, cinematographer, and editor. his films cover a wide range of interests and include STREET FIGHT, about Cory Booker’s first run for mayor of Newark, N.J.; RACING DREAMS, which tells the story of two boys and a girl who dream of becoming NASAR drivers; IF A TREE FALLS: A STORY OF THE EARTH LIBERATION FRONT, which chronicles a radical environmental group; POINT AND SHOOT, about an American who leaves home to join the Libyan revolution; and A NIGHT AT THE GARDEN, about a Nazi rally that filled Madison Square Garden in 1939. his films have won top honors at Sundance and Tribeca, played in theaters and on television around the world, and earned two Emmy nominations and two Writers Guild of America nominations. curry also Executive produced and helped to edit MISTAKEN FOR STRANGERS, a comedy documentary about the indie rock band, the National.
Palm Springs Shorts Fest – Audience Award, Best Live Action Short
Traverse City Film Festival – Audience Award, Best Fiction Short
Rhode Island Film Festival – First Prize, Best Live Action Short
Woodstock Film Festival – Best Short Film
Port Townsend Film Festival – Jury Award, Best Narrative Short
Port Townsend Film Festival – Audience Award, Best Narrative Short
Santa Fe Film Festival – Audience Award, Best Narrative Short
Washington West Film Festival – Best Narrative Short
Washington West Film Festival – Best Short Film Director
Kinematic Shorts – Audience Award
Coronado Film Festival – Audience Award
Short Shorts Film Festival – Best International Actress, Maria Dizzia
Sulmona International Film Festival – Best Editing
Atlanta Shortsfest – Best Cinematography, Wolfgang Held
ISLAND OF THE HUNGRY GHOSTS takes place off the coast of Indonesia, in the Australian territory of Christmas Island, inhabited by migratory crabs traveling in their millions from the jungle towards the ocean, in a movement that has been provoked by the full moon for hundreds of thousands of years. Poh Lin Lee is a “trauma therapist” who lives with her family in this seemingly idyllic paradise. Every day, she talks with the asylum seekers held indefinitely in a high-security detention centre hidden in the island’s core, attempting to support them in a situation that is as unbearable as its outcome is uncertain. As Poh Lin and her family explore the island’s beautiful yet threatening landscape, the local islanders carry out their “hungry ghost” rituals for the spirits of those who died on the island without a burial. They make offerings to appease the lost souls who are said to be wandering the jungles at night looking for home. ISLAND OF THE HUNGRY GHOSTS is a hybrid documentary that moves between the natural migration and the chaotic and tragic migration of the humans, which is in constant metamorphoses by the unseen decision-making structures. Director Gabrielle Brady joins us to talk about her beautiful and quietly powerful tale of desperate people trapped in a place of pervasive uncertainty and a woman trying to help them cope.
“ Island of the Hungry Ghosts is one of the year’s most impressively made documentaries, a film that’s as occasionally surreal as it is persistently moving. Island of the Hungry Ghosts is a true discovery.” – JOSHUA BRUNSTING, CRITERION CAST
“A documentary overflowing with empathy, poetry, and elemental power.” – HUBERT VIGILLA, FLIXIST
“Hauntingly beautiful Island of the Hungry Ghosts combines multiple narratives…into one glorious whole… A mesmerizing work of visual wonder, the breathtaking images forming an evocative setting for a vital discussion of human rights… A stunning, visceral first feature, announcing the director as a major talent to watch” – CHRISTOPHER LLEWELLYN REED, FILM FESTIVAL TODAY
“The best documentary award goes to a film that demonstrates extraordinary mastery of the full symphonic range of cinematic tools: cinematography, editing, score, sound design and, perhaps greatest of all, an exquisite use of metaphor. To a film that moved us deeply, impressed us immensely and made us feel we were witnessing nothing less than the emergence, fully formed, of a major new cinematic talent” – TRIBECA JURY
BASTARDS’ ROAD tells the story of the many combat veterans, like Jon Hancock who are navigating the complicated transition back to civilian life. After years of struggling, Jon decided to take an epic journey across the country – on foot. Walking nearly 6,000 miles alone, Jon confronts the demons that had overtaken his life. Visiting his fellow 2/4 Marines – known as the The Magnificent Bastards – and families of their fallen along the way, Jon finds a mission greater than his own redemption. Veterans everywhere are struggling with PTSD. They are taking their own lives at an alarming rate – 50% higher than non-veterans. With remarkable honesty, insight and humor, Jon’s journey is uniquely positive. It’s about changing the ways one relates to traumatic memories. It’s about beginning the healing process. Director Brian Morrison joins us to talk about the raw emotions and the deep pain of men and woman who have done what their country asked them to do.
Premiere: Sunday, January 26th at 1pm in the Ballroom Screening Room
Second Screening: Thursday, January 30th at 6pm in the Gallery Screening Room
Slamdance Film Festival Headquarters
Treasure Mountain Inn
255 Main St.
Park City, UT
Veteran Suicide Statistics
More than 60,000 Veterans died by suicide from 2008-2017. The suicide rate for Veterans is 50% higher than it is for non-veterans.
The suicide rate among Veterans aged 18-34 increased 76% from 2005-2017.
DIRECTOR’S STATEMENT – Why would somebody walk that far, for so long? That’s what I asked myself after seeing a news story on TV about somebody I went to high school with. I didn’t know him back then, but we shared many mutual friends. When I first contacted Jon on his walk I knew nothing about what he’d been through. The military was a foreign world to me. None of my family or friends had served. All I had to go on was that he was a Marine and had PTSD. But I was immediately drawn to his story and we quickly took steps to organize a trip for me to follow him for a few days. Over the course of the last 8 months of Jon’s walk, I was able to make a handful of trips to capture pieces of his journey. We became great friends. Most days it was just him and I, but I was lucky enough to meet many guys Jon served with, as well as several Gold Star families of their fallen. It was eye-opening to see Jon’s transformation in their presence. He smiled brighter, laughed harder and cried less. It’s like they kept the best versions of themselves for each other. I learned about the tremendous weight they carry day after day, the scars of war that will never heal, the lost brothers whose ultimate sacrifices they never stop thinking about. But I also learned about strength and selflessness that goes way beyond what most of us as civilians can comprehend. Together, they reminded each other how important it is that they are still here. – Brian Morrison
In ASK NO QUESTIONS Chinese State TV blames his faith for a fiery public suicide, Chen Ruichang is detained in a Clockwork Orange-style brainwashing facility and forced to accept the government’s account. But Chen, a former insider of the state TV himself, believes it was all a government plot. A CNN reporter smuggled out footage of the event that day, but was then muzzled by Beijing. Now, her eyewitness testimony helps untangle an intricate conspiracy, as Chinese authorities begin pressuring the filmmaker’s family and business associates. The terrifying danger of a government nefariously crafting the narrative & imprisoning its citizens who practice Falun Gong in China in the gripping feature documentary ASK NO QUESTIONSfrom filmmakers Jason Loftus (The Bleeding Edge, Human Harvest) and Eric Pedicelli (Black Code, Tin City Voices), which world premieres on Saturday, January 25th. In the vein of a journalistic true crime documentary, painting the scope of the crime, and the depths of the investigation. The story leads into allegations of criminal conduct at a governmental scale. Evidence is credibly presented, shocking, and thorough. Director Jason Loftus stops by for a conversation on the terrifying reach of a totalitarian state power structure and the impact it can have on those who dare challenge it.
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. 26 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. It has also created Slamdance On The Road, a traveling theatrical showcase that brings popular Slamdance films to audiences that otherwise would not have the opportunity to see them. 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, to provide 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 and digital initiatives being launched by Slamdance.
In Rosine Mbakam’s loving and intimate documentary we get to know shop owner, businesswoman Sabine. Recruited by a Lebanese maid agency, Sabine leaves Cameroon and embarks for Lebanon. After many years of servitude, she escapes to Belgium, but her arrival there is complicated by the fact that she enters illegally, by way of Greece and Syria. She settles in Matonge, the African quarter, where she becomes the manager of the beauty salon Chez Jolie Coiffure. Sabine attaches a hair weave and gets to work. Her hands move quickly and precisely, as she tightly braids the hair in front of the sign in her salon promising African, European, and American-style coiffure. Sabine is a larger than-life personality crammed into a tiny, glassed-in shop in the largely immigrant Brussels district of Matonge. Here, she and her employees fit extensions and glue on lashes while watching soaps, dishing romantic advice, sharing rumors about government programs to legalize migrants, and talking about people back home in West Africa. Patrons, many of them undocumented immigrants, are not only be made to feel beautiful but can also escape the daily difficulties and harsh realities of their lives.
“Critic’s Pick! Rosine Mbakam makes a remarkable debut; demonstrates a mastery of perspective, a rare ability to include the camera in community.” —The New York Times
“Intense vulnerability makes the film emotionally gripping; the contrast between a public storefront and intimate confessions makes it engrossing… Unequivocally extracts a powerful sense of empathy—and urgency.” —Vox Magazine
“Immersive, provacative; a warm, appealing portrait. Mbakam’s portrait is knit as tightly as the braids Sabine weaves.” —Film International
“A must-see! Highly revealing, an atypical and timely portrait of the intersection between the immigrant experience and female identity.” —IndieWire
“An original filmmaker of exquisite sensibility; one of the foremost filmmakers of creative nonfiction working right now.” —The New Yorker
Filmmaker Rosine Mbakam left Cameroon at 27 to live in Belgium. Seven years later—having studied film and married a European—she returns to make what she calls a journey into darkness—to the village of her birth, and later to the capital city of Yaoundé, where her mother now lives most of the year. In the village of Tonga, her mother, Mâ Brêh, shares memories of the horrors of the war against French colonizers, and of daily life for a Cameroonian woman in an arranged marriage—a fate Rosine herself barely escaped, leaving the family of an angry ex-fiance behind. As she spends more time with her mother and the women around her, Rosine reveals the strength of their solidarity and their ability to face adversity.
LIMERENCEcleverly tips the scales on Hollywood’s approach to a romantic comedy. Women get to see themselves in female lead Rosemary—as complex, independent and real, breaking the stereotypes society has fed us. Rosemary (Tammy Minoff),an aspiring painter and free spirit, moves to Venice where she hooks up with Tom (Matthew Del Negro), a local gallery director. Their intense chemistry quickly and unexpectedly evolves into a serious relationship. This passionate romance is juxtaposed with Tom’s best friends, May (Jennifer Lafleur)and Donald (Evan Arnold), dealing with the monotony of their long marriage and the possibility of starting a family. Complicating everything is Leo, Rosemary’s oft inappropriate yet earnest best friend from high school Leo (Billy Aaron Brown). All their feelings about the nature of love will put their relationship choices to the test and the answers aren’t always black and white. LIMERENCE world premiered at the Other Venice Film Festival, winning Best Audience Award, before going on to win Best Feature at the SOHO International Film Festival. LIMERENCE will make its global VOD/Digital & DVD release across platforms everywhere on January 7th, 2020 through Gravitas Ventures, a Red Arrow Studios company. Director, producer, writer and lead actor Tammy Minoff joins us for a conversation on her honest and engaging look into romance, love, expectations and walking your own path.
Set in a brilliantly recreated 1950s Rio de Janeiro, The Invisible Life of Euridice Gusmao revolves around two inseparable sisters, 18 and 20 years old, living restricted lives with their conservative parents. However, each nourishes a passionate dream: Eurídice of becoming a renowned pianist; Guida of finding true love. In a shocking turn of events, they are separated and forced to live apart. Karim Aïnouz’s first film, MADAME SATÃ, a Jean Genet-inspired story of 1930’s Rio’s drag demi-monde, premiered at Film Forum in 2003. INVISIBLE LIFE shares with it this director’s commitment to immersing himself in the emotional lives of his characters, visualized through rich, inventive, and lush imagery. Based on Martha Batalha’s popular novel The Invisible Life of Eurídice Gusmão, the film won the Un Certain Regard prize at the 2019 Cannes Film Festival. INVISIBLE LIFE is nominated for Best International Film at the 2020 Film Independent Spirit Awards and is Brazil’s official submission to the 2020 Academy Awards® for Best International Film. Director and co-screenwriter joins us to talk about his razor-sharp, wrenching story of patriarchy, fierce determination and love in a time and place where gender mattered more than family.
About the filmmaker:Karim Aïnouz was born in Fortaleza, Brazil in 1966. He studied architecture in Brasilia and film at New York University. He was assistant director to Todd Haynes, worked on over 20 films as an editor and has been directing his own films since 1992. In 2014 his film Praia do Futuro screened in the Berlinale Competition, and he was one of the directors of Cathedrals of Culture (also 2014). Selected filmography: Madame Satã (2002), Love for Sale (2006), The Silver Cliff (2011), Futuro Beach (2014), Central Airport THF (2017), The Invisible Life of Eurídice Gusmão (2019).
**OFFICIAL BRAZILIAN OSCAR® ENTRY FOR BEST INTERNATIONAL FEATURE**
**WINNER – UN CERTAIN REGARD – CANNES FILM FESTIVAL 2019**
“RAVISHING. A waking dream, saturated in sound, music and color to match its depth of feeling. Aïnouz has made both a testament to the resilience of women in a society stacked against them…as well as a stirring celebration of the families we create when the ones we’reborn into fall away.” – Guy Lodge, Variety
“GORGEOUS. A haunting drama that quietly celebrates the resilience of women… by turns seductive and sorrowful, tender and raw.”– David Rooney, The Hollywood Reporter
“This is an absolutely gorgeous film that starts off as a sort of Rio fairytale and then turns into something a little more realistic with its feet on the ground.” – Amy Nicholson, FilmWeek
“It’s a drama of resilient women, thoughtless men and crushingly unrealized dreams, told with supple grace, deep feeling and an empathy that extends in every direction.” – Justin Chang, Los Angeles Times
A hallucinatory cinematic fever dream, Dawson City: Frozen Time tells the bizarre true story of some 533 silent film reels, dating from the 1910s and 20s, that accumulated at the end of a film distribution line in northwestern Canada and which were miraculously discovered some 50 years later, in 1978, buried in a sub-arctic swimming pool, deep in the Yukon permafrost. Filmmaker Bill Morrison (Decasia, The Miners’ Hymns, The Great Flood) deftly combines excerpts from this remarkable collection with historical footage, photographs, and original interviews, to explore the complicated history of Dawson City, a Canadian Gold Rush town founded across the river from a First Nation hunting camp, and then traces how the development of that town both reflected and influenced the evolution of modern Cinema. Combined with a powerful, evocative score by Alex Somers ( Captain Fantastic; Hale County This Morning, This Evening; Honey Boy), orchestrated and arranged by Ricardo Romaneiro, Dawson City: Frozen Time is a triumphant work of art that spins the life cycle of a singular film collection into a breath-taking history of the 20th century. Director, writer and editor Bill Morrison joins us to talk about his amazing re-creation of a time and place that existed in the parallel universes of a nascent film industry and crushing avarice of a gold rush that still resonates today.
About the filmmaker: Bill Morrison has premiered films at the New York, Rotterdam, Sundance, and Venice film festivals, and multi-media work at major performance venues around the globe such as BAM, the Barbican, Carnegie, and Walt Disney Concert Hall. Morrison’s films typically source rare archival footage in which long-forgotten, and sometimes deteriorated, imagery is reframed as part of a collective mythology. His work has been recognized with the Alpert Award, Creative Capital, the Foundation for Contemporary Art, a Guggenheim fellowship, and a mid-career retrospective at MoMA. His found footage opus Decasia (2002) was the first film of the 21st century to be selected to the Library of Congress’ National Film Registry. The Great Flood (2013) was awarded the Smithsonian Ingenuity Award of 2014 for historical scholarship. Dawson City: Frozen Time (2016) won a Critics’ Choice Award for the most innovative documentary of the year, and was named the best documentary of 2017 by the Boston Society of Film Critics.
“an instantaneously recognizable masterpiece” – Glenn Kenny, New York Times
“Bill Morrison, whose extraordinary documentary Decasia turned decomposing film stock into the stuff of avante-garde reverie, returns with another staggering journey into the past.” – J. R. Jones, Chicago Reader
“The thrilling documentary “Dawson City: Frozen Time” is indescribable not because it’s ambiguous (it’s totally straightforward) but because it does so many things so beautifully it is hard to know where to begin.” – Kenneth Turan, Los Angeles Times
Michael Masarof’s drama FIRST LOVE focuses on Rebecca (Annie Heise) is a notorious Hollywood actress, holed up in a seaside hotel, in the midst of a nervous breakdown. Her twin brother Matthew (Aaron Costa Ganis) is a lapsed lawyer and failed family man, whose new career as a writer is on the verge of a major breakthrough. They haven’t seen each other in fifteen years. Matthew travels to the City of Angels, with his tell-all memoir in hand, and a plan to make it big. All he needs is his reclusive twin’s blessing. He was the only one she ever trusted, but has their mysterious twin bond stood the test of time? As Rebecca slinks further into an abyss, and Matthew wanders the city looking for a connection, they both find distractions. A naïve Jordanian hotel worker (Amin El Gamal) and a young Swedish woman (Malin Barr) seem like the perfect fix, but these newfound romances only bring Matthew and Rebecca closer to one another. As the Pacific breaks in front of them and the California sun gets ever hazier, can Rebecca and Matthew grow a new bond if the old one is severed? Director and writer Michael Masarof joins us to talk about his intimate drama about identity, family and connection.
About the Filmmaker: Michael Masarof is a writer and director born in New York and residing in Los Angeles. Michael received his MFA in Film Directing from New York University’s Maurice Kanbar Institute of Film & Television’s Graduate film program at the Tisch School of The Arts, where he was the recipient of the Jane Rosenthal Scholarship and the Warner Bros. Production Grant. Michael’s short film You Should Have The Body won the first place prize at the International Munich Festival of Film Schools. It also screened as a special presentation at the Berlinale, as well as on Channel 3SAT in Germany. First Love is Michael’s debut feature.
The Disappearance of My Mother chronicles Benedetta Barzini desire to leave this world behind. An iconic fashion model in the 1960s, she became a muse to Warhol, Dali, Penn and Avedon. As a radical feminist in the 1970s, she fought for the rights and emancipation of women. But at the age of 75, she is fed up with all the roles that life has imposed upon her and decides to leave everything and everybody behind, to disappear to a place as far as possible from the world she knows. Hiding behind the camera, her son Beniamino witnesses her journey. Having filmed her since he was a child in spite of all her resistance, he now wants to make a film about her, to keep her close for as long as possible – or, at least, as long as his camera keeps running. The making of the film turns into a battle between mother son, a stubborn fight to capture the ultimate image of Benedetta – the image of her liberation.Director Beniamino Barrese joins us to talk about this remarkably intimate, raw film and his complex relationship with his muse and mother who reluctantly helping him with his “project” as she prepares for her final exit.
“One of the most moving and complex films at Sundance. I’ll add to my list of heroines Benedetta Barzini, an Italian 1960s supermodel who became a leftist feminist and mother.” – Amy Taubin, Film Comment
“A film that both beguiles and unsettles as it salutes a remarkable woman… who has spent a lifetime challenging the influence of the fashion industry and staring down the unflinching gaze of the camera.” – Allan Hunter, Screen International
“One solitary word cannot fully encapsulate how utterly personal the documentary comes across. Barrese guides the audience through his mother’s mindscape, and as a thoughtful, remarkably insightful woman, the documentary reflects this sentiment through its visual language and fluid editing… ‘The Disappearance of My Mother’ is a noble effort, and as the subject of the film, Barzini herself is an intriguing personality; her perspective on the world is genuinely moving to hear at times, and her insights often work their way into your mind, inspiring you to openly consider your own life. Similarly, Barrese’s talents as a filmmaker cannot be disregarded.” – THE PLAYLIST, Jonathan Christian
“Deeply personal and shot through with fascinating contradictions, ‘The Disappearance of My Mother’ is a portrait of a woman in rebellion… Barzini is a severe, unsparing critic of the commodification and exploitation of the female body by men, which greatly complicates her son’s insistent, at times intrusive gaze. It also deepens the movie, making the personal ferociously political.” – NEW YORK TIMES, Manohla Dargis
The highly entertaining new documentary What She Said: The Art of Pauline Kael is an unvarnished portrait of a pioneer who was both admired and resented for what she said about art in an era of great moviemaking. New Yorker film critic Pauline Kael battled to make her mark — fueled by brilliance, unshakable self-confidence, a complicated past, and a deep love of the arts. In a field that has historically embraced few women film critics, Kael was charismatic, controversial, witty, and discerning. Her decades-long berth at The New Yorker energized her fans (“Paulettes”) and infuriated her detractors on a weekly basis. Her turbo-charged prose famously championed the New Hollywood Cinema of the late 1960s and ‘70s (BONNIE AND CLYDE, NASHVILLE, CARRIE, TAXI DRIVER) and the work of major European directors (François Truffaut, Bernardo Bertolucci), while mercilessly panning some of the biggest studio hits (THE SOUND OF MUSIC, MIDNIGHT COWBOY, DIRTY HARRY). Her creepy battle with Andrew Sarris and his auteur theory was legendary, and her stint in Hollywood, trying her hand at producing, was a disaster. What She Said: The Art of Pauline Kael includes over 35 new interviews and never-before seen archival material. Sarah Jessica Parker reads from Kael’s reviews; filmmakers Quentin Tarantino, Paul Schrader, and Francis Ford Coppola and critics Camille Paglia, Molly Haskell, Greil Marcus, and David Edelstein speak to her enormous gifts and influence. Director, editor and producer Rob Garver joins us for a conversation on the life and impact of an iconoclastic, gifted, generous, vindictive writer and fierce champion of film and filmmakers.
“The most powerful, loved, and hated film critic of her time.” – Roger Ebert on Pauline Kael
“Garver’s film blossoms into something more comprehensive than complimentary, a film that doesn’t balk at the trickier aspects of Kael’s career, even as it never fully engages with the tensions that informed her.” – Kate Erbland, indieWire
“Garver’s film also works as a great overview of the sweeping changes in both filmmaking and film culture over the course of her career from the perspective of someone in and yet not of the industry.” – Glenn Dunks, The Film Experience
“An exquisitely crafted documentary about the woman who was arguably the greatest movie critic who ever lived…” – Owen Gleiberman, Variety
“Garver’s film is above all a celebration of the pleasure of intellectual and emotional response to art… and a picture of a style of thinking that might be seen as distinctively but non-stereotypically female.” – Jonathan Romney, Screen International
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
“An effervescent suburban noir rich with tragedy, rough around the edges, but sharp like the dagger when it counts.” – Matt Donato, Dread Central
“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
Fifteen years in the making, The Animal People, Co-directed by Casey Suchan and Denis Henry Hennelly – Executive Produced by Joaquin Phoenix – follows the journey of six young Americans who find themselves targeted as terrorists by the US government for their involvement in a controversial protest campaign. Seeing the future of social movement organizing, the activists used the then fledgling internet to dramatically magnify their impact as they systematically knocked out the pillars of financial support that kept the company in business. But when letter writing and protests began to mushroom into dead-of-night vandalism and worse by unknown activists, this corporation and the government formed an alliance to destroy the group. The FBI began an unprecedented campaign of surveillance in preparation for prosecution, creating a model that would later be used against Occupy Wall Street and Black Lives Matter. Congress, under corporate influence, rewrote laws and bent the definition of incitement in order to accomplish the prosecution of these six, potentially weakening free speech rights for all Americans. Featuring expansive interviews with the activists spanning over a decade, rare archival footage – including never-before-seen FBI undercover surveillance tapes, wiretaps and government documents, The Animal People is a chilling portrait of what happens when activism rattles the institutions of power. Co-director Casey Suchan (Denis Henry Hennelly) joins us to talk about their bellwether film that puts the anti-accountability campaign engineered by large corporate interests and the supine partnership with complicit government agencies on full display.
In the fascinating new documentary from Matt Wolf (Teenage, Wild Combination)RECORDER: THE MARION STOKES PROJECT, we follow the life of a former librarian, Marion Stokes. Her unusual “project” began when she started secretly recording American television twenty-four hours a day at the dawn of what we know today as the twenty-four hour news cycle. It started in 1979 with the Iranian Hostage Crisis, ending more than 32 years later, on December 14, 2012. Marion passed away as the Sandy Hook massacre played out on television. In between, she recorded on 70,000 VHS tapes, capturing revolutions, lies, wars, triumphs, catastrophes, bloopers, talk shows, and commercials that tell us who we were, and show how television shaped the world of today. Before the era of “fake news,” Marion was fighting to protect the truth by archiving everything that was said and shown on television. The public didn’t know it, but the networks were disposing their archives for decades into the trashcan of history. Remarkably, Marion saved it, and now the Internet Archive will digitize her tapes and we’ll be able to search them online for free. A mystery in the form of a time capsule, the film delves into the strange life of a radical Communist activist who became a fabulously wealthy recluse archivist. Marion’s work was crazy but it was also genius, and she would pay a profound price for dedicating her life to this visionary and maddening project. Director Matt Wolf joins us to talk about the librarian / activist / archivist / free thinker Marion Stokes, and how her unusual obsession has provided us with a window into an era of rapidly evolving news and infotainment platforms and the profound impact it continues to have on the present.
“Matt Wolf’s remarkable Recorder uses Stokes’ recording obsession as a way to explore both Stokes herself and the world she literally committed to video tape. The results are fascinating, weird, and often quite moving.” – Indiewire
“Intriguing from first minute to last… Relating this stranger-than-fiction tale with the narrative twists and turns of a well-paced thriller, Recorder will make news junkies feel a lot better about themselves.” – Hollywood Reporter
“Weirdly exhilarating… Enlightening and the stuff of madness.” Critic’s Pick – New York Times
“One outstanding offering in this year’s Tribeca Film Festival is Recorder, which reveals the secret greatness of a reclusive activist… An information revolutionary, Stokes, despite her decades of isolation, touched the nerve center of the times.” – New Yorker
“Recorder is more than just a portrait of a woman’s complicated relationships and obsessions… Recorder quietly seeds damning observations about the ways media narratives are formed, and how the shapers of these narratives distort the truth and our worldview.” – Flixist
“Utterly compelling and beautifully textured… A thrilling portrait of a woman collecting the history of the world as she lived through it through the very media we all engaged with, this is a powerful and truly important documentary feature.” – CriterionCast
“Marion’s life makes for a pensive, complicated romantic tragedy.” –Nonfics
In October of 1974 the body of Rachel Heller, a female IDF solider, is found in the sand dunes of Caesarea. She’s completely naked, except for a single sandal and a bra strap tied tightly around her neck. The investigation leads nowhere, until a young man by the name of Amos Baranes storms into a local police station, claiming he knew the victim and wants to help find the person responsible. He’s arrested and after 3 days of interrogations, he confesses to the murder. Coastal Road Killer is a rivetingmulti-part series examines whether a serial killer, who was never brought to justice, was behind a string of murders that occurred in Israel between the late 70s and early 80s and whether they might still be on the loose.Coastal Road Killer was created by Yotam Guendelman, Mika Timor and Ari Pines, the team behind Shadow of Truth, the story of the 2006 murder of Tair Rada, a 13-year old Israeli girl, which became one of Netflix’s most-watched true crime docs. Coastal Road Killer explores the connection between storytelling and truth. Very much like Shadow of Truth, the filmmaking is aimed at showing us how easily we can be manipulated into believing a certain narrative, only to have it completely deconstructed in the next few frames.Co-directors Yotam Guendelman and Ari Pines stop by to talk about their riveting multi-part series investigative expose that through diligent research and forensic experts uncover new, credible evidence that raises a possible serial killer who has, so far, avoided responsibility for their crimes.
Annabelle Attanasio makes her directorial debut with the critically-acclaimed feature MICKEY AND THE BEAR, starring Camila Morrone and James Badge Dale. Faced with the responsibility to take care of her opioid-addicted veteran father (Dale), headstrong teen Mickey Peck (Morrone) does what she can to keep her household afloat. When she receives the opportunity to leave her home for good, she must make the impossible decision between familial obligation and personal fulfillment. Mickey and the Bear is a heartbreaking, coming-of-age story that is anchored by remarkable performances from Morrone and Dale. It has a haunting ending that will stay with you long after the credits roll. MICKEY AND THE BEAR, made its world premiere at SXSW this year, where it was nominated for the Grand Jury Award; the film was also selected for Cannes International Film Festival, Deauville Film Festival, the Montclair Film Festival, where Attanasio was recognized with the Audible Storyteller Award; and the Nantucket Film Festival, where she was recognized with the Adrienne Shelly Foundation Excellence in Filmmaking Award.Director and screenwriter Attanasio was selected for this year’s Film Society of Lincoln Center’s prestigious Artist Academy program pegged to the 57th New York Film Festival, which has historically nurtured some of the most celebrated filmmakers of our time. Director Annabelle Attanasio joins us to talk about her thrilling debut feature film.
“Every shot in Mickey and the Bear is artfully composed… The performances are also quite strong. Morrone is especially affecting as the put-upon Mickey…. James Badge Dale is potent as Hank. – Gary M. Kramer, Film International
“Camila Morrone and James Badge Dale’s powerful performances align wonderfully with introspective exploration in this beautifully tragic coming-of-age tale that will leave you dazed.” – Amanda Sink, The Hollywood Outsider