From 1968 to 1973, the public television variety show SOUL!, guided by the enigmatic producer and host Ellis Haizlip, offered an unfiltered, uncompromising celebration of Black literature, poetry, music, and politics—voices that had few other options for national exposure, and, as a result, found the program an improbable place to call home.The WNET-based series was among the first to provide expanded images of African Americans on television, shifting the gaze from inner-city poverty and violence to the vibrancy of the Black Arts Movement. With participants’ recollections and illuminating archival clips, Mr. SOUL! captures a critical moment in culture whose impact continues to resonate, and an unsung hero whose voice we need now more than ever to restore the SOUL of a nation. Director / Producer / Writer and the niece of Ellis Haizlip, Melissa Haizlip joins us for a lively conversation on the joy and passion that her uncle brought to all of his artistic projects but none more than this resounding response to a constipated white culture that marginalized outside voices with a joyous ode to the astounding depth and breath of Black Culture.
** Mr. Soul!’s Show Me Your Soul – 2021 Oscar® Shortlisted for the Best Song
About the filmmaker – Melissa Haizlip, Producer, Director, Writer is an award-winning filmmaker based in New York. Her work responds to pressing social issues at the intersection of racial justice, social justice, activism, and representation. Female transformation and empowerment are at the core of all of her ideas, with the goal being to advocate and amplify the voices of women and people of color. Melissa’s feature documentary, Mr. SOUL!, has been shortlisted for the Oscars, for Best Original Song. Mr. SOUL! has been nominated by the Guild of Music Supervisors for Best Music Supervision for a Documentary. Mr. SOUL! is also nominated for three NAACP Image Awards, including Outstanding Documentary (Film), Outstanding Writing in a Documentary (Television or Motion Picture), and Outstanding Breakthrough Creative (Motion Picture). Mr. SOUL! won the 2020 Critics Choice Documentary Award for Best First Documentary Feature. Melissa’s two-channel art films have been exhibited by the Hammer Museum Los Angeles Biennial, Contemporary Arts Museum Houston, and Stedelijk Museum in Amsterdam. Melissa has been awarded grants from the Ford Foundation JustFilms, National Endowment for the Humanities, International Documentary Association, National Endowment for the Arts, Black Public Media, Firelight Media, ITVS, Awesome Without Borders, and Puffin Foundation. Melissa went to Yale University. She’s currently co-executive producing a docu-series on women in hip-hop for Netflix.
“Mr. Soul! is an effulgent and joyous celebration of the life-changing public broadcasting program. … Imagine for a moment what pop culture might be like without Questlove and you may have a small sense of what things would be like without SOUL!.” – Douglas Davidson, CLTure
“There’s a sense of overpowering love and gratitude for Haizlip that’s beautiful and wholly felt throughout Mr. Soul!’s runtime, and it’s as warm and comforting as the hot milk cake that Haizlip’s mom used to make for him.” – Jenny Nulf, Austin Chronicle
“Broad in scope and rapidly paced, the film can feel as if it’s bursting at the seams. But it acutely conveys the radical joy that “Soul!” inspired, barely contained in the movie’s running time.” – Devika Girish, New York Times
“Mr. SOUL brings the amazing individual that was Ellis Haizlip back into the forefront of his and our cultural history.” – Robert Daniels, 812filmreviews
“[Mr. Soul!] highlights black excellence and champions equality, tolerance and inclusion … that it manages to b funny, charming, and uplifting is icing on the cake.” – Victor Stiff, Goomba Stomp
Can You Bring It: Bill T. Jones and D-Man in the Waters is a feature documentary that traces the history and legacy of one of the most important works of art to come out of the age of AIDS – Bill T. Jones’ tour de force ballet “D-Man in the Waters”. In 1989, “D-Man in the Waters” gave physical manifestation to the fear, anger, grief, and hope for salvation that the Bill T. Jones/Arnie Zane Company felt as they were embattled by the AIDS pandemic. As a group of young dancers reconstructs the dance, they learn about this oft forgotten history and deepen their understanding of the power of art in a time of plague. Bill T. Jones is arguably the most socially, politically and emotionally compelling choreographer alive today. Thirty years ago, he embedded motifs of risk and sacrifice, love, loss and resurrection in the choreography for “D-Man in the Waters”. Through an extraordinary series of interviews, archival material, and uniquely powerful cinematography of movement, this 90-minute, lyrical documentary uses the story of this dance to illustrate the triumph of the human spirit in art and in the community. Today, by learning the dance, a new generation reinvigorates the spirit of a community fighting to survive. Co-directors Rosalynde LeBlanc and Tom Hurwitz join us for a conversation on the history of D-Man in the Waters, why it is just as relevant today, the spirit of discovery for the student dance ensemble featured in the film and the collaboration with the visionary artist Bill T. Jones.
About the filmmaker – Rosalynde LeBlanc, Producer and Co-Director danced with the Bill T. Jones/Arnie Zane Company (1993 -1999), and Mikhail Baryshnikov’s White Oak Dance Project (1999 – 2002). She has also worked onscreen with film directors Burt Barr, John Turturro, Gretchen Bender, and Matthew Rolston. She can be seen in the short film, Roz, the PBS Specials, Still/Here, Free to Dance, Dancing in the Light, A Good Man, and in the feature film, Romance and Cigarettes. Ms. LeBlanc Loo is a leading figure in the legacy and pedagogy of Bill T. Jones. She re-stages his work around the country and runs the Jones/Zane Educational Partnership at Loyola Marymount University, where she is an Associate Professor in the Department of Dance. In 2020, her work in dance research and pedagogy was recognized with an honorary induction into the Jesuit Honor Society, Alpha Sigma Nu.
About the filmmaker – Tom Hurwitz, ASC, Co-Director and Director of Photography – Tom Hurwitz, ASC, a member of the American Society of Cinematographers, is one of America’s most honored documentary cinematographers. Winner of two Emmy Awards, the Sundance and Jerusalem Film Festival Awards for Best Cinematography, Hurwitz has photographed films that have won four academy awards and several more nominations, recently for Dancemaker and Killing in the Name. Mr. Hurwitz’s features and television programs have won dozens of awards, Emmy, Dupont, Peabody, Directors Guild and film festival awards for Best Documentary, over the last 25 years. He recently won Emmy Awards for Best Documentary Specials for the PBS show Jerome Robbins and the PBS series Franklin, as well as Sundance Awards for Queen of Versailles, and Love Free or Die. Other award-winning films and programs that Mr. Hurwitz has photographed include: Studio 54, Cradle of Champions, Joan Didion: The Center Will Not Hold, Nothing Left Unsaid: Gloria Vanderbilt and Anderson Cooper, Valentino: The Last Emperor, Harlan County USA, Wild Man Blues, My Generation, Down and Out in America, The Turandot Project, Liberty, Dolley, Faith and Doubt at Ground Zero, for PBS; and I Have a Dream, for ABC; and Killing in the Name, and Questioning Faith for HBO. In addition, films that he has directed have won the Cine Golden Eagle and have been shown in festivals around the world. Mr. Hurwitz is also a founding member of the faculty of The MFA Program in the Social Documentary Film Program at New York’s School of Visual Arts.
Bill T. Jones, Artistic Director/Co-Founder/Choreographer: Bill T. Jones/Arnie Zane Company; Artistic Director: New York Live Arts
Bill T. Jones is a multi-talented artist, choreographer, dancer, theater director and writer, and Associate Artist for the 2020 Holland Festival. Mr. Jones has received major honors including the Human Rights Campaign’s 2016 Visibility Award, 2013 National Medal of Arts to a 1994 MacArthur “Genius” Award and Kennedy Center Honors in 2010. Mr. Jones was honored with the 2014 Doris Duke Performing Artist Award, recognized as Officier de l’Ordre des Arts et des Lettres by the French government in 2010, inducted into the American Academy of Arts & Sciences in 2009 and named “An Irreplaceable Dance Treasure” by the Dance Heritage Coalition in 2000. His ventures into Broadway theater resulted in a 2010 Tony Award for Best Choreography in the critically acclaimed FELA!, the musical which was co-conceived, co-written, directed and choreographed by Mr. Jones. He also earned a 2007 Tony Award for Best Choreography in Spring Awakening as well as an Obie Award for the show’s 2006 off-Broadway run. His choreography for the off-Broadway production of The Seven earned him a 2006 Lucille Lortel Award. Mr. Jones began his dance training at the State University of New York at Binghamton (SUNY), where he studied classical ballet and modern dance. After living in Amsterdam, Mr. Jones returned to SUNY, where he became co-founder of the American Dance Asylum in 1973. In 1982 he formed the Bill T. Jones/Arnie Zane Company (then called Bill T. Jones/Arnie Zane & Company) with his late partner, Arnie Zane. Mr. Jones is currently Artistic Director of New York Lives Arts, an organization that strives to create a robust framework in support of the nation’s dance and movement-based artists through new approaches to producing, presenting and educating. For more go to: newyorklivearts.org
“Can You Bring It” is most compelling as an archival work. An early section pairs the original dancers’ memories of the piece’s development with visuals of the corresponding movement, sharply telegraphing the viewer into the creative process.” – Jude Dry, indieWire
When you look at Kenny Scharf’s surreal, colorful, pop-culture inspired art you can’t help but wonder where he gets his inspiration. This documentary about Scharf’s fascinating life—made over 11 years by the artist’s daughter, Malia Scharf, and Max Basch—answers that question. This fascinating documentary shows Scharf’s New York City arrival in the early 1980s where he quickly befriended Keith Haring and Jean-Michel Basquiat.This trio, amongst the fervent creative bustle of a depressed downtown scene, would soon take the art world by storm.Featuring interviews and rare archival footage with the artist himself along with Andy Warhol, Jean-Michel Basquiat, Keith Haring, Ed Ruscha, Dennis Hopper and Yoko Ono, the film shows Scharf’s arrival in New York City in the early 1980s, where he quickly befriended Keith Haring and Jean Michel Basquiat. There, amongst the fervent creative bustle of a depressed downtown scene, the trio would soon take the art world by storm. But unlike Haring and Basquiat, who both died tragically young, Scharf lived through cataclysmic shifts in the East Village as well as the ravages of AIDS and economic depression. Decades later, still obsessed with garbage, cartoons and plastic, and committed to the idea that art should be fun, Scharf’s whimsical mind continues to generate works rife with iconic images and bizarre forms. Co-directors Malia Scharf and Max Basch join us for a conversation on the New York City in the 1980s, why so many artists from multiple disciplines seized the opportunity to make art amidst the rumble of the Downtown, and the re-evaluation of Kenny Scharf’s prodigious technicolor artistic vision.
“A compelling and informative introduction to the life and work of Kenny Scharf. His perseverance, passion for art as well as for his inner child are very palpable.” – Avi Offer, NYC Movie Guru
“I found it heart warming and endearing, especially because of his daughter’s direction of the film. If you are interested in the art of this period, I think you will love this documentary.” – Katrina Olson, katrinaolson.ca
:This is the harrowing, heartbreaking, ultimately affirming story of Kenny Scharf, and I urge you to see it.: – Norman Gidney, Film Threat
“Playfully deconstructs the life and times of a creator who tries to balance their childlike playfulness with the adult responsibilities of the real world.” – Andrew Parker, The Gate
SWEET THING, centers on Billie (Lana Rockwell, Little Feet), a 15-year-old girl who fantasizes Billie Holiday as a sort of fairy godmother. Billie has to navigate the evolving challenges of her life while she plays mother to her 11-year-old brother, Nico. They meet up with another adolescent, run away from home, and together roam the area free from their parents’ watchful eye. They discover freedom and enchantment among New Bedford’s boats and railway tracks. They fantasize about a life of luxury when they break into a posh home, and are able to carry the taste of affluence into their adventures. SWEET THING celebrates their ability to make poetry and a joyful life out of hardship. The children come to represent a hope in our own resilience, as the film is an ode to that trying age when young people prepare to take their first step into adulthood. The story is an intense but ultimately uplifting, poetic rendering of childhood that captures the essence of that time in life when a day can last forever. SWEET THING, stars Rockwell’s children Lana and Nico, Karyn Parsons and Will Patton, Director and writer Alexandre Rockwell (In the Soup, Louis & Frank, 13 Moons) joins us for a conversation on his working with a superb cast that includes Lana and Nico Rockwell, Karyn Parsons and Will Patton, re-discovering a love for instinctive filmmaking and his embrace of storytelling that celebrates fearless youth, friendships, and family.
SWEET THING winner of the Berlinale Crystal Bear in the Generation K-plus section in 2020.
About the filmmaker – Rockwell managed to establish himself by the early 1980s. He already had several short films under his belt and his work was shown at Boston’s Institute for Contemporary Art and New York City’s Association of Independent Video and Film. This led to him landing his first feature film, Lenz which was shown at the 1982 Berlin Film Festival and enjoyed success. Rockwell followed up with the release of Hero, which won a Special Jury Prize at the 1984 Sundance Film Festival. In 1986, he married Yale graduate and Flashdance star Jennifer Beals. He didn’t make any films until Sons. Praise rained on Rockwell at The Sundance Film Festival when he released In the Soup. The movie featured Steve Buscemi, Seymour Cassel and Jennifer Beals. Rockwell’s next film Somebody to Love was less successful, though the omnibus movie Four Rooms was popular, in which Rockwell directed the segment “The Wrong Man”. Rockwell’s marriage to Beals ended in 1996 but they remained close friends. Unfortunately, Rockwell’s next offering, Louis & Frank, reprising two minor characters from In The Soup, flopped with audiences. Rockwell hit his stride again with the release of the successful 13 Moons, a comedy which featured a strong ensemble cast including Steve Buscemi and Karyn Parsons. Rockwell later married Parsons (best known for her work as “Hilary Banks” on The Fresh Prince of Bel-Air) on Valentine’s Day, 2003. After Pete Smalls Is Dead, he made the critically acclaimed Little Feet, starring his two young children, son Nico and daughter Lana, which was entirely funded by a Kickstarter campaign. With this feature, Rockwell continued the form that made him an iconoclast of the independent New York film movement of the nineties. After a break of 7 years, he returned to filmmaking with Sweet Thing, starring his wife Karyn and their two kids, winning the Crystal Bear award at the 2020 Berlin International Film Festival.
“A lively, bittersweet meditation on an impoverished childhood that is still rich in innocence and imagination…. With verve and vitality it pays a dreamy-eyed retrospective debt to films past, and largely due to the beguiling performance from Rockwell’s own daughter Lana, ultimately delivers a moving, tousled journey of discovery….” – Jessica Kiang, Variety
“Rockwell’s film about specific heartbreaking circumstances is accessibly potent in its portrayal of childhood and memory. He taps into the experience of complex emotions – fear mixed with hope, love entangled with heartbreak, and childhood prematurely ripped away – in ways that exemplify the unique potential of cinema.” – Mary-Catherine Harvey, The Upcoming
“Gorgeous… stunningly rendered….this is a film that deserves to be seen – Stephen Silver, Goomba Stomp
“The windswept, wild-maned ‘Sweet Thing’ boasts beautiful performances and a definite throwback charm.” – VARIETY
“The first paces of ‘Sweet Thing’ feel as they are taken from Charlie Chaplin’s ‘The Kid’. By iris-in, iris-out, long shot cuts into close-ups, the director Alexander Rockwell conveys a really fresh and intimate nostalgia.” – FILMFESTIVALS
“Sweet Thing is also stunningly rendered. All three kid actors are incredibly talented, and the film makes very strong use of music, which includes multiple examples of Lana Rockwell’s fine singing.” – Goomba Stomp
From Academy Award®-nominated and Emmy-Winning filmmaker Matthew Heineman (Cartel Land, City of Ghosts, A Private War) comes an astonishingly intimate portrait of one of the biggest international music super-stars of our time. THE BOY FROM MEDELLÍN follows J Balvin as he prepares for the most important concert of his career–a sold out stadium show in his hometown of Medellín, Colombia. But as the performance draws ever closer, the streets explode with growing political unrest, forcing the Latin Grammy-winning musician to wrestle with his responsibility as an artist to his country and his legions of fans around the globe. As the public pressure of the approaching concert heightens, behind the scenes, Balvin also continues to deal with the anxiety and depression that has plagued him for years. Shot entirely in the dramatic week leading up to the concert, THE BOY FROM MEDELLÍN gives us unprecedented access to the “Prince of Reggaeton,” and provides an immersive look into one of the most pivotal and emotionally charged moments of his life. Director, producer, cinematographer and editor Matthew Heineman joins us for a conversation on the insanely compressed and tumultuous week of filming, gaining the confidence and comfort of Balvin’s family and friends and capping the shoot by capturing a stadium-size concert, something he had never attempted before.
About the filmmaker – Matthew Heineman is an Academy Award-nominated and Emmy Award-winning filmmaker. The Sundance Film Festival called Heineman “one of the most talented and exciting documentary filmmakers working today”, while Anne Thompson of Indiewire wrote that Heineman is a “respected and gifted filmmaker who combines gonzo fearlessness with empathetic sensitivity.” In 2019, he received a nomination for Outstanding Directorial Achievement of a First Time Feature Film Director from the Directors Guild of America for his narrative debut A Private War — making Heineman and Martin Scorsese the only filmmakers ever nominated for both narrative and documentary DGA Awards. Heineman’s 2015 film Cartel Land, which explores vigilantes taking on Mexican drug cartels, was nominated for an Academy Award for Best Documentary Feature and won three Primetime Emmy Awards, including Exceptional Merit in Documentary Filmmaking and Best Cinematography. For more go to: ourtimeprojects.com
“[A]n appealing tag-along portrait of Colombian reggaeton superstar J Balvin at a moment of noteworthy pressure in his Latin Grammy-winning, Coachella-headlining and streaming-dominant pop ascendancy.” – Robert Abele, Los Angeles Times
“Some films make do with stories that present an interesting surface and little more. In The Boy From Medellín, undercurrents run constantly. Depression and anxiety provide two of them, but the most dramatic one flows from politics.” – Joe Morgenstern, Wall Street Journal
“…intimate, open-hearted…Balvin seems to invite Heineman right into the heart of that inner circle, as “The Boy from Medellín” takes a fly-on-the-wall approach that codifies its subject’s authenticity at every turn.” – INDIEWIRE, David Ehrlich
Turner Classic Movies (TCM) is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
TCM UNDERGROUND – Tune in every Friday night for TCM Underground, our late-night movie franchise that showcases the best of classic cult favorites and hard-to-find films, from experimental shorts to off-beat comedies. For more discussions around the wild, weird world of cult films and films shown on TCM Underground, check out our web series TCM Slumberground on YouTube!
TCM SLUMBERGROUND is the official monthly pre-show for TCM Underground, a late-night cult movie franchise that airs at 2:00 am EST on Friday nights on Turner Classic Movies. In each episode, TCM Underground programmer Millie De Chirico sits down with a panel of her fellow TCM employees to discuss the upcoming double feature and other cult movie topics.
Other Midnight Films at past TCM Classic Film Festivals include: Boom!, Duck Soup, Eraserhead, Freaks, Gog, Island of Lost Souls, Kentucky Fried Movie, Night of the Living Dead, Nothing Lasts Forever, Phase IV, Roar, Santo vs. The Evil Brain,The Bride of Frankenstein, The Day of the Triffids, The Mummy, The Student Nurses, The Tingler, The World’s Greatest Sinner and Zardoz.
In the late 1960s, in the aftermath of the Watts Uprising and against the backdrop of the continuing Civil Rights Movement and the escalating Vietnam War, a group of African and African-American students entered the UCLA School of Theater, Film and Television, as part of an Ethno-Communications initiative designed to be responsive to communities of color (also including Asian, Chicano and Native American communities). Now referred to as the “L.A. Rebellion,” these mostly unheralded artists created a unique cinematic landscape, as—over the course of two decades—students arrived, mentored one another and passed the torch to the next group. Beyond the films themselves, what makes the L.A. Rebellion movement a discovery worthy of a place in film history is the vitality of its filmmakers, their utopian vision of a better society, their sensitivity to children and gender issues, their willingness to question any and all received wisdom, their identification with the liberation movements in the Third World, and their expression of Black pride and dignity. As part of the 2021 TCM (Turner Classic Movies) Film Festival is spotlighting two of the L.A. Rebellion’s leading lights, Charles Burnett and Billy Woodberry in the festival’s Special Collections section. Charles Burnett and Billy Woodberry join us for a conversation on their recollections the birth of the L.A. Rebellion and the inspiration for their life altering decision to become filmmakers.
About the filmmaker – Charles Burnett is a writer-director whose work has received extensive honors. Born in Vicksburg, Mississippi, his family soon moved to the Watts neighborhood of Los Angeles. Burnett studied creative writing at UCLA before entering the University’s graduate film program. His thesis project, Killer of Sheep (1977), won accolades at film festivals and a critical devotion; in 1990, it was among the first titles named to the Library of Congress’ National Film Registry. European financing allowed Burnett to shoot his second feature, My Brother’s Wedding (1983), but a rushed debut prevented the filmmaker from completing his final cut until 2007. In 1988, Burnett was awarded the prestigious John D. and Catherine T. MacArthur (“genius grant”) Fellowship and shortly thereafter Burnett became the first African American recipient of the National Society of Film Critics’ best screenplay award, for To Sleep withAnger (1990). Burnett made the highly acclaimed “Nightjohn” in 1996 for the Disney Channel; his subsequent television works include “Oprah Winfrey Presents: The Wedding” (1998), “Selma, Lord, Selma” (1999), an episode of the seven-part series “Martin Scorsese Presents The Blues” (2003) and “Nat Turner: A Troublesome Property” (2003), which was shown on the PBS series “Independent Lens.” Burnett has been awarded grants from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts and the J. P. Getty Foundation. In 2011, the Museum of Modern Art showcased his work with a month-long retrospective.
To Sleep with Anger – Writer and Director Charles Burnett – A slow-burning masterwork of the early 1990s, this third feature by Charles Burnett is a singular piece of American mythmaking. In a towering performance, Danny Glover plays the enigmatic southern drifter Harry, a devilish charmer who turns up out of the blue on the South Central Los Angeles doorstep of his old friends. In short order, Harry’s presence seems to cast a chaotic spell on what appeared to be a peaceful household, exposing smoldering tensions between parents and children, tradition and change, virtue and temptation. Interweaving evocative strains of gospel and blues with rich, poetic-realist images, To Sleep with Anger is a sublimely stirring film from an autonomous artistic sensibility, a portrait of family resilience steeped in the traditions of African American mysticism and folklore.
About the filmmaker – Billy Woodberry Born in Dallas in 1950, Billy Woodberry is one of the founders of the L.A. Rebellion film movement. His first feature film Bless Their Little Hearts (1983) is a pioneer and essential work of this movement, influenced by Italian neo-realism and the work of Third Cinema filmmakers. The film was awarded with an OCIC and Interfilm awards at the Berlin International Film Festival and was added to the National Film Registry of the Library of Congress in 2013. His latest feature film And when I die, I won’t stay dead (2015) about the beat poet Bob Kaufman was the opening film of MoMA’s Doc Fortnight in 2016. Woodberry has appeared in Charles Burnett’s “When It Rains” (1995) and provided narration for Thom Andersen’s Red HOLLYWOOD” (1996) and James Benning’s “Four Corners”(1998). His work has been screened at Cannes and Berlin Film Festivals, the Museum of Modern Art (MoMA), Harvard Film Archive, Camera Austria Symposium, Human Rights Watch Film Festival, Tate Modern and Centre Pompidou. He received his MFA degree from UCLA in 1982 where he also taught at the School of Theater, Film and Television. Since 1989 Billy Woodberry is a faculty member of the School of Film/Video and the School of Art at the California Institute of the Arts.
Bless Their Little Hearts – Director / Producer / Editor Billy Woodberry – A key masterpiece of the L.A Rebellion, Bless Their Little Hearts distills the social concerns and aesthetics of that trailblazing movement in African American cinema. Billy Woodberry’s film showcases his attentive eye, sensitivity to the nuances of community and family, and the power of the blues. Searching for steady work, Charlie Banks (Nate Hardman) views his chronic unemployment as a kind of spiritual trial. But day work and selling a few catfish can’t sustain a family of five. While his wife, Andais (Kaycee Moore), works to support them with dignity, Charlie finds comfort for his wounded sense of manhood in an affair that threatens his marriage and family.At the heart of this devastatingly beautiful film is the couple’s agonizing confrontation – shot in one continuous ten-minute take – that ranks as “one of the great domestic cataclysms of modern movies.” (Richard Brody, The New Yorker) Named to the National Film Registry, Bless Their Little Hearts features contributions by two iconic American artists: Charles Burnett (Killer of Sheep, To Sleep With Anger), who wrote and shot the film, and Kaycee Moore (Daughters of the Dust), whose powerful performance as Andais Banks remains a revelation. Film restoration by Ross Lipman with Billy Woodberry at UCLA Film & Television Archive. 2K Digital restoration by Re-Kino, Warsaw. English captions and Spanish subtitles.
Turner Classic Movies (TCM)is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
Produced and directed by filmmaker Bill Morrison, “let me come in” features a new song by Pulitzer Prize-winning composer David Lang performed by soprano Angel Blue, one of opera’s brightest stars. The short film incorporates rediscovered (and heavily damaged) footage from the lost 1928 silent film Pawns of Passion to astonishing effect. Filmmaker Bill Morrison, director of the highly acclaimed films Decasia and Dawson City: Frozen Time, has long been fascinated with ancient, decayed nitrate film stock from long-forgotten films—what he describes as “goopy, sticky films deemed not worth saving.” For “let me come in,” he has resurrected footage from what may be the last surviving reels of the 1928 German silent romance Pawns of Passion, discovered in a Pennsylvania barn in 2012. After decades of expanding in hot summers and contracting in freezing winters, the deteriorated nitrate film stock now reveals, in Morrison’s words, “imagery that seems to be pulled from a state of semi-consciousness, asleep but dreaming.” Morrison describes Lang’s song as “a rumination on love and the borderline separating two souls, seemingly from the precipice of consciousness. When I heard Angel Blue’s incredible interpretation, my mind immediately recalled the ambiguous tension in this scene from Pawns of Passion.Left to rot in a barn, and then scanned and archived again for another eight years on my own personal hard drive, it has found a new life through David’s words and music, and Angel Blue’s voice. It was very exciting to see how quickly it came together and how perfectly the image, words and sound meshed.” Director Bill Morrison joins us for conversation on his inspired interpretation of hauntingly beautiful film fragments.
About the filmmaker – Bill Morrison makes films that reframe long-forgotten moving images. His films have premiered at the New York, Rotterdam, Sundance, and Venice film festivals. In 2014 Morrison had 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 recognized with the Smithsonian Ingenuity Award of 2014 for historical scholarship. Dawson City: Frozen Time (2016) was included on over 100 critics’ lists of the best films of the year, and on numerous lists ranking the best films of the decade, including those of the Associated Press, Los Angeles Times and Vanity Fair. His work has previously been seen at LA Opera in productions of David Lang’s “anatomy theater” (2016) and David T. Little’s Soldier Songs (2019). Co-presented by Los Angeles Opera with composer David Lang and soprano Angel Blue. Special thanks to the Library of Congress National Audio-Visual Conservation Center. For more go to: billmorrisonfilm.com/bio-filmography
STREET GANG: HOW WE GOT TO SESAME STREET takes audiences inside the minds and hearts of the “Sesame Street” creators, artists, writers, and educators who together established one of the most influential and enduring children’s programs in television history. Inspired by the activism of the late 1960s, socially conscious television executive Joan Ganz Cooney and Sesame Workshop co-founder Lloyd Morrisett conducted a revolutionary experiment: to harness the burgeoning power of television and create an educational, impactful, uplifting and entertaining show that could reach children nationwide, especially those living in urban areas. Cooney recruited trailblazing Muppets creator Jim Henson and acclaimed children’s television writer and director Jon Stone to craft the iconic and beloved world of “Sesame Street.”STREET GANG: HOW WE GOT TO SESAME STREET reintroduces this visionary “gang” of mission-driven artists, writers, and educators that audaciously interpreted radical changes in society and created one of most impactful television programs in history. With more than 20 interviews with original writers, cast, and crew, and never-before-seen behind the scenes footage, STREET GANG is told from the inside with humor and emotion, weaving together personal narratives and eyewitness accounts. The film explores the original mission of the “gang” that created this cultural phenomenon, now spanning 50-plus years and reaching more than 150 countries. Director Marilyn Agrelo joins us to talk about the enduring legacy of SESAME STREET as well as the beautifully disruptive and groundbreaking approach to connecting with children and in doing so made them into collaborators and the beneficiaries of this illuminating enterprise.
“Street Gang is a wonderful documentary that would play extraordinarily well whenever it was released, but in this present moment? It feels positively miraculous; a much-needed happy-sad warm blanket indeed.” – Shaun Munro, Flickering Myth
“It’s hard to ask for much more than a doc that captures creatives thoughtfully sneaking the civil revolution as well as basic education into children’s TV and includes a Muppets blooper reel.” – Chris Willman, Variety
“It’s genuinely, enormously inspirational to watch this ragtag band of beatniks and beardos turning sinister Madison Avenue techniques into instruments of learning.” – Sean Burns, Spliced Personality
“Carries tremendous power as an emotional reminder of such a triumphant run, also working beautifully as a reunion with old faces and as an introduction to key behind-the-scenes figures helping to bring inclusion to the masses.” – Brian Orndorf, BrianOrndorf.com
“Street Gang is a loving, emotional tribute to a global brand that tackled racism, education and more with puppets, music through a street that everyone wanted to live on – Sesame Street…” – Carla Renata, The Curvy Film Critic
PARIS CALLIGRAMMES is an epic self-portrait of Ulrike Ottinger, one of Germany’s most prominent contemporary avant-garde artists, known for her paintings, photographs, and, above all, her films. An impressive and extensive archive of sensorial memories, historical photographs, and documentary footage traces the early influences of Ottinger’s life in Paris in the 1960s. This was a time marked by her integration into the rich intellectual and cultural circles of the city, but also engagement in the political and social eruptions around the Algerian War and May 1968. These varied dimensions of her experience make PARIS CALLIGRAMMES an essential historical time capsule, beautifully interwoven with the most precious of memories and images. In a rich torrent of archival audio and visuals, paired with extracts from her own artworks and films, Ottinger resurrects the old Saint-Germaindes-Prés and Latin Quarter, with their literary cafés and jazz clubs, and revisits encounters with Jewish exiles, life with her artistic community, the world views of Parisian ethnologists and philosophers, the political upheavals of the Algerian War and May 1968, and the legacy of the colonial era. Director Ulrike Ottinger (Seven Women, Seven Sins, Ticket of No Return, Johanna d’Arc of Mongolia) joins us for a conversation on her life as young painter in Paris in the 1960s, and her personal memories of Parisian bohemianism and the serious social, political and cultural upheavals of the time into a cinematic “figure poem” (calligram) in “Paris Calligrammes”.
“In Paris Calligrammes, the artist Ulrike Ottinger casts a highly personal and subjective gaze back to the twentieth century. At the heart of her film is Paris: its protagonist is the city itself, its streets, neighborhoods, bookstores, cinemas, but also its artists, authors, and intellectuals. It is a place of magical appeal, an artistic biotope, but also a place where the demons of the twentieth century still confront us.” – Bernd Scherer
100% on Rotten Tomatoes
“One of the great works of first-person cinema. Ottinger’s personal and political masterwork. Extraordinary; a work of vital and energetic modernism.” – Richard Brody, The New Yorker
“Enriching, stimulating; vital and contradictory. Captures the zeitgeist as experienced by a young woman eager to soak up the cultural riches around her, which she then distilled through her own sensibility to create paintings reflecting the era’s upheavals.” – Jay Weissberg, Variety
“Never a dull moment; the work of a consummate artist who understands the importance of the form matching the story.” – Kaleem Aftab, Cineuropa
“Her cinema is restless, Odyssean: full of stories of exile and adventure. [‘Paris Calligrammes’ is] an homage to the intellectual and artistic life of the city in the 1960s.” – Amy Sherlock, Frieze Magazine
Set in Los Angeles in 1998, PINK SKIES AHEAD follows Winona (Jessica Barden) who, after dropping out of college and moving back home to live with her parents, is diagnosed with an anxiety disorder. Skeptical of her doctor’s opinion — she hasn’t had a panic attack after all —Winona carries on with her wild lifestyle. Only when things begin to truly unravel around her, does she reluctantly decide to see a therapist and face her truths. PINK SKIES AHEAD showcases mental health issues in a nuanced and authentic way and is a featured part of MTV’s newly-launched Mental Health is Healthinitiative. PINK SKIES AHEADis Director Kelly Oxford’s feature-length directorial debut and is based on “No Real Danger,” an essay from her second book, “When You Find Out the World Is Against You.” PINK SKIES AHEAD stars Jessica Barden (End of the F***ing World, The New Romantic), Mary J. Blige (The Umbrella Academy), Devon Bostick (Diary of a Wimpy Kid), Marcia Gay Harden (Mystic River, Pollock), Michael McKean (Better Call Saul, This Is Spinal Tap), Lewis Pullman (Bad Times at the El Royale), Evan Ross Cameron (The United States vs. Billie Holiday), Odeya Rush (Goosebumps, Lady Bird), Rosa Salazar (Alita: Battle Angel) and Henry Winkler (Barry). Writer and Director Kelly Oxford joins us for a lively conversation on making the jump from novelist / essayist to filmmaker and the role that media and storytelling can play in addressing our nation’s persistent and growing mental health challenges.
PINK SKIES AHEAD, written and directed by New York Times best-selling author Kelly Oxford, will premiere, commercial-free broadcast on Saturday, May 8 at 9:00PM ET/PT on MTV with a simulcast on Pop TV.
Director’s Statement – Pink Skies Ahead is loosely based on events that occurred when I was nineteen years old. It is a manifestation and reckoning with my own anxiety struggles. Purely out of self-protection, I’ve spent my life creating a firmly independent exterior surface that does not reflect my inner turmoil or compulsive and obsessive worried thoughts. As a forty-two-year-old woman, I’m still grappling with shame and denial of my own inner workings as an anxious person. The catharsis of writing and directing Pink Skies Ahead was a huge step in accepting myself. And I hope our film helps others feel less shame in their “not normal” feelings than I did. – Kelly Oxford
Books by Kelly Oxford
Everything Is Perfect When You’re a Liar
When You Find Out the World is Against You: And Other Funny Memories About Awful Moments
“The catchy title’s a clever way of saying “It gets better,” and in the end, that feels as true for Winona as it does for the high-potential writer-director who created her.”– Peter Debruge, Variety
“Kelly Oxford’s comedically-tinged fictionalized drama paints a staggeringly honest, raw and revelatory portrait that makes for an assured debut directorial feature.” – Courtney Howard, Fresh Fiction
“Pink Skies Ahead makes some major strides toward destigmatizing mental health disorders and therapeutic treatment, thanks to Oxford’s empathetic approach and the way she normalizes these experiences through the eyes of her protagonist.” – Brent Hankins, The Lamplight Review
“The heartfelt, autobiographical elements in writer-director Kelly Oxford’s storytelling, coupled with an appealing and empathetic performance by Jessica Barden… provide a real understanding of mental health that so often escapes films and TV shows.” – Alonso Duralde, TheWrap
TINY TIM: KING FOR A DAY is a biographical documentary about a musician who is not only well known for hits such as TipToe Through The Tulips but for his trailblazing personae that paved the way for other rock stars such as David Bowie, Prince, Iggy Pop and Boy George. An outcast from a young age, Herbert Boudrous Khaury’s rise to stardom as Tiny Tim is the ultimate fairytale. Considered a freak by many of his peers, Tiny Tim left no one unaffected. His wedding to Miss Vicki on the Tonight Show with Johnny Carson was watched by over 45 million Americans, and his queer personality has been celebrated by the likes of Bob Dylan and Lady Gaga. There were plans and hopes that Tiny Tim would be a lasting star, not only a novelty act but one man ruined these plans: Tiny Tim. The memorable archival footage, exclusive access to Tiny Tim’s intense diaries, the playful and powerful animations and the interviews with his family and friends makes this film not only a captivating portrait, but also a psychological drama, examining the borderline between insanity and geniality. TINY TIM: KING FOR A DAY is narrated by Weird Al Yankovic – reading from Tiny Tim revealing diary entries – and includes archival footage from D.A. Pennebaker, Jonas Mekas, Andy Warhol and others. Director and Producer Johan von Sydow (Mare Kandre: I Am the Genius!, The Jussi Bjoerling Saga) joins us to talk about the rise and fall of an artist who was one of the most vulnerable, fearless and determined performers to ever stand in front of an audience. TINY TIM: KING FOR A DAY is a unique portrait of one of the oddest stars the world has ever seen.
About the filmmaker – Johan von Sydow is a drector and staff producer at SVT:s well renowned arts and culture show Kobra. His first two documentaries (Mare Kandre and The Jussi Bjoerling Saga) were called “the two best Swedish cultural docs in the 2000s” by a leading tv-critic, and his latest (Ratata through the ´80s) was, according to another critic, “a benchmark for future Swedish popmusic documentaries”. The Jussi Bjoerling Saga was nominated as Best documentary in the Swedish TV-award Kristallen.
From Academy Award nominated filmmakers Steven Ascher and Jeanne Jordan’s comes Our Towns. It is a moving and uplifting portrait of America and how the rise of civic and economic reinvention is transforming small cities and towns across the country. Based on the bestselling book “Our Towns: A 100,000-Mile Journey into the Heart of America” by journalists James and Deborah Fallows, the visually stunning feature documentary spotlights ingenious local initiatives and explores how a sense of community and common language of change can help people and towns find a different path to the future. In 2011, the Fallows created a blogpost for TheAtlantic asking their readers to share compelling stories about their towns – from economic setbacks to local struggles or achievements – that have been overlooked by the national press. Within a week, they received over 1,000 responses. For the next five years, they traveled the United States exploring the changes taking place across small town America for what would become their bestselling book. In 2018, Ascher and Jordan joined them to revisit eight of those cities, including San Bernardino, CA; Sioux Falls, SD; Columbus, MS; Eastport, ME; Charleston, WV; and Bend, OR. Our Towns introduces us to a wide range of civic leaders, immigrants, educators, environmentalists, artists, students, and more, witnessing their love for their communities and the innovative ways they are improving them. OUR TOWNS provides an expansive perspective on America that finds unexpected connections between personal stories, community actions, and the arc of history. Although filmed before the pandemic, OUR TOWNS speaks to how the country, and by extension the world, can find a way forward.
About the filmmaker – STEVEN ASCHER is an Academy Award-nominated director and writer. He’s author of The Filmmaker’s Handbook, a bestselling text, and has taught filmmaking, most recently as a visiting professor at Harvard. The Boston Globe calls his work “filmmaking at its finest.” He wrote, directed and co-produced the short drama Seduction Theory which was selected for the Toronto International Shorts Festival , the Los Angeles International Shorts Festival, won a Platinum Remi for best dark comedy at Worldfest Houston and screened at the Cannes Film Festival Short Film Corner. He is author of The Filmmaker’s Handbook: a Comprehensive Guide for the Digital Age (with Ed Pincus) a bestselling text and a staple of universities and film schools internationally. Called “the bible” by The Independent, the “gold-standard technical reference” by The Boston Globe, and “seminal” by The New York Times. Ascher has written greatly expanded new editions; the fifth was released in 2019. Over 360,000 copies in print. He has served as a juror at the Sundance Film Festival, the Emmys, the Full Frame Film Festival, the Independent Film Festival Boston, the National Student Film Festival, Woods Hole Film Festival and the McKnight Fellowship. He has been a guest critic for several film programs including Yale University, Duke University and the Rhode Island School of Design. Writing on Ascher’s work has appeared in many publications including The New York Times, The New Yorker, The Boston Globe, Variety, Ecran Total and books including Documentary Storytelling by Sheila Curren Bernard. For more go to: West City Films
About the filmmaker – JEANNE JORDAN is an Academy Award-nominated producer, director, and editor of documentaries and dramas. TheIndependent said of her resume, “it reads like PBS’s greatest hits.” Jordan was Series Producer of the PBS children’s series Postcards from Buster for two seasons, producing a new, international version of the show, nominated for the Outstanding Children’s Series Emmy both years. Jordan edited two films of the groundbreaking civil rights series Eyes on the Prize which was nominated for an Oscar and won the DuPont Columbia Award, and films for American Experience, including season opener, Amelia Earhart and The Wright Stuff. Other editing includes My Mother’s Murder for HBO and the Emmy-nominee, A Normal Face for NOVA. Her dramatic feature work includes several films for American Playhouse, including Noon Wine, Lemon Sky and the Emmy-winning series Concealed Enemies on the trials of Alger Hiss. She edited the bilingual feature, Blue Diner which won the prestigious ALMA award. In 1988, Jordan and Orlando Bagwell produced Running With Jesse, a chronicle of Jesse Jackson’s presidential run for FRONTLINE, which Jordan also edited. She has produced and edited several pieces for The PBS Newshour and films for the PBS series Art Close Up, which won and were nomintated for Emmys. Jordan graduated from the University of Iowa and began her career at Iowa Public Television. She has twice been honored with a fellowship at the Radcliffe Institute for Advanced Study at Harvard and she was a member of the Breadloaf writers conference. She has taught filmmaking at Harvard and the Art Institute of Boston. She has lectured and held master classes in several countries, including Tokyo University, the CPB/PBS Producers Academy, the Full Frame Fellows Program, the Nieman Foundation for Journalism, Harvard Law School, and the Aristoteles Workshop in Romania sponsored by the European network Arte. She has been a guest critic at Yale University, Duke University and Rhode Island School of Design. Jordan has advised and contributed to numerous film productions. She and Ascher are Executive Producers of the ITVS-supported film, Deej, winner of the Peabody Award. She has received grants from the the LEF Foundation, the Artists Foundation, the Paul Robeson Fund, the Massachusetts Cultural Council, Iowa Humanities and many other state humanities and arts councils. Her films have screened at major festivals internationally and are in the permanent collections of the Library of Congress, Harvard Film Archive, UCLA and the Sundance Collection. Jordan’s writing on films has appeared in Documentary Magazine. Writing on Jordan’s work has appeared in many publications including The New York Times, The New Yorker, The Boston Globe, Variety, Ecran Total and books including Documentary Storytelling by Sheila Curren Bernard. For more go to: West City Films
“Ascher and Jordan’s films are consistently thoughtful and moving, deeply committed, and resonant with craft: their considerable gifts as filmmakers include their ability to make what is complex and difficult to film and edit seem easy.”– Scott MacDonald, American Ethnographic Film and Personal Documentary
“Dedicated filmmakers with an uncanny eye for capturing drama in the most commonplace activities.” – John Cooper, Director, Sundance Film Festival Festival
Part Geo-political saga, part ode to their origin country of Cuba, LOS HERMANOS/THE BROTHERS follows the journeys of virtuoso Afro-Cuban musician brothers, Ilmar and Aldo López-Gavilán, born in Havana in the 70s. At 14, Ilmar outgrew his island teachers and was sent to the U.S.S.R. to study violin. He never lived in Cuba again, ultimately landing as a working chamber violinist in the United States. Younger brother Aldo grew up mentored by Cuba’s impressive jazz and classical pianists, his extraordinary talent achieving renown on the island, but stymied elsewhere by the 60-year-old U.S. embargo. Though they see each other when family finances and visa restrictions allow, they’ve never had a chance to collaborate musically—something they’ve longed for all their lives. Tracking their parallel lives, poignant reunion, and momentous first performances together on stages across the U.S., LOS HERMANOS / THE BROTHERS is a nuanced, intensely moving view of nations long estranged, through the lens of music and family. Featuring an electrifying, genre-bending score, composed by Cuban Aldo López-Gavilán, performed with his American brother, Ilmar, and with guest appearances by maestro Joshua Bell and the Grammy-winning Harlem Quartet, filmmakers Ken Schneider and Marcia Jarmel take the viewer on a delightful musical tour through Cuba and the US, capturing the artistry behind their music and their deep familial bond.
Watch Los Hermanos / The Brothers beginning May 14
About the filmmaker – Marcia Jarmel is a veteran documentary director, producer, and impact producer. Prior to founding PatchWorks, Marcia directed and produced THE RETURN OF SARAH’S DAUGHTERS (Women in the Director’s Chair, IDA’s DocuWeek, Cinequest, international public television) and THE F WORD: A SHORT FILM ABOUT “FEMINISM” (Living Room Festival, AFI’s VideoFest, and Brooklyn Art Museum’s Judy Chicago film series). Angela Davis called THE F WORD “an important step toward rekindling discussion of feminism.” Marcia consults on social issue films, including HBO’s Emmy nominated 50 CHILDREN, and the Academy Award nominated LAST DAY OF FREEDOM. Marcia has been a resident at Working Films’ Content+Intent at Mass MoCA, Fledgling Fund’s Reel Education and Reel Impact, SFFilm’s FilmHouse, the Kopkind Colony, and twice a BAVC MediaMaker. She has taught at NYU-Tisch in Havana and Chapman University and served as a juror for the Emmys, BAVC MediaMaker, and many film festivals.
About the filmmaker – Ken Schneider is a Peabody Award winner who believes in the power of film to affect hearts and minds. For nearly 30 years, Ken has produced, directed and edited documentaries in English and Spanish, focusing on war and peace, human rights, artists’ lives, American history, contemporary social issues, and Cuba. His work has appeared on PBS’s series American Masters, POV, Independent Lens, Frontline, Voces, and on HBO, Al-Jazeera, Showtime, and on television and in film festivals worldwide. Ken co-edited the Oscar-nominated REGRET TO INFORM and has edited over 35 feature length documentaries that have won Primetime and Documentary Emmys, three Peabodys, a Columbia-Dupont, IDA (International Documentary Association) awards, an Indie Spirit award, and top awards at Sundance. Ken edits in English and Spanish and has a personal connection to Cuba, where his Vienna-born father was sheltered during the Holocaust. Ken has taught at NYU-Tisch, Chapman University, and San Francisco City College, and lectured at the SF Art Institute, University of San Francisco, and Harvard. He has been a panelist for the National Endowment for Humanities, Emmys, and various film festivals.
PatchWorks Films, co-founded by husband and wife team Marcia Jarmel and Ken Schneider, makes documentaries raising nuanced questions about critical contemporary issues. PatchWorks’ films have broadcast and screened worldwide and have each been used in robust engagement campaigns. Their most recent feature, HAVANA CURVEBALL screened in six countries, winning Best Documentary awards at the Boston and Seattle Children’s Film Festival, a special jury award at the Olympia Festival in Greece and a spot on School Library Journal’s “Best of 2014” list. Their previous feature, SPEAKING IN TONGUES, aired on PBS, won the Audience Award at the San Francisco Film Festival, and continues to be a catalyst for changing language education worldwide. Previous films include BORN IN THE U.S.A., which aired on Independent Lens and was hailed as the “best film on childbirth” by the World Health Organization, and several shorts. LOS HERMANOS/THE BROTHERS is their 9th collaboration, their 4th in Cuba. Clips and information on all PatchWorks’ features and shorts can be found at patchworksfilms.net.
“I cannot overstate the pleasure and excitement this film provides. It is a must-see.”- Marin Post
“an exhilarating and perceptive dive into the magical and confounded lives of two Cuban-born brothers” – ARThound
“Here is a purely celebratory film that at the same time biopsies political expedience and nationalism” – Woodstock FIlm Festival
“A remarkable film about a family ensnared in geopolitics” – San Francisco Chronicle
JUMBO is the coming-of-age story of Jeanne, a shy young woman, lives at home with her uninhibited bartender mother and works the graveyard shift as a cleaner at an amusement park. Her mother wants her to meet a man, but Jeanne prefers tinkering in her bedroom with wires, light bulbs, and spare parts, creating miniature versions of theme park rides. During her late-night shifts she begins spending intimate time with the alluring new Tilt-A-Whirl ride that she decides to call JUMBO. Finding herself seduced by “his” red lights, smooth chrome, and oily hydraulics, Jeanne concludes that the thrilling new relationship she wants to pursue is with JUMBO. Director and writer Zoé Wittock (A demi-mot, Le Silence de l’Aube) joins us for a conversation on the challenging logistics of filming at amusement park, crafting a nuanced look at sexuality and social norms and the personal journey of the filmmaker in selecting the amazing Noemie Merlant for the role of Jeanne.
About the filmmaker – Zoe Wittock is an award winning writer and director. Originally hailing from Belgium, Zoé grew up living around the world and trained at the prestigious directing program of the American Film Institute (AFI), in Los Angeles, where she graduated the youngest and top of her class, while being awarded the “Hal and Robyn Berson” scholarship for excellence in directing. In France, she directed her last short film “A demi-mot”, broadcasted on OCS and Netflix, before making her feature film debut with “Jumbo” which went on to many selections around the world, including Sundance and the Berlinale, where she was awarded a prize in the Generation section. She was also a nominee for the Discovery Prize at the European Film Awards and was named in Hollywood Reporter’s list of the 20 female filmmakers to watch in 2020. As an active member of the SRF (French association of Film Authors), Zoe campaigns for greater equality in films, while advocating for the protection of author’s right in the ever-changing industry. For more go to: zoewittock.com
Director’s Statement – When I was still living in the United States, I stumbled upon an article describing the incredible story of Erika Labrie, an Olympic gold winner in archery, who got married to the Eiffel tower in 2004 and became Erika Eiffel. She was said to suffer from the “Objectum sexual” condition. It struck me as the most improbable story, but it encouraged me to think further: How did she become like that? What draws her to objects? How does she experience her love? When did she know? So I contacted her… Only to realize she was one of the most grounded people I had ever met. The contrast was fascinating. Satisfying ourselves within the confines of what we know can be very limiting. Being Belgian, I grew up with the influences of famous surrealist artists such as Magritte or Nougé who excelled at twisting reality and objects through extreme visuals, thus allowing for the unconscious to express itself. They gave new meanings to daily commodities, while revolutionizing our perception of traditional art and everyday preconceptions of life. The concept of falling in love with a landmark object may of course be hard to grasp at first, but this unconventionality is the mere reason that I chose to seek interest in this extraordinary coming of age story. Whilst providing a seductive and poetic adventure based on strong colorful visuals, I wanted to question what one defines as normal versus monstrous, at a time where I was personally questioning my own identity and place in this world. However if I were to undertake such a romance, I knew that had to use all the power that fiction had to offer. I ought to find the perfect object, one that would allow for the richest communication through sound, movement, lights or any other means available to the cinematographic language. Being particularly sensitive to my environment, I felt that an amusement park and its surroundings would be pivotal in setting the fantastical tone needed to believe and be moved by our character’s journey. Lyrically transporting you from one scene to the next, using humor in very dramatic moments, this film seeks to make a statement about tolerance and the freedom of one’s own choices. It is a modern take on love and its infinite possibilities. – Zoe Wittock
“Merlant’s writhing, fainting spells and intense gaze do well to communicate the intensity of desire and, although the film can sometimes be a dizzying attraction to climb on, Jumbo is certainly worth the ride.” – Adesola Thomas, Paste Magazine
“So will Jumbo take Jeanne’s heart for a ride? And should we object to her sexuality if she’s not hurting anyone? These questions, and more, abound in the out-there, but not-like-anything-else-out-there, “Jumbo.” – Michael Ordoña, Los Angeles Times
“First time writer-director Zoé Wittock takes an absurd idea and imbues it with such heart, soul, and beauty that you’ll automatically look past the inherent ridiculousness. Instead, you’ll simply absorb its glowing sense of wonder.” – Richard Whittaker, Austin Chronicle
“Jumbo, a unique and beautiful addition to the coming-of-age genre, gives us a tender exploration of a young woman’s journey of a first romance and discovering her sexuality along the way.” – Alysha Prasad, One Room With A View
Filmed over the summer festival season, UNDERPLAYED presents a portrait of the current status of the gender, ethnic, and sexual equality issues through the lens of the female pioneers, next-generation artists, and industry leaders who are championing the change, and inspiring a more diverse pool of role models for future generations. The impetus for the UNDERPLAYED came to light during the 2018 Bud Light House Party Tour, when Bud Light Canada sat down with artists from diverse backgrounds and genres to learn about the evolution of their careers, and their unique experiences in recording, touring, and performing. Key conversations with female DJs exposed a striking gender inequality in the space, and further research substantiated their experiences. Electronic music was born from the ideals of diversity, community, and inclusivity; yet in 2019 only 7% of Billboard’s Top 100 DJs were women. They make up less than 3% of production and technical roles in the music industry. For women of color, it’s less than 0.3%.An official selection of both the 2020 Tribeca Film Festival and Toronto International Film Festival, UNDERPLAYED features NERVO, Rezz, TOKiMONSTA, Alison Wonderland, and Tygapaw.Director Stacey Lee stops by to talk about just how grotesquely under represented women are in a music genre that has made truckloads of music from a female fan base that is ready and willing to support a rise wave of women taking their place behind soundboards and laptops all around the world.
World Premiere – 2020 Toronto International Film Festival
Official Selection – 2020 Tribeca Film Festival
Director’s Statement – “When the pioneering godmothers of electronic music first began tinkering away in their scientific labs back in the 50s and 60s, they could never have imagined their little back room experiments would make way for a blossoming 8 billion dollar global industry today. Nor could they have foreseen how drastically its very creative, egalitarian roots would transmute from an open experimental playing field, to an industry dominated by a one-dimensional male point of view. This is a universal theme, and sadly one that I can personally relate to as a “female” filmmaker in a heavily male field. I empathize and understand the frustration of having to fight harder to be considered for jobs “because there aren’t as many good female directors,” to turn a deaf ear to the belief that women “can’t be technical”, that we don’t deserve equal pay, or in my instance, hiding my pregnancy beneath an oversized blazer so I wouldn’t jeopardize my chances of securing jobs. When I learned about the shared plight of the women in electronic music, I saw a necessity to tell a story that speaks to the deeply personal and very human impact of this global issue. That transcends the music space, and speaks to the collective experience of so many working women today from film to politics and beyond.” Ultimately Underplayed raises the question; do we want our ears to be controlled by logarithms, safe bets and preconceived formulas…or become a space that is radically free to sound as rich, diverse and ever- changing as the world around us? The hope is for Underplayed to stimulate the conversation needed to break down the systematic bias’ and bring electronic music back to its open, diverse and fiercely experimental roots. To remind us that equality isn’t about one side defeating the other, but by all sides coming together for the greater good. Because the more we can lift each other up, the more we all have to gain.” – Stacey Lee
About the filmmaker – Director Stacey Lee was born in New Zealand, Stacey Lee’s work focuses on humanity, music, and movement. Her documentary short Live Fast Draw Yung premiered at Tribeca Film Festival in 2015, winning awards in Atlanta and Tacoma. She was recently shortlisted for the Cannes Young Directors Award and selected as part of the DGA/AICP Diversity Showcase. Underplayed is her feature debut.
Take a trip and break out of your shell with Barb and Star. From the gals who broughtyouBridesmaids (co-stars and co-writers Kristen Wiig and Annie Mumolo) comes BARB & STAR GO TO VISTA DEL MAR. Lifelong friends Barb and Star embark on the adventure of a lifetime when they decide to leave their small Midwestern town for the first time…ever. Romance, friendship and a villain’s evil plot…Hold onto your culottes, BARB & STAR is streaming now! Director Josh Greenbaum (Too Funny to Fail, Behind the Mask, Becoming Bond) joins us for a lively conversation on he became part ofthe Trish-a-licious inspired Kristen Wiig and Annie Mumulo’s project, and finding just the right amount of kitsch, color and culottes to make the funniest magical turtle comedy in the history of cinema.
About the filmmaker – Josh Greenbaum is a Director, Writer and Producer in both film and television. He has won an Emmy Award, an MTV Award, and a CINE Golden Eagle Award. His first feature documentary THE SHORT GAME won the Audience Award at the SXSW Film Festival and was acquired by Netflix to launch their Originals film division. His second film BECOMING BOND also won the Audience Award at the SXSW Film Festival and was acquired by Hulu as one of their first Original films. His latest film called TOO FUNNY TO FAIL is a Hulu Original Documentary about The Dana Carvey Show, which was the launching ground for then unknowns Steve Carell, Stephen Colbert, Louis CK, and Charlie Kaufman among others and currently has a 100% fresh rating on Rotten Tomatoes. In television, Greenbaum is the creator, Executive Producer, and Director of the Emmy- nominated Hulu Original series BEHIND THE MASK now in its second season, and Executive Producer and Director of the Netflix Original Series THE PLAYBOOK. In addition, Greenbaum has written and directed projects for ABC, CBS, Fox, Comedy Central and the CW, including THE NEW GIRL for Fox, as well as dozens of short films, including one for the Clinton Foundation and Funny or Die starring Matt Damon, Ben Stiller, Kevin Spacey, Sean Penn, Jack Black, Bill Clinton, Kristen Wiig and others. Greenbaum has also directed award-winning commercials for brands such as Dove, Coke, AT&T, ESPN, Burger King, Old Navy, Carhartt, and has directed top name talent such as Daniel Craig, Ben Affleck, Kristen Bell, Matt Damon, including a commercial starring Arnold Schwarzenegger that garnered 20 million hits in less than two days and was awarded the Youtube Ad of the Year. He also recently won a Cannes Lion Award for a campaign he directed for Burger King. Greenbaum is a graduate of Cornell and Oxford Universities and received his MFA in film from the graduate program at USC’s School of Cinematic Arts.
“To call it a trip is an understatement. Barb and Star Go to Vista Del Mar is a tumble down a piña-colada-fuelled rabbit hole. Once through the looking glass, it’s an uncanny but thoroughly enjoyable time.” – Gabriella Geisinger, Digital Spy
“’Barb & Star Go to Vista Del Mar’ is one of the silliest and most ridiculous films I’ve seen in some time…and I loved every damn moment of it.” – Doug Jamieson, The Jam Report
“Barb & Star is what happens when you let two genius women do whatever they want and what they want happens to be an action comedy set in tourist Florida with two middle-aged women who love culottes at the center.” – Esther Zuckerman, Thrillist
“Brimming with incredible energy and non-stop laughter, Barb and Star Go to Vista Del Mar is the movie the entire world needs right now.” – Maxance Vincent, Cultured Vultures
“A tropical blue beacon of absurd joy that has nothing profound to say, and is all the better for it.” – Abby Olcese, Crooked Marquee
Based on the critically acclaimed graphic novel, DAYS OF THE BAGNOLD SUMMER is a funny yet sweet coming-of-age story about single motherhood and Metallica.Daniel (Earl Cave) was supposed to spend the summer with his dad and his dad’s new wife in Florida, but when his dad cancels the trip Daniel and his mom, Sue, (Monica Dolan) suddenly face the prospect of six long weeks together. An epic war of wills ensues in their suburban home as Daniel just wants to listen to heavy metal and start a band while his mom hopes to rekindle the fun times they used to have together. Featuring original songs by Belle and Sebastian. Director Simon Bird joins us for a conversation on his beautifully rendered tale of a sullen, insecure teen and his effervescent single mom doing her best to keep moving forward in a world that is pelting her with cheap shots and exasperating insults.
About the filmmaker – Director Simon Bird’s first short film, Ernestine and Kit, premiered at South By Southwest, and was nominated for Best Short at the Irish Film and Television Awards. Previously, Simon has worked as a stand-up comedian, writer, producer, and actor. As a writer, he created The King Is Dead for the BBC and co-created Chickens for Sky, which was nominated for Best Sitcom at the Broadcast Awards. As a producer, he set up Guilty Party Pictures, a TV and film production company backed by RED and Studiocanal. Guilty Party has produced content for Channel 4, Sky and the BBC, and recently wrapped on How Europe Stole My Mum, an original TV show for Channel 4, to air later this year. As an actor, Simon has starred in five series of Rose D’Or-winning sitcom Friday Night Dinner. The sixth series shoots later this year. He is perhaps best known as Will McKenzie from Channel 4’s BAFTA-winning sitcom THE INBETWEENERS, THE INBETWEENERS MOVIE, which is the highest-grossing comedy film ever in the UK, and THE INBETWEENERS 2, which had the highest-grossing opening weekend of any film in the UK in 2014. Simon has won multiple British Comedy Awards and been nominated for a BAFTA and Royal Television Society award for acting.
“Far closer in spirit to the lighter works of Mike Leigh than the broader material that made him a well known figure in British comedy, Bird’s debut is innately humanistic, with cross-generational appeal.” – Alistair Ryder, Film Inquiry
ANATOMY OF WINGS is the direct result of an after-school film project, where ten Black middle school girls gathered each week to collaborate with their Black and white mentors on a feature-length documentary about their own coming-of-age in Baltimore City. Weeks turn into years. Then, shortly before the girls’ high school graduations, a sea of misunderstanding arises about what’s to come. This self-defined ‘second family’ is left to question if their solidarity will survive the realities of living in a world of racial inequity.WINGS mentors created a safe space for the girls to practice filmmaking and share life experiences, questions and personal moments such as proms, first time gynecologist visits and accomplishments. Their lives in Baltimore reflected their corresponding community and, once in high school, the girls began inviting their best friends to join the program. The result: we became a group of 10. What began as a videography program evolved into a powerful space of sharing for ten years, where ten girls, mentors, professors and college students at MICA created a family. The co-directors Kirsten D’Andrea Hollander and Nikiea Redmond join us for a conversation on the power of storytelling, especially for young women of color, living in a community bereft of opportunity can be a powerful and unmistakable call to arms for real social change.
About the filmmaker – Kirsten D’Andrea Hollander is a full-time professor at the Maryland Institute College of Art (MICA), where she currently directs the MFA Filmmaking program. Equipped with an undergraduate degree in Painting from MICA in 1988, she turned to documentary filmmaking after receiving an MFA in Imaging and Digital Arts from UMBC in 1997. Having taught in higher education for 22 years, Hollander explored how the camcorder can be a collaborative tool to bear witness. In 2008 she launched the ‘Wings Video Skills After School Program for Girls’ and the recently completed ‘Anatomy of Wings’ feature length documentary. In 2011 Hollander was selected for an Independent Filmmaker Project Fellowship to launch her first feature length documentary, ‘Us, Naked: Trixie & Monkey’, which premiered with the DOC NYC film festival in 2014. In 2015, ‘Us, Naked: Trixie & Monkey’ received Best International Feature Length Documentary at the Netherland’s DOCfeed Film Festival and Best Feature Length Documentary at New York’s Coney Island Film Festival. The film went into international distribution with Random Media/The Orchard in 2017. Hollander lives in Baltimore City with her husband, son, and two silly dogs.
About the filmmaker – Nikiea Redmond received her Bachelors in Corporate Communication from the University of Baltimore in 2011. Growing up in East Baltimore Redmond became a mentor to the youth coming-of-age around her. Being a child in Baltimore’s impoverished neighborhoods, researching the history of slavery in her family, traveling with Freedom Schools focused on teaching African history – and working professionally in the public-school system has provided Redmond with the experience to tell the ‘Anatomy of Wings’ story with a direct understanding of societal makeups and the human rights she wishes to see in the world. Additionally, Redmond serves as a liaison bringing together political organizations, community groups and stakeholders in East Baltimore. The Afro-American Newspaper presented Redmond with the ‘Sam Lacy Award for Youth Leadership’ in 2004. She is also a 2015 recipient of the ‘Black Wall Street Journal Award’ for her work in Baltimore City.
In the mid-‘70s, filmmaker James Szalapski traveled to Texas and Tennessee to capture the radical country artists reclaiming the genre through an appreciation for its heritage in folk and bluegrass and a rejection of the mainstream Nashville machine. The hard living – and hard partying – lifestyles of outlaw country’s figureheads are played out on screen in trailer homes, prisons and even a liquor-fueled Christmas gathering. It borrowed from rock, folk and bluegrass, with an edge that was missing from mainstream Nashville country. This newly-restored document, HEARTWORN HIGHWAY, includes rarely-captured performances of musicians as they perfected this then-new style and helped change the course of country music history by artists that include Townes Van Zandt, Guy Clark, Rodney Crowell, Steve Young, David Allan Coe, and a 19-year-old Steve Earle and many others appear and perform. Musical highlights include Clark’s brilliant “Desperados Waiting For A Train”, Young’s stirring “Alabama Highways” and Van Zandt’s emotional “Waiting Around To Die.” The hard living – and hard partying – lifestyles of outlaw country’s figureheads are played out on screen as we visit Van Zandt’s Austin trailer, see Coe play in Tennessee State Prison, join the gang in Nashville’s notorious Wig Wam Tavern and witness a liquor-fueled Christmas at Clark’s house. No wonder the film’s original tagline read: “The best music and the best whiskey come from the same part of the country”. Outside of a couple festival screenings, the movie remained unreleased for five years after its completion, finally hitting screens in 1981 and finding a cult audience ever since.” Heartworn Highways Producer Graham Leader joins us to talk about the groundbreaking artists he and director / writer / cinematographerJames Szalapski were able to wrangle into participating as well as the long and winding road this fabled film has taken over the last 44 years.
About the filmmaker – Graham Leader grew up in England, studied art history at the Victoria & Albert Museum and worked as a dealer in twentieth century art before becoming a producer. Founded by Leader in 2014, SEALIONFILMS is currently developing a broad slate of character-driven scripts and documentary projects aimed at the international market. His films include: HEARTWORN HIGHWAYS (1976), SHUTTLECOCK (1990), IN THE BEDROOM (1991), THE SAFFRON LIMITED (2005), CHILDLESS (2008), HEARTWORN HIGHWAYS REVISITED (2012 – 2014), and SINS OF A FATHER (2014).
About the music – “Musically, it’s almost impossible to pick highlights but Guy Clark’s “That Old Time Feeling” is a husky delight and when Seymour Washington, a friend of Van Zandt’s (born 1896!) hears him sing “Waitin’ ‘Round To Die” he can’t prevent teardrops from rolling down his cheeks; neither will you.” – Record Collector
“The only thing flawed about “Heartworn Highways” is the people, and they’re so likable you’ll quickly look past their less desirable qualities or notions.” – Michael J. Casey, Michael J. Cinema
“Heartworn Highways refuses that historicizing assessment, even resists it. The film would certainly not have become the canonical documentary it has without the subsequent success of its subjects, but their names are never the emphasis here.” – Doug Freeman, Austin Chronicle
“Shot in 1975 but not released until 1981, this documentary by James Szalapski captures the nascent stages of a poetic country music played by Texas outsiders like Guy Clark, Steve Young, Townes Van Zandt, and a young Steve Earle.” – Peter Margasak, Chicago Reader
After producing the comeback tour of The Monkees in 1986, promoter and talent agentDavid Fishof founded Rock’ n’ Roll Fantasy Camp, which has been making dream comes true for more than 25 years. Summer camp meets Spinal Tap, Rock’ n’ Roll Fantasy Camp brings together musicians from all walks of life for an unforgettable experience with legendary rock stars. These musicians teach, inspire, and jam with the campers over four days, concluding with a life performance at a famed venue. The experience takes music lovers from spectator to the stage, sharing the limelight with their musical heroes. Rock Camp, The Movie follows four campers (and their families) trough their journeys to shred with their heroes and see how they overcome their fears and transform their lives. Rock Camp – The Movie boasts a jaw-dropping array of rock star “counselors” that include Roger Daltrey, Alice Cooper, Paul Stanley and Gene Simmons,Nancy Wilson, Joe Perry, Jeff Beck, Slash, and countless other rock legends. Directed and produced by Doug Blush, co-directed and edited by Renee Barron, and produced by Jeff Rowe. Rock’ n’ Roll Fantasy Camp founder David Fishof joins us to talk about his life as a promoter, the amazing array of talented artists he has gotten to know and the endless joy that his “Fantasy Camp” and now the “The Movie” has brought him over these many years.
About the founder – David Fishof began his career as a sports agency and eventually an entertainment executive and music producer more than four decades ago. Through the Rock’ n’ Roll Fantasy Camp, he has been making dream comes true for more than 25 years. Whether he’s producing a tour, assembling an All-Starr band with Ringo Starr, or writing a best-selling book, there’s one thing David Fishof is always doing: dreaming. Hailed as one of the most creative and innovative entertainment producers in the world, David has been responsible for some of the most original, successful, and exciting live shows ever brought to the stage. But of all the shows he’s put on over his 40-plus year career, there’s one production that stands out from all the rest: Rock ‘n’ Roll Fantasy Camp. After years of good fortune working with veteran rockers like Roger Daltrey, Ringo Starr, The Monkees, Levon Helm, Joe Walsh, Jack Bruce and Peter Frampton, David decided it was time to share his experiences with rock fans around the world. And so, in 1997, he debuted the rock camp—a place where regular people can reconnect with their passion for music alongside the most famous names in the business. For more information go to: rockcamp.com
About the filmmaker – Doug Blush is an award-winning director, producer, editor, and cinematographer. His credits include, as editor, the Oscar and ACE Eddie Award winning 20 Feet from Stardom (2013), as executive producer, the Oscar winning Period. End of Sentence. (2018) and, as consulting producer and editor, the Oscar winning Icarus (2017).
January 12-24 2021, Highways, the legendary Los Angeles Performance Space and Gallery presents its Second Annual Film Maudit 2.0 festival showcasing and celebrating new outré, unusual and startling films. The festival will feature over 125 works of cinema from 25 countries including films rarely if ever, seen in festivals: works addressing socio-political issues and taboo subject matter that challenges conventional artistic assumptions and sexual mores.Virtual, online screenings of 18 feature films, 21 shorts programs, specially commissioned programs, and new film scored performed by artists who reflect the diversity of Los Angeles. Included are a range of narrative, documentary and experimental films that are deliberately bold, extreme, confrontational and unusual. Film Maudit 2.0 highlights this year include the U.S. premieres of Feature Films:Mathius Marvellous Shop, a Spanish/German surrealistic satire;Kriya, a magical Indian thriller, and the Los Angeles premieres of Woman of the Photographs; a powerful Japanese film about image and reality for a beautiful model; The Columnist, a darkly comic horror film from The Netherlands; A Dark, Dark Man, the Kazakhstan/France thriller just long-listed for the Golden Globes; and Darkness (Buio)the first feature film by Donatello Award-winning director Emanuela Rossi. Other special programs include a special fundraising screening of erotic art pioneers Annie Sprinkle and Beth Stephens’ Water Makes Us Wet, featuring a live stream Q&A with both; new, original music scores performed live to silent films, and multiple Feature and Shorts Programs that showcase works from 25 countries in 16 uniquely curated categories from ‘Ms. Fear’ to ‘Shattering Form’ – with animated documentaries to experimental works handmade on film; extreme horror to comic surrealism. There is a special focus on works in Film Maudit’s BEHOLD section, which includes NSFW! curated by Planet Queer, Hi Kicks Entrails, curated by performance artist Ironstone, and QLX: the Performance of Queer Latinx.
Film Maudit 2.0 festival is inspired by French avant-garde filmmaker and writer Jean Cocteau who created the original Festival du Film Maudit (literally “cursed films”) in 1949 aiming to celebrate overlooked, shocking and experimental films. Film Maudit 2.0, in its 2nd year, showcases a counter-cinema will blend of narrative, documentary and experimental films that in their style and/or subject matter, are deliberately bold, extreme, confrontational, troubling, shocking and/or unusual. The festival is funded in part by the California Arts Council, Los Angeles County Department of Cultural Affairs and the City of Santa Monica Cultural Affairs CAP Program.
About HIGHWAYS – Film Maudit 2.0 is co-presented by and takes place at Southern California’s boldest center for new performance and media arts, Highways Performance Space & Gallery in Santa Monica, CA. In its 31st year, Highways continues to be an important alternative cultural center in Los Angeles that encourages radical artists from diverse communities to develop and present innovative new works. Described by the Los Angeles Times as “a hub of experimental theater, dance, solo drama and other multimedia performance,” Highways promotes the development of contemporary socially involved artists and art forms. Under the helm of Executive Director, Leo Garcia, Highways has received funding and support from organizations such as the The James Irvine Foundation, Metabolic Studio, California Community Foundation, Liberty Hill Foundation, The Warhol Foundation, National Endowment for the Arts, and The Roy Cockrum Foundation. Leo Garcia is an award-winning playwright, filmmaker, visual artist and actor who has produced over 800 performance works as Artistic Director-turned-Executive Director of Highways since 2003. highwaysperformance.org
YELLOW ROSE features Eva Noblezada, who is joined by fellow Miss Saigon alum and Tony Award winner Lea Salonga. The film follows Rose Garcia, a 17-year-old Filipina American in Texas. When her mom is arrested by Immigration and Customs Enforcement, Rose undertakes a musical journey while facing deportation back to the Philippines. Inspired by the music of country musicians like Patsy Cline, Loretta Lynn, and Willie Nelson, the original composition accompanied by Noblezada’s captivating voice becomes the soundtrack of Rose’s wanderings akin to American westerns. YELLOW ROSE Director Diane Paragas joins us to talk about her warm-hearted tale of a young woman’s determination to fight back against the cruelty of a heartless immigration system while pursuing her own version of the American Dream deep in the heart of Texas with Austin’s music icon, Dale Watson at her side.
Yellow Rose is available on Digital now and on Blu-ray and DVD January 5
About the filmmaker – Diane Paragas is an award-winning director, editor, cinematographer and producer of commercials, narrative features and documentaries. IN 2012, Paragas co-directed Brooklyn Boheme, a feature length documentary about an African American arts movement, with writer and critic Nelson George. The film featuring Spike Lee, Chris Rock and Rosie Perez to name a few. The film was acquired by Showtime and won a Black Reel Award for Best Documentary. In 2019, Paragas wrote and directed her debut narrative feature, Yellow Rose, about an undocumented Filipino-American teen pursuing a dream to become a country music singer. The film won over a dozen Grand Jury Prizes during its festival run and will be released by Sony Pictures in 2020. She is also in pre-production for a bold feature documentary about a wrongfully convicted undocumented immigrant called “The Three Lives of David Wong” that uses puppetry to tell its story. The film was is supported by The Sundance Institute, The Bertha Foundation Grant and CAAM. Ms Paragas is a 2020 recipient of the prestigious Creative Capital Award and was named as A100’s Most Impactful Asians of 2020 alongside directors Bong Joon Ho, Taika Waititi and Lulu Wang.
“The film beautifully captures the struggles of a young woman to find her voice and a sense of belonging in an often hostile world as it celebrates the joy of making music and its power to provide hope.” – Loren King, AWFJ Women on Film
“Diane Paragas’ film finds fresh ground to explore the price and the power of the American dream, bolstered by country crooning and heartbreaking (and very real) legal worries.” – Kate Erbland, indieWire
“An affecting portrayal of a young woman finding her footing against all odds, and claiming her home in a nation that makes it unduly challenging.” – Katie Walsh, Tribune News Service
“The lean screenplay and [Diane] Paragas’ focused creative vision makes for a singular directorial feature debut that feels like nothing else happening in film right now.” – Beth Sullivan, Austin Chronicle
Tandem Pictures is a leader in conceiving and implementing eco-sustainable filmmaking practices in the indie film space,with all of their productions following Environmental Media Association standards and the Producers Guild’s Green Best Practices. They’re also an advocate for how these practices – from using hybrid vehicles on set, to having the sound and camera teams use rechargeable batteries, to composting and using metal straws – can and should be adopted industry-wide. Female owned and operated, it is Tandem’s mission is to bring female talent and narratives to the forefront. They embrace female-centric storytelling, and pride themselves on the fact that the casts and crews of their films are composed of underserved and underrepresented minority groups, LGBTQIA, and women.tandempictures.com
JULIE CHRISTEAS – Tandem Pictures – Founder, Chief Executive Officer Julie’s recent films include BLACK BEAR (Sundance 2020) starring Aubrey Plaza, Christopher Abbott and Sarah Gadon which will be released later this year by eOne/Momentum and THE SURROGATE (SXSW 2020/Monument Releasing) . She also executive produced the cult horror favorite THE EYES OF MY MOTHER (Sundance 2016/Magnet Releasing), MONOGAMY (Best NY Narrative, Tribeca Film Festival 2010), the feature doc DUKALE’S DREAM starring Hugh Jackman, and GHOST TEAM starring Jon Heder, David Krumholtz, Justin Long, Amy Sedaris and Melonie Diaz. Previously she produced BLOOD STRIPE (Jury Prize for Best Narrative Film, LA Film Festival 2016), WILDLIKE starring Bruce Greenwood and Brian Geraghty (HIFF), and THE SLEEPWALKER starring Christopher Abbott and Brady Corbet (Sundance 2014/IFC).
JONATHAN BLITSTEIN – Tandem Pictures – Co-owner, Chief Operating Officer Jonathan’s most recently produced the acclaimed films THE SURROGATE, and BLACK BEAR (SUNDANCE, EOne/Universal release) starring Aubrey Plaza. Prior to Tandem he worked in production and branded entertainment for Vudu, Sony and Disney, supporting Fortune 500 Brands such as Walmart, Sprint and Covergirl. At Oracle (formerly CrowdTwist), he initiated the creation of Marvel Studios’ first nationwide fan loyalty program Marvel Insider. In his early career, he made two micro-budget feature films LET THEM CHIRP AWHILE and ANOTHER KIND which both premiered at the Woodstock Film Festival which were distributed on Netflix and VOD. Early career roles include marketing arthouse films such as Park Chan Wook’s OLD BOY, and Noah Baumbach’s SQUID AND THE WHALE.
As imaginative as the creative process it documents, A DOG CALLED MONEY is a uniquely intimate journey through the inspiration, writing and recording of a PJ Harvey record. Writer and musician Harvey and award-winning photographer Seamus Murphy, hatched a collaboration. Seeking first-hand experience of the countries she wanted to write about, Harvey accompanied Murphy on some of his worldwide reporting trips, joining him in Afghanistan, Kosovo, and Washington DC. Harvey collected words, Murphy collected images. Back home, the words become poems, songs, then an album, which is recorded in an unprecedented art experiment in Somerset House, London. In a specially constructed room behind one-way glass, the public – all cameras surrendered – are invited to watch the 5 week process as a live sound-sculpture. Murphy exclusively documents the experiment with the same forensic vision and private access as their travels. Director / photographer Seamus Murphy brilliantly captures encounters with the people and places he and Polly Jean visit, showcasing the humanity at the heart of his work, while also tracing the evolution of their shared experience into her recorded music and ultimately into their impassioned collaboration.
About the filmmaker – Seamus Murphy grew up in Ireland and is based in London. He is the recipient of seven World Press Photo awards for his photographic work in Afghanistan, Gaza, Lebanon, Sierra Leone, Peru and Ireland. He received The World Understanding Award from POYi in the USA for his work from Afghanistan and a film he made based around this work was nominated for an Emmy and won the Liberty in Media Prize in 2011. His work has been published and exhibited widely. He has made films for The New Yorker and Channel 4 Television in the UK. He is the author of four books including A Darkness Visible: Afghanistan (Saqi Books. 2008) is based on 12 trips to the country between 1994 and 2007 and is a chronicle of Afghanistan’s extraordinary recent history. I Am The Beggar of the World (Farrar Straus Giroux. 2014) offers a rare glimpse into the lives of Afghan women through their anonymous Landay poetry. He has collaborated with musician PJ Harvey on projects for Let England Shake and The Hope Six Demolition Project, for which he won a Q Award for Best Music Film in October 2016. Patti Smith listed Murphy’s film for Harvey’s The Words that Maketh Murder as one of her Top 10 artworks, saying “… this unheralded piece (directed by Seamus Murphy) is a wisp of humanity celebrating the small things. “Murphy and Harvey together published The Hollow of the Hand (Bloomsbury. 2015) a book of his photography and her poetry. An exhibition and live presentation of The Hollow of the Hand work took place at the Royal Festival Hall, London in 2015 and at Les Recontres d’Arles in France in 2016. His latest book The Republic (Allen Lane. 2016) is an immediate and personal portrait of Ireland and was exhibited at The Little Museum in Dublin in 2017.
“It’s fascinating to see the creative process laid bare in such a way, and the film confirms Harvey’s position as a vital and relevant artist who thrives through collaboration and experimentation.” – Jamie Healy, Radio Times
“Murphy has an unerring eye for poetic compositions that emphasise faces, isolated soldiers and civilians in battle zones, and anomalous juxtapositions of vulnerable non-combatants and military personnel.” – Graham Fuller, Sight and Sound