Little Fish – Director Chad Hartigan

LITTLE FISH, the fourth feature film from director Chad Hartigan, is a romance set in a near-future Seattle teetering on the brink of calamity. The film imagines a world where a pandemic has broken out, that strikes with no rhyme or reason, and causes its victims to lose their memories. This is the world that newlyweds Emma and Jude find themselves in, not long after meeting and falling in love. When Jude contracts the disease, the young couple will do anything to hold onto the memory of their love.  Starring Olivia Cooke (Sound of Metal, Thoroughbreds) as Emma, Jack O’Connell (’71, Starred Up) as Jude, Soko and Raul Castillo, LITTLE FISH, opens in the midst of a global epidemic: Neuroinflammatory Affliction, a severe and rapid Alzheimer’s-like condition in which people’s memories disappear. Couple Jude Williams and Emma Ryerson are grappling with the realities of NIA, interspersed with glimpses from the past as the two meet and their relationship blooms. But as NIA’s grip on society tightens, blurring the lines between the past and the present, it becomes more and more difficult to know what’s true and what’s false. Director Chad Hartigan (Morris From America, This is Martin Bonner) joins us for a conversation on the making of his  subversively sly sci-fi / love story and how the on-screen artistry of the two lead actors helped shape this prescient tale of love in an age of isolation and mistrust.

For news and updates go to: littlefish.movie

About the filmmaker – Writer/director Chad Hartigan is best known for his award-winning feature films THIS IS MARTIN BONNER and MORRIS FROM AMERICA. Hartigan won the John Cassavetes Award at the 2014 Independent Spirit Awards, as well as the “Best of NEXT” Audience Award at the 2013 Sundance Film Festival, for THIS IS MARTIN BONNER. Hartigan won the Waldo Scott Screenwriter Award at the 2016 Sundance Film Festival for his film MORRIS FROM AMERICA. LITTLE FISH marks the third collaboration between childhood friends Hartigan, composer Keegan Dewitt (HEARTS BEAT LOUD) and cinematographer Sean McElwee (THE INCREDIBLE JESSICA JAMES). Based on Aja Gabel’s short story, the film is written by up and coming screenwriter Mattson Tomlin who co-wrote the latest Batman film, THE BATMAN, and wrote the Netflix hit PROJECT POWER.

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“In the midst of a flurry of pandemic-themed media coming out which tries to reflect the [present] situation, LITTLE FISH manages to distinguish itself from the crowd with its brilliant leads and emotional resonance.” – Oluwatayo Adewole, The Spool

“The result is better than smart, it’s stirring. With the NIA pandemic as a pretext, the essential subject becomes memory — its fragility, its wondrousness, its centrality to our existence as sentient beings.” – Joe Morgenstern, Wall Street Journal

“Hartigan’s moody evocation of Emma and Jack’s love – and the way in which it, like so much else, is predicated on knowledge of the past – casts a moving spell.” – Nick Schager, Variety

“Chad Hartigan’s Little Fish drips with equal doses of beauty and poignancy – an affecting dive into love and memory, and how it defines who we are.” – Natasha Alvar, Cultured Vultures

A Glitch in the Matrix – Director Rodney Ascher

A GLITCH IN THE MATRIX ask the question, what if we are living in a simulation, and the world as we know it is not real? To tackle this mind-bending idea, acclaimed filmmaker Rodney Ascher (ROOM 237, THE NIGHTMARE) uses a noted speech from Philip K. Dick to dive down the rabbit hole of science, philosophy, and conspiracy theory. Leaving no stone unturned in exploring the unprovable, the film uses contemporary cultural touchstones like THE MATRIX, interviews with real people shrouded in digital avatars, and a wide array of voices, expert and amateur alike. If simulation theory is not science fiction but fact, and life is a video game being played by some unknowable entity, then who are we, really? A GLITCH IN THE MATRIX attempts to find out. The film introduces us to a handful of real-world testifiers who are certain that their bodies and minds are being operated by some external game-player. Ascher, as ever an inviting, curious questioner (never one who mocks), brings a wealth of cultural and intellectual context to his latest exploration, from the videotaped musings of paranoid sci-fi giant Philip K. Dick to clips of Keanu Reeves in The Matrix and a host of bespoke animated re-creations that give eerie credence to the most outré of notions. Director Rodney Ascher joins us to talk about his paranoia-inducing, exhilarating and definitive introduction to a subject that, subscribe to it or not, involves us all.

 

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For news and updates go to: aglitchinthematrixfilm.com

About the filmmaker – RODNEY ASCHER (Director, Editor, and Executive Producer) RODNEY ASCHER is a filmmaker known for creating documentaries that explore the subjective experience, freely appropriating the vocabularies of genre, experimental, and found-footage films along the way. His first feature, 2012’s ROOM 237 looked at The Shining through the eyes of five very different people. He visualized their wildly different interpretations of Kubrick’s classic by juxtaposing excerpts of the film with everything from Murnau’s Faust to the cover of the January 1978 issue of Playgirl magazine creating a trip down the rabbit hole. His follow up, THE NIGHTMARE was called “The Scariest Movie of the decade.” Creatively, the film completely changed tactics from Room 237’s archival-driven montage. To visualize real people’s seemingly supernatural experiences during bouts of ‘sleep paralysis’ his team filmed interviews at night in the subjects’ own bedrooms and created stylized re-enactments inspired by the interviewees’ drawings and his own personal memories of a visitation by a ‘shadowman.’ Like Room 237, it premiered at Sundance before traveling around the world including an Imax screening in Moscow. A GLITCH IN THE MATRIX is his most ambitious film yet, using multiple styles of 3D animation to illustrate the experiences and philosophies of people who suspect the world itself is not quite real.

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“A Glitch in the Matrix becomes not about whether we’re living in a simulation but about the many understandable reasons someone may think this. In effect, it winds up being about the mysteries of the human experience.” – Bilge Ebiri, New York Magazine/Vulture

“’A Glitch in the Matrix’ goes for the head by way of the heart, or maybe vice versa. Superb and startling, breathtaking and compassionate.” – Bill Arceneaux, Of Those Who

“A compellingly out-there look at the possibility that we’re all avatars in a game we can’t comprehend.” – Nick Schager, The Daily Beast

“Ascher’s appropriately discombobulating stew of queasiness, comedy, and terror seems well-cued to the subject matter, even while missing a certain editorial sharpness that might have brought some of its notions into greater clarity.” – Chris Barsanti, The Playlist

“While Ascher casts a wide net, “A Glitch in the Matrix” works quite well as an overview of the various epistemological questions it raises.” – Eric Kohn, indieWire

The Wanting Mare – Director Nicholas Ashe Bateman

In the world of Anmaere, north of the city of Whithren, wild horses run through the moorlands and up the coast. These horses are the city’s most valuable export and, as a result, are hunted, trapped, sold, and shipped across the sea once a year. For those in Whithren, this trade passage creates lucrative and exciting possibilities: the chance to escape their constantly sweltering city and escape to the Western continent of Levithen, or simply to begin again. Nothing can prepare audiences for the secrets, seduction, and sights of THE WANTING MARE, an intimate, dramatic fantasy epic written and directed by renowned digital artist Nicholas Ashe Bateman (visual effects supervisor of David Lowery’s upcoming The Green Knight). A technical marvel of digital world-building and independent ambition, the sprawling vistas, fantastical sights, and otherworldly tableaus of THE WANTING MARE were lensed almost entirely inside a warehouse in Paterson, New Jersey. Director, writer, and editor Nicholas Ashe Bateman joins us to talk about the five year journey of making THE WANTING MARE, the defining connection humans and horses share, the support he received from a dedicated group of friends and filmmakers, and the importance of Carl Jung.

 

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For news, updates and screenings go to: anmaerepictures.com/thewantingmare

THE WANTING MARE was written and directed by Nicholas Ashe Bateman, Executive Produced by Lawrence Inglee, and stars Jordan Monaghan, Yasmin Keshtkar, Edmond Cofie, Nicholas Ashe Bateman, Josh Clark, and Christine Kellogg-Darrin.

THE WANTING MARE opens nationwide on Friday, February 5th, 2021, and will be accompanied by a half-hour making-of documentary available online.

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Lapsis – Director Noah Hutton

LAPSIS is a smart, funny, slyly suffocating look into a parallel present, delivery man Ray Tincelli (Dean Imperial) is struggling to support himself and his ailing younger brother. After a series of two-bit hustles and unsuccessful swindles, Ray takes a job in a strange new realm of the gig economy: trekking deep into the forest, pulling cable over miles of terrain to connect large, metal cubes that link together the new quantum trading market. As he gets pulled deeper into the zone, he encounters growing hostility and the threat of robot cablers, and must choose to either help his fellow workers or to get rich and get out. What he doesn’t expect is to be pulled into a conspiracy involving hostile cablers, corporate greed, and the mysterious LAPSIS who may have previously owned his permit. Director / writer / editor Noah Hutton joins us for a conversation on his unique vision of the near future, quasi-syfy world, relationships, family and cabling.

 

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For news and updates go to: filmmovement.com/lapsis

About Virtual Cinema – Virtual cinema is video-on-demand streaming brought to you by Film Movement in partnership with local independent movie theaters, which allows you to stream first-run movies and revivals of classic films at home on your TV or on your mobile device prior to their availability on any other digital platform. The proceeds from your streaming rental is shared between Film Movement and the presenting art house movie theater of your choice, so all ticket purchases help support independent cinema.

About the filmmaker – Noah Hutton is a writer and director of documentary and narrative films. He wrote and directed the sci-fi feature Lapsis, which premiered in the narrative feature competition at SXSW 2020 and was acquired by Film Movement for theatrical release in 2021. In 2020 he completed In Silico, a ten-year documentary begun in 2009 and supported by Sandbox Films and the Alfred P. Sloan Foundation about a ten-year project to simulate the human brain on supercomputers. Previously he directed the documentary features Deep Time (SXSW 2015) and Crude Independence (SXSW 2009). For more about Noah Hutton and his films go to: couple3films.com

SOCIAL MEDIA
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“Hutton’s inventive storytelling weaves a clever web throughout….” – Andrew Osborne, Culture Vulture

“An ingenious social satire wrapped inside an intelligent sci-fi parable.” – Rob Aldam, Backseat Mafia

“Lapsis lives on the central performance by Dean Imperial as Ray, and that life is undoubtedly vibrant and complex.” – Richard Whittaker, Austin Chronicle
“A world away from the clichés of popular science fiction, this is the real thing.” – Jennie Kermode, Eye for Film

“…entertainingly original…. This tale of a floundering gig-economy worker straddles both the bleak present-tense reality of Ken Loach’s “Sorry We Missed You” and the subversive near-future political satire of Boots Riley’s “Sorry to Bother You” while arriving at a whimsical critique all its own.” – Dennis Harvey, Variety

Film Maudit 2.0 – Executive Director Leo Garcia and Artistic Director Patrick Kennelly

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.

 

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For news, screenings and updates go to: filmmaudit.org

All films at the festival are free and available online January 12 through 24. Reservations are required and can be made for each program via Film Maudit 2.0’s Screening Portal: filmmaudit.org/filmmaudit

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

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Coded Bias, Director Shalini Kantayya

CODED BIAS explores the fallout of MIT media lab researcher Joy Buolamwini’s startling discovery, technology based bias is real. Modern society sits at the intersection of two crucial questions: What does it mean when artificial intelligence increasingly governs our liberties? And what are the consequences for the people AI is biased against? When MIT Media Lab researcher Joy Buolamwini discovers that most facial-recognition software does not accurately identify darker-skinned faces and the faces of women, she delves into an investigation of widespread bias in algorithms. As it turns out, artificial intelligence is not neutral, and women are leading the charge to ensure our civil rights are protected. Director Shalini Kantayya (Catching the Sun) joins us for a conversation on computerized racial, political, sexual, social, financial, cultural bias and how it is here now and what, if any, way that people can do anything reform it or stop it from determining our collective future.  

 

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For news, updates and screenings go to: codedbias.com

Learn more and take action go to: codedbias.com/take-action

About the filmmaker: Director Shalini Kantayya’s feature documentary, CODED BIAS, premiered at the 2020 Sundance Film Festival. She directed an episode of the National Geographic television series Breakthrough, Executive Produced by Ron Howard, broadcast globally in 2017. Her debut feature film Catching the Sun, premiered at the Los Angeles Film Festival and was named a New York Times Critics’ Pick. Catching the Sun released globally on Netflix on Earth Day 2016 with Executive Producer Leonardo DiCaprio, and was nominated for the Environmental Media Association Award for Best Documentary. She is an Associate of the UC Berkeley Graduate School of Journalism. shalinikantayya.net

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“Racial bias, algorithms, facial recognition and badass women of color put our government on blast for using technology while rolling back privacy and Civil Rights in America. Joy Buolamwini and Shalini Kantayya should get a Nobel Peace Prize!” – Carla Renata, The Curvy Film Critic

“In a time where we as consumers instill unrelenting trust in the people behind the screen, there has never been a more vital documentary.” – Stephanie Archer, Film Inquiry

“Without shying away the issue’s enormity or its devastating consequences, Coded Bias gradually works toward almost inspirational vibe, as Buolamwini and others get to work solving the problem they’ve identified. – Angie Han, Mashable

“Kantayya makes a strong and compelling argument that everyone needs to pay attention to. Not only do we need to be talking about this, but we, the people, need to be doing more about this.” – Amyana Bartley, QBP Reviews

J.R. “Bob” Dobbs and the Church of the Subgenius, Director Sandy K. Boone and Church co-founder Dr. Philo Drummond

What started out as an inside joke amongst two self-proclaimed weirdos in Ft. Worth, Texas soon becomes much more than they bargained for when they decide to turn their conservative southern ideology on its head and invent a new religion all their own and all is chronicled in the rousing new documentary, J.R. “Bob” Dobbs and the Church of the SubGenius. The film features appearances from Church devotees Richard Linklater, Penn Jillette and Nick Offerman. The Church of the SubGenius has been called “the most aggressively preposterous theology the world has ever known!” But what is the Church? And who is J.R. “Bob” Dobbs? And why is his name always in quotes? Filmmaker Sandy K. Boone explores the underground movement that has galvanized the imaginative, the artistic, the nerdy, even the deranged – to examine the simmering dystopia in their culture, and do absolutely nothing about it… except, maybe, poke fun at it all. Director Sandy K. Boone and co-founder Dr. Philo Drummond (Reverend Ivan Stang) join us for a lively conversation on how the Church’s subversive and deliberately chaotic anti-dogma was unleashed on an unsuspecting world of pinks and normals.

 

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For news, updates and screenings go to: subgeniusmovie.com

For more about J.R. “Bob” Dobbs and the Church go to: subgenius.com

Director Statement – My late husband, filmmaker David Boone, and I moved to Austin in the early 1980s to join the film department at the University of Texas, write scripts, make films and raise our family. The Austin Chronicle was a new venture back then and the original TEXAS CHAIN SAW MASSACRE was just being filmed. Austin was being called The Third Coast by longtime friends: directors Jonathan Demme and John Sayles, and singer-songwriter David Byrne of the Talking Heads.In fact it was David’s film INVASION OF THE ALUMINUM which first caught the attention of Jonathan Demme, who went on the present it and five other Austin films at the Collective for Living Cinema in 1981 in New York. Three decades later, INVASION had become a Texas cult classic and I proudly produced a restoration of the film as part of JONATHAN DEMME PRESENTS: MADE IN TEXAS – SIX FILMS FROM AUSTIN, which premiered at SXSW in 2015. At that screening, Richard Linklater shared that seeing the MIT films years earlier at an art gallery screening in Houston actually inspired his move to Austin. In recent years I have co-founded several Austin based film companies with a shared mission to encourage local indie filmmakers, foster creative talent, and perpetuate a sense of community through filmmaking. Diving deeper into the world of film, I served as an associate producer on RICHARD LINKLATER – DREAM IS DESTINY, which premiered at Sundance in 2016. I then went on to executive produce films such as Ethan Hawke’s BLAZE, Karen Skloss’ THE HONOR FARM, and Keith Maitland’s Emmy winning documentary, TOWER. Currently I’ve just wrapped directing and producing my first feature documentary, J.R. “BOB” DOBBS AND THE CHURCH OF THE SUBGENIUS, a look inside the Church of the SubGenius, of which my late husband was an early disciple.

WINNER – Grand Jury Award, Texas Feature (DIFF 2019)
WINNER – Best International Documentary (MDFF 2019)
WINNER – Best Documentary Feature (Blow-Up Filmfest Chicago 2019)

 

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“Boone gives us both a nostalgic account on this underground movement and how their sci-fi inspired dystopia applies to each decade of history, up till today, where the documentary earns its whole-hearted earnestness.” – Alex Lines,Film Inquiry

“J.R. “Bob” Dobbs and the Church of the SubGenius captures a period in history when rebelling against the boundaries of reality could still be a positively charged, life-altering experience.” – Cheryl Eddy, io9.com

“This (mostly) playful, always thoughtful documentary is an unusual cautionary tale about what happens when society abandons absurdity as release and distraction.” – Andrea Chase, Killer Movie Reviews

“A wild, an engrossing look at a fascinating sliver of off-the-wall Americana, a minor religious movement that just sort of happened while two friends were messing around.” – Brent McKnight, The Last Thing I See

Wolfman’s Got Nards, Director Andre Gower

When it was released in 1987, The Monster Squad was deemed a failure by critics and was, according to the box office, a film no one cared about. But over the last three decades, word of mouth has turned this sleeping hit into a cultural phenomenon. WOLFMAN’S GOT NARDS explores the relationship a dedicated audience (including celebrities and filmmakers) has with The Monster Squad. The film takes an in-depth look into the film’s conception, response, cult status, and revival. Through interviews with the cast, crew, screenwriters, directors, academics and original reviewers as well as through never-before-seen footage, it turns the lens on an audience of self-proclaimed misfits who have kept The Monster Squad alive for more than 30 years. Director Andre Gower and Monster Squad member, Sean, joins us for a lively conversation on the unlikely saga of a box-office bomb that, like the squad, refuses to give up, and a community of fans that continues to grow.

 

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For news, updates and screenings go to:thesquaddoc.com

About the filmmaker – Director André Gower has 40 years of experience in the entertainment industry, making him one of the most recognizable child stars of his generation. His body of work includes network series, movies of the week, and features. He is best known for playing the lead character in the cult classic The Monster Squad. Currently, André heads Fitterpiper Entertainment, a production company focusing on young independent filmmakers, new concepts from industry veterans, experimental digital concepts and short films with a roster of production professionals. He also co-hosts the short film series ‘Short Ends’ (Nerdist/ALPHA) and a podcast, ‘Squadcast with Ryan and André.

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“Wolfman’s Got Nards is a well-made documentary that does right by The Monster Squad.” – Danielle Solzman, Solzy at the Movies

“There’s so much to cover, and Gower and his crew do an astounding job of being as thorough as possible.” – Kyle Anderson, Nerdist

“Watching these films – and this documentary – generates the type of joy we only felt as kids, as well as evoking the warm fuzzy feeling that nostalgia brings.” – Katie Driscoll, Starburst

“As a whole, I cannot recommend Wolfman’s Got Nards enough for those who love The Monster Squad, for fans of the horror genre, or even for anyone who has ever felt misunderstood by the world at large.” – Heather Wixson, Daily Dead

InterReflections, Director Peter Joseph

InterReflections explores deep social issues. In three timelines our main story takes us into the future when ecological crisis and inequality has destabilized society. John Taylor, a defected government intelligence agent turned revolutionary leader, is captured by his former colleague and nemesis, Simon Devoe. Simon leads a government spy agency, encouraging John to join him to avoid punishment. Simon humors John as they debate ideas about humanity, seeing no possibility of John’s escape. But John has a secret. Our second timeline follows a woman in modern day, experiencing life as a horror show, reflecting issues such as racism and environmental destruction. Fired from her job, she sets about finding another. Her journey transforms her. Timeline three takes place 100 years forward as four academics of this future talk about the way things used to be in the early 21st century. They speak of “The Great Transition,” a dramatic global revolution that changed everything for the better. Director Peter Joseph (The New Human Rights Movement, The Zeitgeist Movement) joins us for a conversation about his genre-shattering approach to filmmaking and what his film’s vision says about the world we live in.

 

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For news, screenings and updates go to: interreflectionsmovie.com

InterReflections will arrive online in various VOD outlets on Oct 6th 2020. This page will be updated at that time with both access to the online services and available DVD/Blu-ray.

About the filmmaker – Peter Joseph is an American musician, filmmaker, author and activist. His most recent media work is the live action film InterReflections, to be released on Oct 6th 2020. Other notable credits included the award-winning “Zeitgeist Film Series”, the Culture in Decline web series and his book The New Human Rights Movement, published in 2017 by BenBella books. He is also host of the podcast Revolution Now! started in 2020. In 2009, he founded  “The Zeitgeist Movement”, a global, nonprofit sustainability advocacy group and has been on the Advisory Board/Steering Committee for “Project-Peace on Earth“ since 2013. He also founded and curates the Annual Zeitgeist Media Festival for the arts and periodically works with UN working groups including UNFUCA and The World Academy. Joseph has given talks around the world, including the UK, Canada, GermanyAmerica, Brazil & Israel. He was a featured speaker at the 2011 Leaders Causing Leaders Conference [Lecture Here] and his work has been profiled in the New York Times, Vice, The Huffington Post, The Marker, Free Speech TV, The Young TurksThe Examiner and many other media outlets. He has participated in multiple TEDx Events, has worked with The Global Summit  and is also a frequent social critic on the news network Russia Today. He has appeared on the Joe Rogan Experience Podcast, Thom Hartmann’s The Big Picture, Watching The Hawks, BoomBust, Redacted Tonight with Lee Camp, The David Pakman show, Christopher Ryans “Tangentially Speaking” podcast, Telesur’s Empire Files with Abby Martin, The Jimmy Dore Show and others.

 
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instagram.com/peterjosephofficial
@ZeitgeistFilm

 

Volition, Director Tony Smith and Producer Ryan Smith

From the Smith Brothers and Director Tony Dean Smith comes VOLITION, a mind-bending science-fiction thriller, where the line between fate and free-will blurs. When you know your world is pre-determined, it’s hard to care about your choices.  This is true for James Odin (Adrian Glynn McMorran). On a rain-soaked night in 1991, two cars collide, leaving all drivers dead on the scene, including the mother of the lone survivor, a child , James Odin.  It’s a tragedy.  But what’s more tragic is that seven-year-old James foresaw the accident happening two days prior.  He tried to prevent it, but who’s going to believe a kid who claims to see the future? Twenty-plus years later, James is a product of the failed foster care system. Knowing that the events of his future are predestined, he’s getting by, using his ability for petty crime and cheap thrills. But when a pre-sentient vision reveals to him his own imminent murder, James must go on the run and change the fate he knows is fixed. Director /co-screenwriter Tony Dean Smith and Producer / co-screenwriter Ryan Smith join us to talk about their consistently creative, high-wire tale of time travel, heartbreak and determining your own fate.

 

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For news and updates go to: volitionthemovie.com

Volition is now available at Apple TV

About the filmmakers: Tony Dean Smith (director/co-writer) & Ryan W. Smith (producer/co-writer) Born in Johannesburg, South Africa, Tony Dean Smith & Ryan W. Smith are the Smith Brothers, a creative partnership forged in the fires of sibling revery.  

Tony Dean Smith is the recent recipient of the Director’s Guild off Canada “Best BC Director” award, granted at the Whistler Film Festival for his feature film debut, VOLITION. An award-winning director, writer and editor, Tony has gone on to write and direct various long-form projects for film & television – as well as constantly developing new material that’s close to his heart. Tony is also an acclaimed editor, having cut for Neill Blomkamp, Netflix, 20th Century Fox, Universal Studios, NBC, Syfy and others. 

Ryan W. Smithis an award-winning writer/producer, having won the ScreenCraft Fellowship for his feature script, Jacaranda.  Along with his film work, Ryan has written on over 135 episodes of television, which has earned him two Leo Awards.  Ryan has written for such companies as Netflix, Anonymous Content, Andrew Lauren Productions, SyFy, Disney and Original Film. The Smith Brothers live in Vancouver, B.C., where they continue to be not only creative partners, but brothers.

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“Ingenious” — Sci-Fi Now 

“Enthralling” —Horror DNA

“Fantastic and original” —Nerdly

“Prepare to get your mind scrambled” – Hollywood News

“Sci-fi with a healthy serving of smarts” — Electric Shadows

“Think LOOPER, THE TWILIGHT ZONE and BLACK MIRROR” — London Frightfest

“One of the truly, best hybrids of horror and science fiction this year and perhaps this decade.” – Horror Hound

The 11th Green, Director Christopher Munch

A long-awaited follow up to Munch’s acclaimed 2011 Sundance film Letters From the Big Man, THE 11TH GREEN stars Campbell Scott (House of Cards, Roger Dodger) as a journalist who uncovers the truth behind the mythology of President Eisenhower’s long-alleged involvement in extraterrestrial events. Rife with hidden government secrets and Matrix-like mind-benders, THE 11TH GREEN is grounded in what is widely believed to be the nuts-and-bolts core story of post-war U.S. military and government involvement with UFOs. In this way, the film sketches a possible backdrop to recent revelations in the mainstream media (eg, the New York Times and Washington Post) and subsequent declassification of certain U.S. military interactions with UFOs. Thought-provoking but understated, filled with sharply drawn characters, stark desert landscapes, and leaps across the space-time continuum, THE 11TH GREEN is challenging cinema that generates questions, discussion, and debate long after the credits roll. The film’s distinguished cast also includes Agnes Bruckner (Blood and Chocolate, Blue Car), Ian Hart (Harry Potter and the Sorcerer’s Stone, Backbeat), April Grace (Magnolia, Joker), Tom Stokes (The Railway Man, Wasted On the Young), David Clennon (Being There, The Thing), Monte Markham (Mr. Deed Goes to Town, Dallas), and Currie Graham (NYPD Blue, Project Blue Book). Groundbreaking American auteur Christopher Munch (director of The Sleepy Time Gal and the recently restored indie classic The Hours and Times) joins us to talk about his many-layered drama and the talented cast he assembled to breathe life into it.

 

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For news and updates go to: christophermunch.com

To watch the film go to: theatricalathome.com/the-11th-green

*** Special Event *** In celebration and support of its current virtual cinema release via the “Theatrical-At-Home” program (and in select traditional venues), the team behind the critically acclaimed sci-fi drama THE 11TH GREEN will unite together for a special Q & A event . This event will help theatres currently presenting the film to offer their audience more of the traditional filmgoing experience. The special event will take place on Monday, July 20 that 4:00 P.M. PST / 7:00 P.M. EST (check online for your correct time zone). The Q & A will feature writer-director Christopher Munch plus stars Campbell Scott and George Gerdes, moderated by the film’s editor Curtiss Clayton. Audience members attending the virtual Q and A will have the chance to submit questions to the team, as if they were attending an in-person event.

About the filmmaker: Christopher Munch’s feature, the wilder­ness drama Letters from the Big Man (2011), was a New York Times Critics’ Pick and featured a lauded central performance by Lily Rabe. Five of his features have played at Sundance, and his first, The Hours and Times (1992), a speculative biopic about Beatles’ manager Brian Epstein, won a special jury prize there. An impossible dream was the overarching theme of Munch’s sec­ond feature, the period landscape drama Color of a Brisk and Leaping Day (1996), based on the true story of a young trolley mechanic who tries to save a doomed short-line railroad to Yosemite National Park. Munch then undertook the sprawling, unconventional mother-daughter story The Sleepy Time Gal (2002), which Kevin Thomas in the Los Angeles Times wrote “has a depth, range and subtlety far greater than most American films” and which David Ansen of Newsweek upon its release stated was Jacqueline Bisset’s “finest performance.” Munch followed this with another unconventional family dissection,  Harry and Max (2004), about two pop star brothers.  He is a past Guggenheim  fellow, recipient of the Wolfgang Staudte Prize at Berlin, winner of two Independent Spirit Awards, including the “Someone To Watch” Award, and has been featured in two Whitney Biennial exhibitions. He has received competitive awards from the Alfred P. Sloan Foundation (for science in film), Creative Capital Foundation, The American Film Institute, The Merchant and Ivory Foundation, and others. christophermunch.com

“The bottom line: a thoughtful and compelling what-if starring a never-better Campbell Scott. . . . A bracing example of Munch’s fearless knack for casting a new light on official stories. . . . that information unwinds with a provocative and illuminating slant, and in combination with the film’s eccentric mix of genres, time periods and SoCal desert atmosphere, it makes for a heady revisionist saga. . . . For all the story’s machinations and dark doings, The 11th Green is concerned not with narrowly defined party politics but the power of cabals, and the relative powerlessness of figureheads. . . . [I]n its precision and poetry, the language is alive, and Munch gives each character a distinctive voice.”Sheri Linden, The Hollywood Reporter

“Wildly inventive . . . a work of meticulous historical reimagination. . . . With tight-lipped restraint, Munch giddily tweaks the past seventy-five years of political assumptions and the very concept of life on Earth.” – Richard Brody, The New Yorker

Algorithm: Bliss, Co-director Dena Hysell-Cornejo and Isak Borg

Inspired by the massive use of new technologies which intersect with psychopharmacology for therapeutic purposes. Algorithm: Bliss takes a look into how humanity and technology intersect and examines the unintended consequences of applications and innovations that come out of good intentions. Algorithm: Bliss explores where and how lines of morality get blurry once people are dealing with the reality of the noble aspirations for a product versus the potentially dangerous reality of implementation.  It’s Edgar Allen Poe’s “The Tell-Tale Heart” for a digital age. Vic Beckett (Sean Faris) is a brilliant researcher, creates the ultimate App that taps into the pleasure center of the brain and transmits a feeling of nirvana to the user. Instant celebrity and unlimited commercial applications corrupt his altruistic intention and when problems arise with his creation, he justifies doing whatever is necessary to keep the app online. Algorithm: Bliss stars Sean Faris (Never Back Down), Sarah Roemer (Disturbia), Frank Deal (The Bourne Legacy), James Saito (Life Of Pi), Frank Deal (The Outsider), and Kimberley Locke (American Idol). Algorithm: Bliss is co-directed by Dena Hysell-Cornejo and Isak Borg, from a screenplay by Borg and Golan Ramraz (Iron Man).

 

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For news and updates go to: greenappleent.com/project/algorithm-bliss

Social Media
facebook.com/algorithmbliss
twitter.com/algorithmbliss
facebook.com/GreenAppleEnt
twitter.com/GreenAppleEnt
Instagram@algorithm_bliss

Slamdance Film Festival, Co-founder and President Peter Baxter

It all began when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival. Unwilling to take “no” for an answer, they instead started their own event – Slamdance: Anarchy in Utah. 26 years later, Slamdance has become a year-round organization fostering the development of unique and innovative filmmakers. The organization now consists of the Film Festival, Screenplay Competition and Slamdance Studios. It has also created Slamdance On The Road, a traveling theatrical showcase that brings popular Slamdance films to audiences that otherwise would not have the opportunity to see them. Dan Mirvish, Jon Fitzgerald, Shane Kuhn and Peter Baxter are the founding forefathers who, along with co-conspirator Paul Rachman, fought for truly independent filmmakers by giving them a voice in 1995 at the very first Slamdance Film Festival. Since then, the festival takes place every January in the breathtakingly stunning, snow-capped mountains of Park City, Utah at the exact same time as the Sundance Film Festival, to provide a more authentic representation of independent filmmaking. Up-and-coming writers, directors and producers, alongside seasoned veterans and film lovers, converge for the weeklong celebration of independent cinema, realizing that Slamdance is a great place to find those next, great, visionary films. Slamdance lives and bleeds by its mantra By Filmmakers For Filmmakers. No other film festival in the world is entirely run and organized by the creative force that can only be found in filmmakers. Slamdance adamantly supports self-governance amongst independents, and exists to deliver what filmmakers go to festivals for – a chance to show their work and a platform to launch their careers. The festival has earned a solid reputation for premiering films by first-time writers and directors working within the creative confines of limited budgets. Co-founder and President Peter Baxter joins us to talk about this year’s Slamdance, the groundbreaking films and the innovative new distribution and digital initiatives being launched by Slamdance.

 

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For news and updates go to: slamdance.com
Check out the film schedule at slamdance 2020 schedule

 

Slamdance Film Festival – January 24-30 at the Treasure Mountain Hotel in Park City, Utah

 

Social Media:
facebook.com/SlamdanceFilmFestival
twitter.com/Slamdance
instagram.com/slamogram

 

Auggie, Director Matt Kane and Co-writer Marc Underhill

In AUGGIE, Felix Greystone (Richard Kind) is forced into early retirement and falls in love with an augmented reality companion, to the detriment of his relationship with his wife and daughter. At his “early retirement” party, Felix Greystone is given a pre-release version of an AUGGIE, a pair of augmented reality smart glasses that project a perfectly human companion onto his world. When Felix’s wife Anne gets a promotion and his daughter Grace gets serious with her boyfriend, Felix suddenly feels very alone. He opens up to his new companion, AUGGIE, and is recognized and appreciated by her. He feels the ache of loneliness dissipate. AUGGIE reawakens a passion in Felix, and to his own surprise, he begins to fall for her. In a world that feels too good to be true, it’s difficult for Felix to recognize his increasing addiction to the technology, losing sight of what truly matters. Director Matt Kane stops by to talk about his fascinating film about relationships, relevance in the lives of others, a near future “reality” and working with an excellent cast of actors.

 

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For news, screenings and updates go to: samuelgoldwynfilms.com/auggie

Social Media:

facebook.com/AuggieMovie

twitter.com/auggiemovie

instagram.com/auggiemovie

Social Media: Matt Kane

facebook.com/MattKaneUK

twitter.com/MattKaneUK

“It’s a strong feature-length debut from actor Matt Kane, and I suspect – given how good this film is – you’ll be hearing more about him in the future.” – Randy Myers, San Jose Mercury News

20th Anniversary of Newport Beach Film Festival, CEO and Co-founder Gregg Schwenk

For the last 20 years the Newport Beach Film Festival has brought the best of classic and contemporary filmmaking from around the world to Orange County. Under the direction of CEO and Co-founder Gregg Schwenk and the festival’s staff have been committed to entertaining and enlightening the public with a first-class international film program as well as providing a forum for cultural understanding and enriching educational opportunities, the Festival focuses on showcasing a diverse collection of both studio and independent films. The Festival supports the creation and advancement of innovative and artistic cinematic works from both emerging and seasoned filmmakers and proudly embraces the passion, vision and independent spirit of these talented artists. With the integration of the local community and educational institutions, the Festival stimulates an interest in the study and appreciation of film and encourages people of all ages and backgrounds to participate. The Community Outreach Program was created with the idea that film offers new perspectives and possibilities for a changing world. Each year, the Festival partners with over 40 non-profit organizations and pairs each philanthropic organization with a film that aligns with their mission. The Festival gives non-profit organizations a forum to voice their message to large audiences and spread awareness of their organization and mission through the medium of film. Areas of focus include the arts, health and human services, the environment, education, children’s causes, seniors’ and veterans’ programs, and alumni clubs. CEO and Co-founder Gregg Schwenk joins us to talk about a remarkable festival line-up of comedies, dramas, short films, action sports, classics, documentaries, musicals and foreign film excellence.

For news, updates and film schedules go to: newportbeachfilmfest.com

For more on the OC FIlm Society go to: newportbeachfilmfest.com/ocfs

OVID.tv, Co-founder of OVID.tv and Director of Icarus Films Jonathan Miller

In a media environment dominated by increasingly concentrated corporate interests, eight distribution companies who have long championed the best in independent features, documentaries, and social issue films, have joined forces to help launch a new subscription streaming service, OVID.tv. Starting today, OVID.tv offers more than 350 quality documentaries and art-house films from the collections of its founding content partners: Bullfrog Films, The dGenerate Films Collection, Distrib Films US, First Run Features, Grasshopper Film, Icarus Films, KimStim, and Women Make Movies. Most of the films on OVID.tv are not available on any other streaming platform, and OVID.tv will be adding even more films every two weeks–14 fiction feature films and one 10-part documentary series are already scheduled for release. Despite the odds and with little capital, Icarus Films, Docuseek, and our partners have decided that the time has come to step forward and build a new, independent space, dedicated to the films that we believe in and care about, and that we believe you care about, and value as well. OVID.tv co-founder Jonathan Miller joins us to talk about an affordable option for film lovers looking for the highest quality cinema experience presented by people who share your passion.

 

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For news and updates go to:ovid.tv

You can read more about OVID on the International Documentary Association website, click here.

For now OVID.tv is only available in the U.S.

“A cornucopia of international movies and documentaries… recent ones as well as classics. It’s far better for recent movies than FilmStruck ever was, and its spectrum of new movies is far more substantial than that of Netflix, wider-ranging than that of Amazon.”  Richard Brody, The New Yorker, March 22, 2019

Apollo 11, Director Todd Douglas Miller

From director Todd Douglas Miller (Dinosaur 13) comes APOLLO 11 a cinematic event fifty years in the making. Crafted from a newly discovered trove of 65mm footage, and more than 11,000 hours of uncatalogued audio recordings, APOLLO 11 takes us straight to the heart of NASA’s most celebrated mission—the one that first put men on the moon, and forever made Neil Armstrong, Buzz Aldrin and Michael Collins into household names. Immersed in the perspectives of the astronauts, the team in Mission Control, and the millions of spectators on the ground, we vividly experience those momentous days and hours in 1969 when humankind took a giant leap into the future. APOLLO 11 director Todd Douglas Miller joins us to talk about taking on the challenge of sifting through a mountain of audio and video, developing new technologies for processing and enhancing 16mm film stock and capturing the tension and triumph of an incomparable achievement in human history.

 

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Starting Friday, March 1 – Exclusive One-Week IMAX Apollo 11 experience

Starting Friday, March 8 – The Apollo 11 theatrical opening

All theater and ticket information available at the Apollo11movie.com

Social Media:

Facebook.com/Apollo11Movie

twitter.com/apollo11movie

instagram.com/apollo11movie

Reviews: 100% Rotten Tomatoes

“The result is a stirring companion piece to Damien Chazelle’s recent “First Man,” and one no less worth seeing on the big screen when Neon releases it in theaters worldwide.” – Justin Chang, Los Angeles Times

“‘Apollo 11″ is a cool, meticulous, at times enthralling documentary that captures the Apollo 11 flight in its entirety through raw footage drawn from the NASA vaults.” – Owen Gleiberman, Variety

“The images astound, the audio soundtrack is a master class in montage, and the events captured are herculean in scope.” – Jason Gorber, High Def Digest

“A masterful work of archival research.” – Nate Jones, New York Magazine / Vulture

2019 Oscar Nominated Short Films, with ShortsTV Chief Executive, Carter Pilcher

For over a decade, ShortsTV has proudly brought the Oscar© Nominated Short Films to audiences across the globe. This exclusive release features the year’s most spectacular short films and for a limited time is available to watch on the big screen. Each nominee is released in one of three distinct feature-length compilations according to their category of nomination: Live Action, Animation or Documentary. The films go into theaters around the world shortly after nominations are announced and are not released anywhere else until a few days before the Oscars©, when they are also made available via on demand platforms, including iTunes, Amazon Instant Video, Google Play and Vimeo on Demand. The release ensures the greatest number of viewers can see all the nominees before the ceremony, while providing short filmmakers with an unprecedented opportunity to commercialize their movies. Carter Pilcher founded Shorts International in 2000. Coming from a background in both investment banking and law, Carter has made Shorts International the world’s leading short movie Entertainment Company, functioning as distributor, broadcaster and producer. Carter has extensive experience in short movie production and short movie entertainment. He is a voting member of the British Academy of Film and Television Arts and a member of the Short Film and Feature Animation Branch of The US Academy of Motion Pictures, Arts and Sciences (AMPAS) – the guys who pick the Oscars. For the last five years Carter Pilcher has been the highlight of Oscar season here on Film School. His insight, commitment and love of the short film format and the dedicated people who create them insures a lively and informative conversation on some of the best films you will see all year.

 

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For news and updates on the Oscar Shorts go to: shortstv – theoscarshorts

For screening information go to: theoscarshorts/theatrical release

Live Action (Short)    

Detainment 

Madre

Fauve    

Skin    

Marguerite 

 

Documentary (Short)

Black Sheep

Night at the Garden

End Game

Period. End of Sentence

Lifeboat

Animation (Short)

Animal Behavior

One Small Step

Bao

Weekends

Late Afternoon

 

The Man Who Killed Hitler Then Bigfoot, Director Robert D. Krzykowski

THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT follows the epic adventures of an American legend that no one has ever heard of. Since WWII, Calvin Barr (Sam Elliott) has lived with the secret that he was responsible for the assassination of Adolf Hitler. Now, decades later, the US government has called on him again for a new top-secret mission. Bigfoot has been living deep in the Canadian wilderness and is carrying a deadly plague that is now threatening to spread to the general population. Relying on the same skills that he honed during the war, Calvin must set out to save the free world yet again. Director Robert D. Kryzkowski joins us to talk about working with two-time Academy Award nominated director John Sayles and visual effects wizard and two time Academy Award winner, Douglas Trumbull (Blade Runner and 2001: A Space Odyssey) and how he was able to fashion an endearing, bittersweet saga of a heavy hearted man driven by a profound sense of duty.

 

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For news and updates go to: The Man Who Killed Hitler and then Bigfoot

“The Man Who Killed Bigfoot and Then Hitler is a real movie – one more emotionally resonant and character-driven than that deceptively goony title suggests.” – Simon Abrams, NPR

“In spite of the premise at hand, Sam Elliott–one of America’s greatest treasures–quietly delivers another astonishing performance.” – Danielle Solzman, Solzy at the Movies

“A wise, odd, and unforgettable ballad.” – Nick Allen, RogerEbert.com

“From its world-weary hero to its no-nonsense, casual swapping of fiction for fact, The Man Who Killed Hitler and Then The Bigfoot uses action and something like science fiction to deliver an wholly entertaining, yet poignant message.” – Slashfilm

Slamdance Film Festival Co-founder Peter Baxter

It all began when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival. Unwilling to take “no” for an answer, they instead started their own event – Slamdance: Anarchy in Utah. 24 years later, Slamdance has become a year-round organization fostering the development of unique and innovative filmmakers. The organization now consists of the Film Festival, Screenplay Competition and Slamdance Studios. Dan Mirvish, Jon Fitzgerald, Shane Kuhn and Peter Baxter are the founding forefathers who, along with co-conspirator Paul Rachman, fought for truly independent filmmakers by giving them a voice in 1995 at the very first Slamdance Film Festival. Since then, the festival takes place every January in the breathtakingly stunning, snow-capped mountains of Park City, Utah at the exact same time as the Sundance Film Festival, toprovide a more authentic representation of independent filmmaking.  Up-and-coming writers, directors and producers, alongside seasoned veterans and film lovers, converge for the weeklong celebration of independent cinema, realizing that Slamdance is a great place to find those next, great, visionary films.  Slamdance lives and bleeds by its mantra By Filmmakers For Filmmakers. No other film festival in the world is entirely run and organized by the creative force that can only be found in filmmakers. Slamdance adamantly supports self-governance amongst independents, and exists to deliver what filmmakers go to festivals for – a chance to show their work and a platform to launch their careers. The festival has earned a solid reputation for premiering films by first-time writers and directors working within the creative confines of limited budgets. Co-founder and President Peter Baxter joins us to talk about this year’s Slamdance, the groundbreaking films and the innovative new distribution being launched by Slamdance.

 

Download MP3 Podcast | Open Player in New Window

For news and updates go to: slamdance.com

Check out the film schedule at slamdance 2019 schedule

Slamdance Film Festival will take place January 25-31, 2019 in Park City, Utah

Social Media:

facebook.com/SlamdanceFilmFestival

twitter.com/Slamdance

instagram.com/slamogram

Bob Lazar, Area 51 and Flying Saucers, Director Jeremy Corbell

In the highly entertaining and jarring documentary BOB LAZAR: AREA 51 AND FLYING SAUCERS the curtain is pulled back on Area 51, flying saucers from another world – and the program to create a fierce, new technology that could easily change everything about the world we think we know. Bob Lazar remains the singular most famous and controversial name in the world of UFOs. The reason you know about Area 51 is because Lazar came forward and told you about it. His disclosures have turned his life upside-down and he has tried to stay out of the spotlight. For this reason, he has never let any filmmaker into the private world of his daily life – that is – until now. BOB LAZAR: AREA 51 AND FLYING SAUCERS explores Lazar’s claims through the lens of thirty years – providing rare and never before revealed footage – guaranteed to alter the landscape of the debate. Director Jeremy Corbell joins us to talk about the fantastical and yet credible story of a seemingly honest and sincere messenger telling the world that we are not alone.

 

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For news and updates go to: TheLazarStory.com

United We Fan, Director Michael Sparaga

Fans, stars, creators and more come together to explore the history and evolution of TV’s save-our-show fan campaigns in Michael Sparaga’s (The Missing Ingredient) humorous and heartfelt feature documentary UNITED WE FAN. From the letter-writing and product mail-ins of yesterday to the social media and crowdfunding campaigns of today, UNITED WE FAN goes beyond the headlines to give viewers deeper insights into fandom, community and identity. For most viewers, it’s simply a disappointment when their favorite TV series is cancelled. But the fans of some series take the loss a lot harder. And they fight back. UNITED WE FAN chronicles the stories of those passionate individuals and their unique crusades to save their beloved shows. Declared “a joy to watch” by POV Magazine, UNITED WE FAN intertwines the remarkable stories of Kaily, Dorothy and the Trimbles while also taking time to delve into the inspiring campaigns to save Designing Women, Quantum Leap, Chuck, Longmire, Jericho, Veronica Mars, Roswell and the Rosetta Stone of rescued TV series Star Trek. “UNITED WE FAN is not a movie about television’s wackiest fans,” said director Michael Sparaga, “rather, it’s a love letter to the inspiring people who have formed communities and fought tirelessly against seemingly impossible odds to give viewers everywhere more seasons of some of television’s most iconic shows.” Director / Writer / Producer Michael Sparaga joins us to talk about the men and women whose embrace and affection for specific television series goes way beyond passive entertainment into the realm of a life affirming connections to the creators, performers and characters who have enriched their lives via episodic storytelling.

 

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Social Media

facebook.com/UnitedWeFanDoc  

twitter.com/unitedwefandoc

instagram.com/unitedwefandoc

UNITED WE FAN is available on multiple VOD platforms beginning December 4

100% on Rotten Tomatoes

“A cheery collage of anecdotes about how popular culture brings people together and inspires them to fight for the things they love.” – Norman Wilner, Toronto Now

“It’s a fun film to watch, but also one that makes us question how far we’re all willing to go to save our favourite series from extinction, and where the future of such fan campaigns might be going from here.” – Andrew Parker, The Gate

“United We Fan is a brisk, enjoyable look at the way TV fan culture has evolved since the days when Star Trek first flirted with cancellation.” – Jesse Schedeen, IGN Movies

“What United We Fan does very well is that the documentary offers a blueprint for the many television fans wanting to save their favorite series.” – Danielle Solzman, Solzy at the Movies

Director Doug Liman and Actor Maddie Hasson

Impulse follows 16-year-old Henrietta, AKA Henry, (Maddie Hasson) who discovers she has the ability to teleport. The first time she realizes this, she is in a truck with her high school’s Golden Boy, who tries to rape her. She has a seizure and teleports, in the course of which she inadvertently crushes him, leaving him a paraplegic. Impulse explores Henry’s need to reconcile what her assaulter tried to do with the consequence, and her feelings about discovering she can teleport with her feelings about the assault. Impulse is an American drama web television series based on the novel Impulse by Steven Gould. The ten-episode series recently premiered on YouTube Premium. The series executive producers include Lauren LeFranc, Doug LimanDavid Bartis, and GeneKlein. Director and Executive Producer Doug Liman reveals how his independent filmmaking roots (Swingers, Go) continues influence his work and the advantages of long form storytelling. Actor Maddie Hasson talks about the challenge of expressing her character’s deeply conflicted emotions and her desire leave it all behind.

 

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

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

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

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

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

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

Street Food Cinema is the ultimate outdoor movie experience! Founded in 2012 by the dynamic husband and wife team of Steve Allison & Heather Hope-Allison, Street Food Cinema has developed a strong community of entertainment and food enthusiasts across Los Angeles.  Every Saturday throughout the summer, Street Food Cinema features beloved cult classic movies on a huge 50 foot screen alongside LA’s favorite food trucks like Cousins Maine Lobster, Street Kitchen LA and Churro Stix as well as emerging music artists such as Alex G., Past Action Heroes and The Urban Renewal Project: punctuated with themed audience games hosted by professional comedians to complete the interactive experience. Their Season 6 opener in 2017 was the worlds biggest La La Land screening AND the biggest Street Food Cinema to date at over 5,000 attendees.  With their visionary idea to take the outdoor movie experience to fully inclusive night out –they incorporated a variety of fascinating food trucks, pre-movie live entertainment and cool  interactive experiences to massive audience appeal in three major markets: Los Angeles, San Diego and Phoenix.  Their 7th season offers so many exciting titles, beginning with the incredible 2018 Oscar nominees “Get Out” and “I, Tonya” on May 5th,“The Greatest Showman” on June 16th, “Lady Bird” on July 21st and “Coco” on October 27th. As well as anniversary screenings for beloved fan favorites “Dazed & Confused” starting our season on April 28th, “The Land Before Time” on May 19th, “The Big Lebowski” on June 9th, “Mrs. Doubtfire” on June 16th, “Stand and Deliver” on June 23rd, “The Sandlot”  on June 30th, “Grease” on July 21st, “Mamma Mia!” on August 4th, “Casablanca” on August 25th, “The Wedding Singer” on September 1st, “Nick & Nora’s Infinite Playlist” on September 8th, “Practical Magic” and “The Nightmare Before Christmas” on September 29th and “Twilight” and the original cult classic “Halloween” on October 13th. We’ll also debut our first double-feature PJ party “The Craft” & “Teen Witch” on September 15th and many more great films. Co-founder of Street Food Cinema Heather Hope-Allison (Steven Allison) joins us to run down the upcoming films, where they will be screening and all of the family-friendly options available to film lovers in Southern California. 

 

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

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