In Alexis Michalik’s rousing, re-telling of the story about France’s enduring and iconic dramatist Edmond Rostand is not yet thirty, but he already has two children and a lot of anxieties. He hasn’t written anything for two years. In desperation, he offers the great Constant Coquelin a new play, a heroic comedy, written in verse for the holidays. There is just one problem: the play hasn’t been written yet. Ignoring the whims of the actresses, the demands of his Corsican producers, his wife’s jealousy, his best friend’s relationship problems and the lack of enthusiasm of all those around him, Edmond begins to write the play that nobody believes in. For the time being, he only has the title: ‘Cyrano de Bergerac’ Director Alexis Michalik joins us o talk about the recasting of this timeless tale as a peak behind the curtain of a failing playwright’s topsy-turvy effort to bring his tale of unrequited love to life and how his own attempts to bring Edward Rostand’s story to the screen eerily mirrored Cyrano’s author Edward Rostand.

Download MP3 Podcast | Open Player in New Window

Director’s Statement: Cyrano, My Love is a project that I have had in mind for more than fifteen years. I first came up with the idea for it in 1999 when I saw Shakespeare in Love at the cinema. In this film, Joe Madden, based on real facts, recounted how Shakespeare found inspiration and wrote his greatest masterpiece, Romeo and Juliette, inspired by a beautiful muse despite being crippled by debt. I then asked myself why we had never made a similar film in France. A few years later I came across an information booklet which explained the circumstances surrounding the ‘première’ of Cyrano. I said to myself that it was unbelievable that nobody had ever thought to tell the greatest ‘success story’ of French theater. I realized that the author, Edmond Rostand was just 29 years old when he wrote it. He wrote such a masterpiece before even turning 30! I was astounded! I began to make notes and I went to see Alain Goldman, who encouraged me to write a script. It was around six years ago, and I was only 30 years old. We faced a great deal of struggles, as we couldn’t get financial backing for the film, which was deemed too costly. I was about to give up, when I went to London. And there, incredibly, among the many shows performed there was the theatrical adaptation of Shakespeare in Love! The play was marvelous, and so well received, and this gave me the idea to take up my Cyrano, My Love again, rewrite it for the theater and present it to Alain Goldman. Because the plays Le Porteur d’histoire and Le Cercle des illusionnistes had done quite well, they gave me the go ahead. Despite Cyrano, My Love requiring a significant number of comedians, the Palais Royal theater agreed to host it. The play was so successful that we soon found the budget that we needed to finance the film. – Alexis Michalik

For news, updates and screenings go to roadsideattractions.com/cyranomylove

Cyrano, My Love opens on October 18 at the Laemmel Royal Theatre in Los Angeles

Social Media

facebook.com/RoadsideAttractionsFilms

twitter.com/roadsidetweets

#CyranoMyLove

instagram.com/roadsideattractionsfilms

“[A] brisk, funny, sneakily poignant love letter to words, plays, playwrights and actors.” – Gary Goldstein, Los Angeles Times

“… Michalik’s Cyrano, My Love is full of rapid-fire dialogue, engaging performances, and sublime direction, all of which capture the energy of a play on celluloid.” – Douglas Davidson, Elements of Madness

“A film that is completely different, a completely distinct proposal, that also ended up sculpting a respect and a love for the theater.” – Erick Estrada, Cinegarage

“A whimsical, charming and amusing antidote for all of the heavy, downbeat awards films.” – Avi Offer, NYC Movie Guru

** 2019 Newport Beach Film Festival Spotlight

Through the riveting stories of five rural communities, RIGHT TO HARM exposes the devastating public health impact factory farming has on many disadvantaged citizens throughout the United States. Filmed across the country, the documentary chronicles the failures of state agencies to regulate industrial animal agriculture. Known formally as Concentrated Animal Feeding Operations – or CAFOs – these facilities produce millions of gallons of untreated waste that destroys the quality of life for nearby neighbors. The film features agricultural economist John Ikerd, who abandoned industry beliefs after a 14-year career as a livestock marketing specialist. RIGHT TO HARM tracks the tribulations and triumphs of rural residents across America who are victims of the past 50 years of agricultural consolidation and the consequential laws that now govern the land. Fed up with the lack of regulation, these disenfranchised citizens band together to demand justice from their legislators. Filmmakers Matt Wechsler and Annie Speicher skillfully weave together five stories that span eight states from the Southwest to the Midwest to the Eastern Shore. Farmers, mothers, scientists and politicians share intimate stories of how their lives were forever changed by factory farming. RIGHT TO HARM is an enlightening exploration that questions whether citizens are entitled to clean air and water, while examining the political issues that stand in the way of nationwide reform.

For news and updates go to: righttoharm.film

** Screening at the Newport Beach Film Festival – Find out when and where

Social Media:

facebook.com/righttoharm

twitter.com/righttoharm

instagram.com/righttoharm

Noël Wells portrays Emily, a talented but hard-to-classify comedic performer who left behind her home and boyfriend to pursue career opportunities in L.A. When a loved one falls ill, Emily rushes back to Austin where she’s forced to stay with her ex-boyfriend (Nick Thune) and his new-and-improved girlfriend (Britt Lower), a totally together woman with a five-year plan.  Though Emily is the same, everything else is different: her house has been smartly redecorated, her rocker boyfriend is training to be a real estate agent, and her old haunts show serious signs of gentrification. Holed up in her own guest room, Emily–who has no idea what she’ll be doing five days from now, let alone five years– is forced to question everyone’s values: are they sell-outs or have they just figured out what makes them happy? And is she following her dreams or is she just a self-absorbed loser? Director, writer and producer Noël Wells stops by for a conversation about her funny and touching film about reconciling your past with your present.

For news and updates go to: facebook.com/PaladinFilm

Download MP3 Podcast | Open Player in New Window

“Wells doesn’t just focus on her laugh-out-loud funny performance or insightful script: she displays a real eye for the cinematic with shot-on-film visuals that elevate her movie and lavish attention on its Texas setting.” – Kimber Myers, Los Angeles Times

“It’s a reminder that the 21st century is going to be full of coming-of-age films about 30-year-olds, and it’s compelling evidence that that might be alright.” – David Ehrlich, IndieWire

“Ms. Wells is 10 times funnier and smarter than Louis CK. Her film is a reminder of what a crime sexism is. It not only harms women, it prevents the real cream from rising to the surface.” – Louis Proyect, counterpunch.org

“Creatives have stories to tell. This is Noël Wells’ story to tell. And good storytelling like Mr. Roosevelt is why we watch independent films. It’s a good story and a good start for Wells.” – Alan Ng, Film Threat

Holy Air is the story of Adam, a Christian Arab living in Nazareth – member of a vanishing minority within a minority in the Holy Land and the Middle East. His wife Lamia is a strong, beautiful and progressive Arab woman, who runs a foundation for women’s rights. When Adam hears that Lamia is pregnant and his father falls very ill, he evaluates his life and realizes that he has not achieved much. Despite all his business ideas failing so far, he gives one last try to make it big. And what’s better to sell in the Holy Land other than the very air that Virgin Mary breathed during her annunciation? But in order to, as one priest tells Adam during confession, bring such product into the market he needs to find allies from the three cultures ruling over Nazareth – the Jewish politicians, the Muslim mafia boss and the Catholic church officials. In a politically unstable world where religion is just another merchandise, can the Holy Air be Adam’s salvation or is it just an illusion? Director and writer Shady Srour joins us to talk about his contemporary comedy that not only transcends barriers of religion, gender, and culture, but is also intelligent and funny.

For news and updates go to: Holy Water

“As a wry commentary on religious tourism, and the limited avenues of prosperity for occupied, idealistic Arabs, “Holy Air” is tartly effective.” – Robert Abele, Los Angeles Times

“With a masterful sense of framing, Srour and cinematographer Daniel Miller turn beautifully composed shots into absurdist delights with a simple twist.” – Serena Donadoni, Village Voice

UNA, based on David Harrower’s play ‘Blackbird’ follows a young woman’s journey to reclaim her past. Fifteen years earlier, UNA ran away with an older man, Ray, a crime for which he was arrested and imprisoned. When she comes across a photo of him in a trade magazine, UNA tracks him down and turns up at his workplace. Her abrupt arrival threatens to destroy Ray’s new life and derail her stability. Unspoken secrets and buried memories surface as Una and Ray sift through the wreckage of the past. Their confrontation raises unanswered questions and unresolved longings. It will shake them both to the core. UNA gazes into the heart of a devastating form of love and asks if redemption is possible. Bolstered by the remarkable performances of Rooney Mara and Ben Mendelson, UNA rips at the fragile facade of two irreparably damaged people forced to reconcile entangled their past. Director Benedict Andrews talks about the making of his complex, intimate and relentlessly raw tale of abuse, and unresolved emotion.

For news and updates go to: westendfilms.com/una

Download MP3 Podcast | Open Player in New Window

“Una is an inquiry into the complicated bond between a predator and his prey. Yet Harrower does not play monsters and victims.” Ella Taylor, NPR

“Be warned: the film — perhaps unsurprisingly — is heading somewhere pretty dark, but you can’t fail to be impressed by this cleverly constructed and brilliantly acted piece.” Matthew Bond, The Mail

“What gives Una its unnerving tension is not just the skill of these two performers locked together in their unsettling combat, but the realization that no matter what she ends up doing to him, it won’t fix what has already nearly destroyed her.” – Chris Barsanti, Pop Matters