Recently, Louis, a painter, is experiencing strange events. his world seems to be mutating. Slowly, furniture, objects and people lose their realism. they are destructuring, sometimes disintegrating…
Director’s Biography: Born in 1965 in Saint-Brieuc, France, Bruno collet got his art Degree from the Rennes college of Fine arts in 1990. From 1993 he worked as a set designer on numerous productions in stop motion before starting his career as an author director in 2001 with LE DOS AU MUR, awarded at the cannes critic’s Week. THE LITTLE DRAGON, his stop-motion animated tribute to Bruce lee, won 48 awards and was selected at Sundance Film Fest. MEMORABLE is his sixth short film.
Awards:
Annecy International Animated Film Festival, Winner Cristal 2019
Best Short / Prix du Public au Festival International du Film d’Animation Annecy 2019
Audience award Anima Mundi Rio 2019
Best art direction Anima Mundi Rio 2019
Grand prix IAF Krok 2019
Best animated short COLCOA L.A. 2019
Audience award, Calgary Film Festival 2019
Audience award Cinanima Espinho 2019
Best film, Linoleum Film Festival Kiev 2019
Audience award Big Cartoon Moscow 2019
Best film Castelli Animati Roma 2019
Audience award Kaboom Festival Amsterdam 2019
Cristal for a short film, FIFA Annecy 2019
Audience award, FIFA Annecy 2019
Junior jury award for a short film, FIFA Annecy 2019
Best Art Direction award, Anima Mundi Rio 2019
Audience award Rio, Anima Mundi Rio 2019
Audience award Sào Paulo, Anima Mundi Rio 2019
Junior jury award, FMK Pordenone 2019
Best international film award, Linoleum animation festival Kiev 2019
Festivals/Screenings:
Festival Court-Métrange de Rennes 2019
Anima Mundi film Festival de Rio de Janeiro 2019 Festival Séquence Court Métrage de Toulouse 2019 Festival Imaginaria de Conversano 2019
Linoleum Film Festival de Moscou 2019
Bueu International Short Film Festival 2019
Mohamed is a hardened shepherd living in rural Tunisia with his wife and two sons. Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. tension between father and son rises over three days until reaching a breaking point.
Director’s Biography: Tunisian-American writer/director Meryam Joobeur is a graduate of Mel Hoppenheim School of Cinema in Montréal. She is currently developing three feature films including the feature version of BROTHERHOOD and has participated in the Berlinale Talent Lab (2016) TiFF Talent Lab (2016) and the Rawi Screenwriter’s Lab (2016).
** 2020 Academy Award nomination – Best Live Action Short **
Awards:
Short Cuts Award for the Best Canadian Short – Toronto Int. Film Festival, 2018
Best Canadian Short Film, Audience Award – Festival du Nouveau Cinema, 2018
Tanit d’Or for the Best Fiction Short – Carthage Film Festival, 2018
ZBK Audience Award – Winterthur Int. Short Film Festival, 2018
Audience Award – Festival Images en Vues, 2018
Methexis Award for Best Short Film – MedFilm Festival, 2018
Best Canadian Short Film – Festival Int. du Film Francophone en Acadie, 2018
Canadian Short Work Award, AWFJ Best Female Directed Short Award – Whistler Film Festival, 2018
Jury’s Mention, Audience Mention – Regard Saguenay Int. Short Film Festival, 2019
Best Int. Short Film Award – Int. Film Festival of Uruguay, 2019
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.
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
“[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
Building on the promise of his hallucinogenic debut GO DOWN DEATH, filmmaker Aaron Schimberg delivers another brilliantly oddball, acerbically funny foray into gonzo surrealism. In a deft tragicomic performance, Jess Weixler (TEETH) plays Mabel, a movie star “slumming it” in an outré art-horror film being shot in a semi-abandoned hospital. Cast opposite her is Rosenthal (UNDER THE SKIN’ s Adam Pearson), a gentle-natured young man with a severe facial deformity. As their relationship evolves both on and offscreen, Schimberg raises provocative questions about cinematic notions of beauty, representation, and exploitation. Tod Browning crossed with Robert Altman crossed with David Lynch only begins to describe something this startlingly original and deeply felt. Director Aaron Schimberg joins us to talk about his hurly-burly, cosmically clever tale of misdirection, expectations and human connection.
Director’s Statement:As a filmmaker with a facial difference, I have never seen my experience accurately represented on screen. This film – the first, as far as I know, made by and starring disfigured people – is my humble attempt to remedy that. When disfigured characters are seen at all in films (usually played by handsome actors with disfiguring latex), they are trotted out to play monsters or objects of pity, made into vessels for the symbolic expression of cruelty, sin, villainy and other ills. “Bitter defectives,” as a character in my film says. Even when they’re portrayed sympathetically, they function only to impart inspirational lessons to the able-bodied people who encounter them. CHAINED FOR LIFE is my response to the way people with disfigurements have been portrayed in films (for instance, in FREAKS, THE ELEPHANT MAN, WONDER) throughout cinema’s history. It asks whether the sum of these portrayals has adversely affected the way we are regarded in real life. I consider it a comedy, but if you think it’s a tragedy, I wouldn’t argue with you. – Aaron Schimberg
“Critic’s Pick! An inventive hall of mirrors… that keeps finding ways to upend its characters’ — and viewers’ — perspectives. Odd, darkly funny and — when it means to be — a little frightening.” – Ben Kenigsberg, The New York Times
“Extraordinary. A cinematic revolution.” – Richard Brody, The New Yorker
“Humane and transgressive, an American indie of unusually big ideas and aesthetic ambition.” – Nellie Killian, Film Comment
“Bizarre and beautiful. Leaves us on thrillingly shifty ground.” – Keith Uhlich, The Hollywood Reporter
“Mesmerizing. A remarkable mind trip of a movie sure to leave audiences reeling.” – Kate Erbland, Indiewire
“Razor-sharp. Mesmerizingly close to the sensation of a waking dream.” – Calum Marsh, Village Voice
“An intoxicating whirlwind of ideas, spectacularly moving and entertaining. Chained for Life could be a defining film about representation for any group that Hollywood marginalizes.” – Andrew Todd, Birth.Movies.Death
The riveting new documentary by Ciara Lacy Out of State provides an inside look at the lives of two native Hawaiians sent thousands of miles away from the tropical islands to a private prison in the Arizona desert. In this unlikely setting, David and Hale find a community of other native Hawaiians and discover their indigenous traditions from a fellow inmate serving a life sentence. Hoping for a fresh start and eager to prove that the experience has changed them forever, the two men finish their terms and return to Hawai’i. But once on the outside, they struggle with life’s hurdles and wonder if it’s possible to ever go home again. Director Ciara Lacy joins us to talk about the challenges and the barriers facing two men struggling to make the best of what may be their last chance.
About the Filmmaker – Ciara Lacy
Director Ciara Lacy is a native Hawaiian filmmaker whose interest lies in crafting films that use strong characters and investigative journalism to challenge the creative and political status quo. She has produced documentary content for film and television, managed independent features, as well as coordinated product placement and clearances for various platforms. Her work has shown in theaters and has aired on PBS, ABC, TLC, Discovery, Bravo and A&E. Lacy is honored to be the inaugural Sundance Institute Merata Mita Fellow and a current Princess Grace Awards Special Project grantee. She has also benefited from fellowships with Firelight Media’s Documentary Lab, the Sundance Institute, NATIVe at Berlinale, the Princess Grace Foundation, and IFP. Ciara holds a BA from Yale University, and graduated from Hawai`i’s Kamehameha Schools.
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.
Stunningly lensed and invoking the very best of cinema vérité, director Michael Dominic (SUNSHINE HOTEL) brings his newest feature documentary CLEAN HANDS to the Cinequest Film Festival for a much anticipated world premiere. Shot over the course of seven years (2011-2018) in Nicaragua, Clean Hands is a feature-length documentary which tells the remarkable, riveting story of the Lopez family surviving against the backdrop of Central America’s largest garbage dump, La Chureca and beyond. It is about family, extreme poverty, the hope and innocence of children, rescue and salvation, and the challenges we all face. This is a slice of life that is rarely seen. Director Michael Dominic stops by for a conversation on how crushing poverty impacts multiple generations and the daunting challenges people face in breaking the poverty cycle.
Up a dirt road, nestled in the hills of Southern California lies Spiral Farm, a vibrant and colorful intentional community inspired by the communes of the late 60’s. Its eclectic inhabitants look out for each other, as they work side by side on this completely self sustaining permaculture farm. 17 year-old Anahita (Piper De Palma), has lived on Spiral Farm for as long as she can remember and dreams of one day leaving the safety of Spiral and pursuing a career as a dancer. However, whenever she makes these plans she is always deterred by the thought of leaving Ocean, her eight year old nephew who she cares for and shares a deep bond with. Stifled by her responsibilities to her family and the commune, Anahita has developed what her mother (Amanda Plummer) calls a “bashfulness” when it comes to sexuality. When her mother’s old flame, Maurizio (Cosimo Fusco) arrives for an unexpected visit, he brings along his teenage son, Theo (Teo Halm). Anahita is immediately drawn to him, confused by her newfound feelings. When Theo discovers her passion for dance he encourages her to journey into the city for an audition. Away from the confines of the communes, Anahita discovers that although she lacks the technical skills to be a professional dancer, she may still be able to leave Spiral by going to college in the city changing the course of her life. But will Anahita, who has been so dedicated to others chose to live for herself? Director and writer Alex Tibaldi joins us to talk about his feature film debut and his intimate, moving character study of women in transition, searching for meaningful connections.
BEHIND THE BULLET is the directorial debut from author and activist, Heidi Yewman. When her former basketball coach and teacher, Dave Sanders was killed in the Columbine High School massacre along with 12 students, she began profiling the lives of those altered by the impact of gun violence. She is a tireless advocate for gun safety, sitting on the boards of The Brady Campaign to Prevent Gun Violence,Women Donors Network,Stop our Shootings, and Trauma Intervention Program of Portland, OR. In BEHIND THE BULLET will make it’s world debut as a documentary competition selection at the 2019 Slamdance Film Festival, Yewman chronicles anin-depth look at four individuals who have pulled the trigger and the profound impact it’s had on their lives. Every year, almost 40,000 people are shot and killed in America. Each shooting devastates and forever changes the victim’s family and friends. BEHIND THE BULLET explores a side of gun violence that’s rarely talked about – the impact a shooting has on the shooter. Four individuals share how the pull of a trigger, changed them emotionally, physically, psychologically, and spiritually. They describe the conflicting emotions and moral injury that comes after a self-defense, accidental, or unintentional shooting, offering a new and unbiased perspective on gun violence. Director Heidi Yewman joins us to talk about the devastating impacts that guns and the profound impact they have had on four people’s lives.
“BEHIND THE BULLET is a captivating and honest look at what is going on in our country when it comes to gun control.It looks at all sides of the issue that sometimes the media does not discuss or cover.This is a must see film in our current climate.” — Peter Hammond, Deadline
“Behind The Bullet is just WOW – an amazing insight into what we are dealing with in the U.S.It’s a refreshing insight and a story that needs to be told.”— Chris Gardner, The Hollywood Reporter
This Teacher, Actor Kevin Kane (Director Mark Jackson)
THIS TEACHER follows a French Muslim woman (Cesar-winner Hafsia Herzi) as she travels to New York City to visit her childhood best friend from the rough neighborhoods outside of Paris. When the reunion proves disastrous, Hafsia steals her friend’s credit card and identity, and disappears to a remote cabin upstate. Deep in the woods and alone for the first time in her life, she experiences a divine revelation of an existence without borders. But when she discovers that she’s not alone on the property, Hafsia’s sojourn in nature gradually descends into a terrifying study of the intolerance and suspicion she encounters and reflects back to an Islamophobic America. Written and directed by Mark Jackson featuring a score composed from the Grammy nominated Dave Eggar, the film stars: Cesar-winner Hafsia Herzi (The Secret of theGrain) Sarah Kazemy (Circumstance) Lucy Walters (Power), Kevin Kane (Inside Amy Schumer), and Lev Gorn (The Americans). Jackson’s previous films have won 17 awards including an Independent Spirit Award and a Gotham Nomination. Jackson is also a Sundance, Cinereach and Skywalker Sound Fellow. Actor Kevin Kane joins us for a conversation on THIS TEACHER’S closing night screening at the 2019 Slamdance Film Festival, intolerance and not being afraid to love.
In the endlessly clever and bittersweet documentary My Dead Dad’s Porno Tapes filmmaker Charlie Tyrell Seeks to better understand his emotionally distant late-father through personal belongings he left behind… including a stack of his VHS dirty movies. Director / producer Charlie Tyrell joins us for an engaging conversation on the universality of inter-generational silence and obfuscation surrounding the backgrounds and traumas that shaped the lives of parents, grandparents and great-grandparents. And how this wall of that silence can lead to unwarranted alienation and resentment between fathers and sons.
For four decades, the Mill Valley Film Festival (MVFF) has maintained its position as a vital showcase of the global film community, attracting iconic red-carpet talent, emerging filmmakers, passionate audiences and astutely curated premieres. A destination event for film lovers, drawn by an exciting, diverse program of mainstream studio features and independent visions from around the world, set against the stunning backdrop of Northern California, MVFF also hosts an impressive array of panels, conversations, receptions, parties and live music performances, featuring many of the most acclaimed and in-demand artists and industry professionals of our time. With a reputation for launching new films and creating awards season buzz, MVFF has a knack for spotting emerging talent as well as drawing legendary artists. Known as the filmmaker’s festival, MVFF welcomes more than 200 filmmakers and guests from around the world and has hosted such luminaries as Nicole Kidman, Holly Hunter, Ang Lee, Todd Haynes, Mira Nair, Brie Larson, Costa-Gavras, Damien Chazelle, Marcel Ophuls, Amy Adams, Steve McQueen and Greta Gerwig. Mill Valley Film Festival Director of Programming Zoe Elton, joins us to talk about “the filmmaker’s festival,” and this year’s exciting line-up of documentary, foreign, animated, short and narrative films.
After marrying a successful Parisian writer known commonly as “Willy” (Dominic West), Sidonie-Gabrielle Colette (Keira Knightley) is transplanted from her childhood home in rural France to the intellectual and artistic splendor of Paris. Soon after, Willy convinces Colette to ghostwrite for him. She pens a semi-autobiographical novel about a witty and brazen country girl named Claudine, sparking a bestseller and a cultural sensation. After its success, Colette and Willy become the talk of Paris and their adventures inspire additional Claudine novels. Colette’s fight over creative ownership and gender roles drives her to overcome societal constraints, revolutionizing literature, fashion and sexual expression. Director and screenwriter Wash Westmoreland stops by to talk about the story behind a remarkable trailblazing feminist, writer, performer and cultural icon whose influence has inspired artists for the last 100 years.
“Knightley is exceedingly well-equipped to carry this magnificent film on her own — an Oscar-nominated performance for sure.” – Jeanne Kaplan, Kaplan vs. Kaplan
“A witty, spirited portrait of the great French writer and libertine during the early Belle Époque years of her career.” – Justin Chang, Los Angeles Times
“This timely and gorgeously shot account of a beloved French writer foregrounds Colette’s remarkable freedom from conventional norms as she finds her artistic voice.” – Erica Abeel, Film Journal International
“At first presenting itself as a tightly corseted Big Eyes set during the Belle Époque, Colette erupts into a fun, frothy, and unmistakably feminist biopic.” – David Ehrlich, IndieWire
“The film has a towering performance from Keira Knightley, who plays Colette with such warmth and fiery feminism, that it would be hard not to make woman’s past run parallel with today’s world.” – Jordan Ruimy, The Playlist
The International Documentary Association (IDA) is dedicated to building and serving the needs of a thriving documentary culture. Through its programs, the IDA provides resources, creates community, and defends rights and freedoms for documentary artists, activists, and journalists. IDA is the only group advocating specifically for the documentary filmmaking community. In many ways, this makes IDA’s advocacy work the most important and relevant work we do. Documentary storytelling expands our understanding of shared human experience, fostering an informed, compassionate, and connected world. The Enterprise Documentary Fund is one of the many logistical and financial programs offered by IDA.
About the Enterprise Documentary Fund:
“In the face of an all-out assault on the press, IDA is committed to standing behind the independent storytellers and watchdogs that make up our community—in large part, through the newly created Enterprise Documentary Fund. Made possible by a generous grant from the John D. and Catherine T. MacArthur Foundation, the fund will disburse $1 million per year for the next four years, in the form of production grants up to $100,000 and development grants up to $15,000. The fund is intended to support primarily mid-career filmmakers producing feature-length, in-depth explorations of original, contemporary stories with a journalistic foundation or that incorporate journalistic practice into the filmmaking process. The mission of the Enterprise Documentary Fund is admittedly ambitious: It seeks to provide valuable resources and support systems (not unlike those in newsrooms) for filmmakers taking on the critical stories of our time. Originally sparked by the findings in “Dangerous Documentaries,” the fund is a response to pleas from filmmakers themselves. In interviews recently conducted by Toni Bell, IDA’s Filmmaker Services Manager, filmmakers reiterated the major findings in “Dangerous Docs”: They want access to information about digital and physical security, research databases, legal and other experts, public relations strategists and mentors. Exercising our rights to free speech and freedom of the press are critical for a healthy democracy. As I write this, these rights are clearly under assault, and we owe it to ourselves and to the public to staunchly call ourselves journalists and artists—they are not mutually exclusive.” – Carrie Lozano, Director of the Enterprise Documentary Fund
In the days following his mother’s sudden death, Socrates (Christian Malheiros), a 15-year-old living on São Paulo’s margins, faces the difficulties of surviving on his own and coming to terms with his grief.SOCRATES was produced with a crew of 16-20 year-olds from the Querô Institute, a UNICEF-supported project that provides social inclusion through filmmaking to underprivileged youths in the Baixada Santista region of São Paulo, Brazil. SOCRATES was also written by Thayná Mantesso a 20 year-old Brazilian screenwriter and graduate of the Querô Institute. SOCRATES was filmed with a micro-budget of under $20,000.Alex Moratto’s award-winning short films NOWHERE TO BE FOUND, THE PARTING and THE OTHER SIDE have screened at international film festivals. SOCRATES is Alex Moratto’s debut feature film. The film was produced by Ramin Bahrani (99 HOMES) and stars Christian Malheiros and Tales Ordakji. Director Alex Moratto joins us for a conversation on working with a young non-professionals, UNICEF and producing his debut feature film.
Madeline (Helena Howard) has become an integral part of a prestigious physical theater troupe. When the workshop’s ambitious director (Molly Parker) pushes the teenager to weave her rich interior world and troubled history with her mother (Miranda July) into their collective art, the lines between performance and reality begin to blur. The resulting battle between imagination and appropriation rips out of the rehearsal space and through all three women’s lives. Writer/director Josephine Decker has long been an independent filmmaker to admire, utilizing a welcome expressionistic approach that imbues her subjects with a vibrant sense of urgency. Anchored by a virtuoso performance from newcomer Helena Howard, whose powerful screen presence commands attention, Decker’s film displays a rare sensitivity for capturing the messy struggles of discovering a sense of one’s self that defies easy narrative categorization. Producers Krista Parris and Elizabeth Rao joins us to talk about this immersive “psychological horror” narrative, collaboration in creative process, the casting of newcomer Helena Howard.
“An ecstatically disorienting experience that defines its terms right from the start and then obliterates any trace of traditional film language, achieving a cinematic aphasia that allows Decker to redraw the boundaries between the stories we tell and the people we tell them about.” – David Ehrlich, INDIEWIRE
“In her third film, writer-director Josephine Decker confirms her position as the American indie queen of improv, whose self-styled mission it is to push the outer limits of film language into the stratosphere.”Deborah Young, THE HOLLYWOOD REPORTER
“Among its other astonishments, Josephine Decker’s new feature, MADELINE’S MADELINE, does something very simple: it dispels the shibboleth that movies spotlighting strong and original performances differ from ones that innovate at the level of cinematic style. MADELINE’S MADELINE does both, with equal intensity. Decker’s film, in its dramatic contours, is an utterly clear and classical drama about a Queens family.” – Richard Brody, THE NEW YORKER
“One of this year’s headiest, most dazzlingly assured moviegoing experiences.” – Justin Chang, Los Angeles Times
HALF THE PICTURE celebrates the groundbreaking work of female film directors and investigates the systemic discrimination that has, for decades, denied opportunities to far too many talented women in Hollywood. The film consists of interviews with high profile women directors including Ava DuVernay, Jill Soloway, Lena Dunham, Catherine Hardwicke and Miranda July, among many others, who discuss their early careers, how they transitioned to studio films or television, how they balance having a demanding directing career with family, as well as challenges and joys along the way. HALF THE PICTURE also includes interviews with experts about gender inequality in Hollywood including the ACLU’s Melissa Goodman, Sundance Institute’s Caroline Libresco, Vanity Fair’s Rebecca Keegan, USC’s Dr. Stacy Smith and San Diego State University’s Dr. Martha Lauzen, who establish the magnitude of this employment discrimination issue as women are shut out, across the board, of an industry that systemically denies their expression and point of view. HALF THE PICTUREDirector / Producer Amy Adrion joins us to talk about a unique time in the film industry where systemic change seems possible and whether, unlike previous efforts to address gender inequality in Hollywood, will this time be different?
“Half the Picture is a vital, comprehensive documentary on a subject that’s so fundamental to the industry it’s about, you have to wonder why dozens of movies on this scale or bigger haven’t already been made.” – Leslie Felperin
“Half The Picture is an inspiring, important documentary that should be seen by as many people as possible, particularly those who aren’t aware of the problems women face in Hollywood.” – Manon de Reeper, Film Inquiry
“Half the Picture, Amy Adrion’s no-frills documentary, offers a diligent, straightforward overview of the innumerable obstacles facing today’s female directors, both aspiring and accomplished.” – Natalia Winkelman, Film Threat
“A platform for those who want to hear about the reality of being a woman in Hollywood from dozens of women who have lived it, it’s an invaluable resource.” – Rebecca Pahle, Film Journal International
“It’s experiential revelation as advocacy filmmaking, an incisive and inviting example of the personal as political.” – Serena Donadoni, Village Voice
Fourteen-year-old Eleanor (ADELINA AMOSCO) is tormented at school because of the large red birthmarks across her face. Eleanor’s devoted teacher Ms. Gutierrez (KATHLEEN CHANGHO) encourages her to ignore her bullies and focus on her studies. But when things get really bad, Eleanor runs away from school to work in a restaurant run by Alex (ROD RODRIQUEZ), a grown man with whom she is having a casual affair. At home, Eleanor is raised by her grandmother (SHIRLEY CUYUGAN O’BRIEN), who dotes on her granddaughter even though she does not understand her. Eleanor prefers to be alone. At night, if she gazes at the water stains on her bedroom wall, they transform into mountains, leading into a vast, desolate landscape. In this world, Eleanor is alone and free. One day the kids start to tease Eleanor, “who’s the father?” and she discovers a baby crying alone in her dreamed landscape. When another student, Carly (VANESSA CARMONA) asks Eleanor what happened to her baby, Eleanor breaks down and attacks her. Eleanor is arrested and confined until Ms. Gutierrez is able to get her released and enrolled in a new school. Eleanor wants to succeed there, but the pressure of her impending assault trial and the increasing complexity of her life in her dreamed world may push this hope out of her reach. Director Cath Gulick joins us to talk about her haunting, lyrical portrait of a young woman searching for her own place in a hostile world.
THE LIGHT OF THE MOON is the story ofBonnie, a young and successful Latina architect, sexually assaulted while walking home from an evening out with friendsin Brooklyn. At first, she attempts to keep the assault a secret from her long-term boyfriend Matt, but the truth quickly emerges. Bonnie emphatically denies the impact of what has just happened to her. She fights to regain normalcy and control, but returning to her old life is more complicated than expected. Her attempt to recapture the intimacy she previously had with Matt falters and cracks begin to surface in their relationship. Another attack in the neighborhood only drives Bonnie further into denial, before an encounter with an at-risk woman forces her to face the truth and confront her own self-blame.Stephanie Beatriz (Brooklyn Nine-Nine, Short Term 12) gives a powerful and moving performance as Bonnie, a woman who maintains her dignity and sense of humor as she deals with the aftermath of a life-altering experience. Written and directed by Emmy-nominated Australian filmmaker Jessica M. Thompson in her feature film debut, THE LIGHT OF THE MOON is a powerful reminder of the resilience of the human spirit and the importance of relationships in the face of a tragedy.
11/18 ~ Talkback hosted by Julie Rosing, producer-host of the Lady Parts Justice podcast ReproMadness with LPJ founder Lizz Winstead, co-creator of The Daily Show.
11/19: Seed&Spark/Big Vision screening with talkback hosted by Emily Best, the founder of Seed&Spark, and Amy Rosner, co-director of the upcoming documentary Second Assault.
“A clear-eyed film that’s clinical in its specifics.” – Sheri Linden, Los Angeles Times
“The Light of the Moon isn’t a film you forget easily. It takes on a global issue and acts as if it’s something small, resulting in a film that feels both vitally important and imminently personal.” – Ryan Morris, Film Inquiry
“As a resource for those looking to understand the process of recovery, it’s hard to imagine a more comprehensive or sympathetic look at the challenge of surviving.” – Teo Bugbee, New York Times
“With the wider cultural conversation about rape culture, especially in the U.S., raging in the media, this honest and complex engagement with the subject is particularly welcome.” – Leslie Felperine, Hollywood Reporter
“[This] simply-structured film is harrowingly effective in its streamlined, low-frills way: sensitive without ever being sanctimonious, brutally frank without ever lapsing into exploitation.” – Andrew Barker, Variety
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.
“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
Winner of the Audience Award for Best Narrative Film at the Tribeca Film Festival, The Divine Order is set in Switzerland in 1971 where, despite the worldwide social upheavals of the previous decade, women were still denied the right to vote. When unassuming and dutiful housewife Nora (Marie Leuenberger, winner of a Best Actress award at Tribeca) is forbidden by her husband to take a part-time job, her frustration leads to her becoming the poster child of her town’s suffragette movement. Her newfound celebrity brings humiliation, threats, and the potential end to her marriage, but, refusing to back down, she convinces the women in her village to go on strike…and makes a few startling discoveries about her own liberation. Uplifting and crowd-pleasing, this charming, captivating film is a time-capsule that could not be more timely. Director Petra Volpe joins us to talk about the story behind a struggle for human rights and the women who made Swiss history.
Switzerland’s submission for the Academy Awards Best Foreign-Language Film
Winner – Audience Award for Best Feature – Tribeca Film Festival 2017
Winner – Audience Award for Best Fiction – Traverse City Film Festival 2017
“A gentle, unassuming picture, it does have a satisfying, feelgood trajectory and empathetic central performance from Marie Leuenberger.” – Wendy Ice, Screen International
“‘The Divine Order’ effectively illustrates how peer pressure can influence the political process.” – Ben Kenigsberg, The New York Times
“Within the story’s sometimes too-neat outline, Volpe lets most of her characters breathe.” – Sheri Linden, Los Angeles Times
“Essential viewing for those interested in a wider perspective on feminist challenges.” – Ben Orndorf, Blue-ray.com
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.
“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 Andrewstalks about the making of his complex, intimate and relentlessly raw tale of abuse, and unresolved emotion.
“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
An idealistic recent film school graduate with few local professional options takes a road trip from Ohio to Los Angeles with his anxious best friend, his troubled high school sweetheart, and a hitchhiker hippie, to chase his dream of becoming a filmmaker. Your Own Roadis about not letting extenuating circumstances determine your path in life. Brian (ASHTON MOIO)wants to make films but whether it’s his parents’ wishes, his geographical location, or just his self-doubt, the world seems stacked against him. Brian hits the road to break away from what is expected of him and pursue what he truly wants out of life. Along for the ride is his best friend Dan (AMIR MALAKLOU) whose whole life is structure and routine until his abusive ex-girlfriend dumps him and his plans go out the window. Brian also “accidently” invites his next-door-neighbor and hormer crush, Ally (CORTNEY PALM), who abuses prescription drugs to deal with her depression from caring for her grandmother with Alzheimer’s. Along the road they meet vibrant characters none more so than Ariel (KYM JACKSON), an Australian hitchhiker hippie who is not all that she seems, who they pick up in Colorado going in no place in particular. Each one of these characters takes the journey to California for unique reasons but they all find their inner selves traveling through such a diverse and sometimes scary country. Director and writer Brandon Buczek joins us to talk about his debut film world premiere at the 2017 Los Angeles Film Festival.
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.
