* Academy Award Winner – Animated Short Film, FEAST, Director Patrick Osborne

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FEAST is a new short from first-time director Patrick Osborne (Head of Animation, PAPERMAN) and Walt Disney Animation Studios, is the story of one man’s love life as seen through the eyes of his best friend and dog, Winston, and revealed bite by bite through the meals they share. Osborne is behind Walt Disney Animation Studios’ new short FEAST, taking the film from conception to completion. Osborne joined Disney as an animator on the 2008 feature film BOLT and went on to work on the PREP & LANDING movies andDisney’s 2010 hit TANGLED. Osborne served as Head of Animation for Disney’s’ OSCAR®-winning short PAPERMAN, and acted as Co-Head of Animation for the upcoming feature BIG HERO 6 prior to assuming full-time directing duties for FEAST. Prior to joining Disney, the Cincinnati, Ohio, native was lead oscars-posters-300x213character animator on THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE. He also worked as an animator on I AM LEGEND, SuRF’S uP and OPEN SEASON. Osborne, who earned a BFA with a focus in computer animation from Ringling College of Art and Design, got his start as a kid making movies with his brothers on their parents’ camcorder. His fascination with visual effects was elevated to a career goal when his dad gave him a book about the making of JURASSIC PARK. Director Osborne joins us to talk about Oscar nominated film and the challenges and rewards of having the final say on his own animated film.

Awards:

2015 Annie Awards Nomination

Audience Award Winner: 2014 Hamptons International Film Festival

Goodbye to All That – Director Angus MacLachlan

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Paul Schneider (Parks and Recreation) stars as a newly single dad navigating the good, the bad, and the weird of the 30-something singles scene in this whip-smart comedy. When his wife unexpectedly informs him that she wants a divorce, well-meaning but oblivious husband Otto Wall (Schneider) finds himself thrust back into bachelorhood. Cue a hilarious sequence of romantic encounters—from reconnecting with a former crush to online dating—as Otto searches for the real thing amidst a string of one night stands. Directed by the acclaimed writer of Junebug, this sexy farce co-stars Anna Camp, Heather Graham, Amy Sedaris, and Melanie Lynskey. Director Angus MacLachlan joins us for a conversation on his first feature film’s exploration of maintaining relationships, love, perceptions and modern dating.

For news and updates on Goodbye to All That go to: ifcfilms.com/films/goodbye-to-all-that

“Goodbye to All That” is very evenhanded in assessing its characters’ flaws, and it never sentimentalizes.” – Stephen Holden, New York Times

“The film’s tone remains playful — there are even some broad, laugh-out-loud moments involving a sex toy — but poignant little moments sneak in, hinting at darker, more troubling themes. “ – Bilge Ebiri, New York Magazine / Vulture

“Goodbye To All That never dares to sentimentalize, but the performances and tones are so well played that the movie is tenderly wistful in all the exact moments.”– The Playlist

Winner of the Best Actor Award at Tribeca Film Festival, Paul Schneider.

Visitors – Director Godfrey Reggio

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Thirty years after Koyaanisqatsi, Godfrey Reggio–with the support of Philip Glass and Jon Kane–once again leapfrogs over earth-bound filmmakers and creates another stunning, wordless portrait of modern life. Presented by Steven Soderbergh in Black and White digital 4K projection, VISITORS reveals humanity’s trancelike relationship with technology, which, when commandeered by extreme emotional states, produces massive effects far beyond the human species. The film is visceral, offering the audience an experience beyond information about the moment in which we live. Comprised of only seventy-four shots, VISITORS takes viewers on a journey to the moon and back to confront them with themselves. Director Reggio joins us for an engaging conversation on his brave and challenging new film.

The effect is akin to a mediated staring contest: the film audience looks into the eyes of the individual people on screen, who look back, their expressions changing in slow-motion, as Glass’s minor-key score triggers emotional synapses deep within. – TCha Dunlevy, Montreal Gazette

We see unadorned faces staring at the camera; afternoon shadows moving across a large, institutional-looking building; forlorn images of an abandoned amusement park; the misty, magical quiet of a swamp.– Moira MacDonald, Seattle Times

For better or worse, I’ve never seen anything quite like it. – Peter Rainer, Christian Science Monitor

Some of what [Godfrey] Reggio is trying to say is obvious, and some is elusive. Either way, the effect is remarkable. – Noel Murray, Dissolve

The word for the film is transfixing. – Stephen Holden, New York Times

For more on Visitors go to: http://visitorsfilm.com/

I Am Divine, director Jeffrey Schwarz

I Am Divine posterI AM DIVINE is the story of Divine, aka Harris Glenn Milstead, from his humble beginnings as an overweight, teased Baltimore youth to internationally recognized drag superstar through his collaboration with filmmaker John Waters. Spitting in the face of the status quos of body image, gender identity, sexuality, and preconceived notions of beauty, Divine was the ultimate outsider turned underground royalty. With a completely committed in-your-face style, he blurred the line between performer and personality, and revolutionized pop culture. I AM DIVINE is a definitive biographical portrait that charts the legendary icon’s rise to infamy and emotional complexities. Director Jeffrey talks about Harris / Divine’s journey from outsider to cultural avatar.

Check out the website for I Am Divine at: http://www.thefilmcollaborative.org/films/iamdivine

 “Pink Flamingos star Divine gets her own well-deserved spotlight.”— Peter Debruge, Variety

“Just as garish, splashy, and loud as Divine himself.”— Drew Taylor, indieWire’s The Playlist

“Divine expanded the concept of the drag queen from brash female impersonator into something much larger, more subversive and less gender specific.” – Stephen Holden, New York Times

After Tiller, co-director Lana Wilson

After Tiller film poster IISince the assassination of Dr. George Tiller in Kansas in May 2009, there are only four American doctors left who openly provide third-trimester abortions. After Tiller paints a complex, compassionate portrait of these physicians—Dr. LeRoy Carhart, Dr. Warren Hern, Dr. Susan Robinson and Dr. Shelley Sella—who have become the new number-one targets of the anti-abortion movement, yet continue to risk their lives every day to do work that many believe is murder, but which they believe is profoundly important for their patients’ lives. The film weaves together revealing, in-depth interviews with the doctors with intimate vérité scenes from their lives and inside their clinics, where they counsel and care for their anxious, vulnerable patients at an important crossroads in their lives. By sharing the moving stories of several of these patients, After Tiller illuminates the experiences of women who seek late abortions and the reasons why they do so. Co–director Lana Wilson joins us to talk about the challenges of finding the right balance when tackling such a emotionally charged issue.

“Debuting helmers Martha Shane and Lana Wilson manage a rare feat in After Tiller, making a calm, humanist documentary about a hot-button topic…Well contextualized and sensitively shot with extraordinary access, the pic reflects the personal, moral and ethical struggles of the doctors as well as their patients, and deserves the widest possible audience.” – Variety

“Intimate and heartfelt…Brings an emotional clarity to an issue in which every nuanced turn of phrase has been made politically complicated.” – Los Angeles Times

“One of the most courageous pieces of filmmaking I’ve ever seen. The film takes the issue out of pulpit/talk show screaming-match format and engages viewers hearts and minds, reminding us why we need to make and watch documentary films at all.” – Fandor

Let The Fire Burn, director Jason Osder

Let the Fire Burn posterOn May 13, 1985, a longtime feud between the city of Philadelphia and controversial radical urban group MOVE came to a deadly climax. By order of local authorities, police dropped military-grade explosives onto a MOVE-occupied rowhouse. TV cameras captured the conflagration that quickly escalated-and resulted in the tragic deaths of eleven people (including five children) and the destruction of 61 homes. It was only later discovered that authorities decided to “…let the fire burn.” Using only archival news coverage and interviews, first-time filmmaker Osder has brought to life one of the most tumultuous and largely forgotten clashes between government and citizens in modern American history. In the astonishingly gripping Let the Fire Burn, director Jason Osder talks about how he was able to craft found-footage film into a work that unfurls with the tension of a great thriller.

http://www.letthefireburn.com/

“Let the Fire Burn outshines the lackluster likes of Our Nixon by combining the death-trip of a Senna with the radical history of Black Power Mixtape.” – Nicolas Rapold, Film Comment Magazine

“Telling its riveting, despairing tale entirely through archival footage, the terrific documentary “Let the Fire Burn” has the force and intrigue of a courtroom thriller.” – Tim Griererson, Screen International

Museum Hours, director Jem Cohen

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In the Kunsthistorisches Art Museum in Vienna, Johann is a security guard who finds a special quiet magic at the institution. One day, a Canadian woman arrives on a compassionate visit to the city, and the two strike up a friendship through their appreciation of art. That relationship helps put all the other goings on at the museum and in the city in perspective as Johann observes and participates in them in a world where art can say so much more than a casual visitor might know. Director / Writer / Producer / Cinematographer / Editor, Jem Cohen (Chain, Benjamin Smoke, Instrument, and Evening’s Civil Twilight in Empires of Tin) joins us for a discussion on love, friendship, life and art.

“Quietly amazing.” – A.O. Scott, The New York Times

“Rapturous. A film of such intelligence and originality that ‘radical’ seems the only accurate word.” – Calum Marsh, Village Voice

“luminous.” – Film Comment

“Deeply Felt, gorgeously shot.” – San Francisco Bay Guardian

 “A lovely ode to art and friendship.” – Artforum

Spark: A Burning Man Story, co-director/ producer Jessie Deeter

spark_a_burning_man_storyEach year, 60,000 people from around the globe gather in a dusty windswept Nevada desert to build a temporary city, collaborating on large-scale art and partying for a week before burning a giant effigy in a ritual frenzy. Rooted in principles of self-expression, self-reliance and community effort, Burning Man has grown famous for stirring ordinary people to shed their nine-to-five existence and act on their dreams. Spark takes us behind the curtain with Burning Man organizers and participants, revealing a year of unprecedented challenges and growth. When ideals of a new world based on freedom and inclusion collide with realities of the “default world,” we wonder which dreams can survive. Co-Director / Producer Jessie Deeter stops by to discuss the challenges of making a film about the chaos and community that make up one of the world’s greatest annual spectacles.

Consuming Spirits, director Chris Sullivan

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Painstakingly created over the course of the last fifteen years, Chris Sullivan’s debut animated feature is an absolute marvel to behold. Employing multiplane cut-outs, drawings on paper and stop motion (all shot on 16mm), Sullivan weaves a psychologically dense chronicle of a crumbling Rust Belt town, and the intermingled lives of three lonely souls who work at its local newspaper. Unfolding like a vision quest from the mind of a memory-haunted insomniac, it tenderly navigates its ugly characters down twisted paths upon which their pasts, fears, and longings converge. This is a totally singular and eerie landscape, dotted with ghost-ridden farmhouses, midnight car accidents, late night radio broadcasts and the world’s oldest cat. Painted with frequent strokes of unexpected humor and rendered with a beautifully rough hewn craft emphasizing its characters’ fragility, it emerges as a quiet feature-length epic unlike anything you’ve ever seen: adult, complex and brimming with the irrepressible spirit of American independent filmmaking.. Director/ Writer/ Producer Chris Sullivan joins us for an extended conversation on this stunningly original animated film. Be sure to see Chris Sullivan for the 8:00 PM Friday and 7:00 PM Saturday screening at the Cinefamily –  611 N. Fairfax Avenue, Los Angeles.

“CRITICS’ PICK!  A dark and painful fantasy for grown-ups… A work of obsessive artisanal discipline and unfettered artistic vision. You have never seen anything like it. This remarkable film…conducts its inquiry into the darkest zones of the human heart in a spirit at once anguished and playful…A wonder.”
– A.O. Scott, The New York Times

“Emotionally raw, thoroughly original…The entire world he’s built is constructed of ugliness shot through with moments of unexpected beauty. His narrative is the same… small moments of beauty and redemption sneak through.”  – Ian Buckwalter, NPR online

“A sprawling, slithering, stream-of-consciousness tale… a moribund, rust-belt dreamland. This is the rare animated feature whose subtext is as rich as its sensuality… CONSUMING SPIRITS (is) not only a monstrous visual achievement, but one of the most uniquely humanistic animated features of all time.”
 Joseph Jon Lanthier, Slant



“Every frame in Chris Sullivan’s American Gothic saga aches and echoes from a place of unique artistry, meticulous craftsmanship and great imagination.  It is the little touches, the small world-building and grounding details that make CONSUMING SPIRITS feel so rich and so worthwhile. It is adult animation at its best and most unique, and a film which exudes the true spirit of American independent filmmaking.”
– Ben Umstead, TwitchFilm.com

It’s A Disaster, director Todd Berger

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In this doomsday comedy, four couples meet for Sunday brunch and find themselves stranded in a house together as the world may be about to end. When Tracy Scott (Julia Stiles) decides to introduce her new beau Glenn (David Cross) to her three friends Hedy (America Ferrera), Emma, and Lexi and their significant others, her biggest fear is whether or not her friends will approve of her new relationship, little does she realize that’s the least of her worries. Before long the couples find themselves in the midst of an apocalyptic disaster, catching them all off guard. One thing is clear; these four couples aren’t going to let the potential end of the world get in the way of the relationship issues they all need to work out. Director Todd Berger joins us to shed some light on how best to embrace the end times.

“It’s a Disaster is an impeccably-written, dark-as-a-moonless-night satire that hearkens back to the glory days of classic comedy. Existing in the surreal ether somewhere between Preston Sturges and Woody Allen, Berger takes on disaster films as well as the trope of trapping characters in one location; all the while, Berger and cinematographer Nancy Schreiber beautifully choreograph the on screen events to Altman-esque precision.” – Don Simpson, Smells Like Screen Spirit

“Writer-director Todd Berger brings a fresh stamp to Armageddon with his sharply scripted comedy It’s a Disaster, which is anything but.” – Sheri Linden, Hollywood Reporter

April 12, 2013 – Upstream Color, director Shane Carruth

UpstreamColor_Poster_2764x4096Kris is derailed from her life when she is drugged by a small-time thief. But something bigger is going on. She is unknowingly drawn into the life cycle of a presence that permeates the microscopic world, moving to nematodes, plant life, livestock, and back again. Along the way, she finds another being—a familiar, who is equally consumed by the larger force. The two search urgently for a place of safety within each other as they struggle to assemble the loose fragments of their wrecked lives. Director/Writer/Actor Shane Carruth stops by Film School to talk about his “heart-stoppingly” beautiful film mediation.

“With its densely layered, thematically rich storytelling, Upstream Color is in part about the mutual psychosis that can be an essential part of romance, the agreement of a shared madness. It’s intense and hypnotically powerful, and a more intimate and moving film than Primer. Color is somehow at once emotionally direct, while narratively abstract.” – Mark Olsen, LA Times

 “…having the movie wash over me was one of the most transcendent experiences of my movie going life. It’s utterly perplexing, and heart-stoppingly beautiful, quite literally overwhelming.” – Sam Adams, A. V. Club

Room 237, director Rodney Ascher

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In 1980 Stanley Kubrick released his classic horror film, THE SHINING. Over 30 years later, viewers are still struggling to understand its hidden meanings. Loved and hated by equal numbers, the film is considered a genre standard by many loyalists, while other viewers dismiss it as the lazy result of a legendary director working far below his talent level. In between these two poles, however, live the theories of ardent fans who are convinced they have decoded THE SHINING’s secret messages regarding genocide, government conspiracy, and the nightmare that we call history. Ascher’s ROOM 237 fuses fact and fiction through interviews with the fans and scholars who espouse these theories. Ideas of five devotees of the film with wildly different ideas about its true meaning are braided together in a kaleidoscopic deconstruction of the horror classic. Director Rodney Ascher joins us for a conversation on the joy of interpretation and discovery, wherever you find it.

 “Ascher’s unique and unforgettable film is a tribute to movie love. I couldn’t have liked it more.” – Peter Travers, Rolling Stone

“A delirious ode to movie love; a meditation on becoming so consumed by a film that every single inch of the screen seems to hold some kind of special meaning… both hilarious and electrifying, a must-see for any true film buff.” 
- Bilge Ebiri, New York Magazine

 “One of the great movies about movies… With Ascher’s brilliant editing subtly teasing the participants for their sillier comments, there’s a sense in which ‘Room 237′ mirrors Kubrick’s film as a work of genre satire… That these fans’ revelations run the gamut from ingenious to inane does nothing to diminish the pic’s aptly Kubrickian study of human flailing.” – Rob Nelson, Variety

Gimme the Loot – director Adam Leon

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Malcolm and Sofia, two determined teens from the Bronx, are the ultimate graffiti-writers. When a rival gang buffs their latest masterpiece, they must hatch a plan to get revenge by tagging an iconic NYC landmark, but they need to raise $500 to pull off their spectacular scheme.

Over the course of two whirlwind, sun-soaked summer days, Malcolm and Sofia travel on an epic urban adventure involving black market spray cans, illicit bodegas, stolen sneakers, a high wire heist, and a beautiful, rich girl’s necklace that is literally their key to becoming the biggest writers in the City. Director Adam Leon joins us for a conversation on his triumphant and touching look at youth in bloom.

“A celebration of outlaw creativity … [Leon] has an acute eye and ear for the sights and sounds of the real New York … and ‘Gimme the Loot’ has a lot to say about the contradictions of a place that is defined by both abundant opportunity and ferocious inequality.” A.O. Scott, The New York Times

 “This exhilarating gift of a movie marks a stellar debut for writer-director Adam Leon.”Rolling Stone

 “Only enemies of joy can stop Gimme The Loot now.”The A.V. Club 

ASAD, director Bryan Buckley

OSCAR WEEK on Film School!!

 

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Set in a war-torn fishing village in Somalia, an all Somali, refugee cast brings to life this coming of age fable of a Somali boy who is faced with falling into the pirate life, or rising above to choose the path of an honest fishing man. Director Bryan Buckley, a veteran commercial director and co-owner of Hungry Man Productions, has been directing since the mid-90s. Over the last decade he has directed more than 40 commercials for the Super Bowl and was dubbed “King of the Super Bowl” by the New York Times. Many pieces of Buckley’s work have been inducted into the Museum Of Modern Art’s permanent collection and he is an esteemed recipient of the DGA award, Emmy’s and many Cannes Lions. Bryan talks about his Oscar nominated Live-Action Short film and his journey from commercials to narrative filmmaking.

Carter Pilcher – Chief Executive of Shorts International

It’s time to start talking Oscars.  This week on Film School we’ll be talking about the Academy Award nominated films in the short form categories, Live-Action, Animated and Documentaries.  Joining us will be Carter Pilcher. Carter 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.

Oscar Nominated Short Doc – Open Heart, director Keif Davidson

 

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OSCAR WEEK on Film School!!

Their hearts ravaged by common strep throat turned deadly, eight Rwandan children leave their families behind to embark on a life-or-death journey to Sudan for high-risk surgery. Resilient cardiologist Dr. Emmanuel Rusingiza fights to save their lives, alongside larger-than-life Dr. Gino Strada who also must fight to save his hospital. Director Kief Davidson has had international success from the award-winning feature-length documentaries, KASSIM THE DREAM and THE DEVIL’S MINER. KASSIM THE DREAM, about a former child soldier turned boxing champion of the World, premiered at the Tribeca film festival and won over 10 international film festivals, including AFI, IDFA and Silver Docs. Keif joins us to talk about his Academy Award nominated Short Documentary film.

2013 Sundance Film Festival Review with Filmmaker Magazine founder and editor, Scott Macaulay

 

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Filmmaker Magazine (filmmakermagazine.com) is a quarterly publication magazine covering issues relating to independent, documentary and foreign films. Founded in 1992 by Scott Macaulay, Karol Martesko-Fenster and Holly Willis, Filmmaker Magazine includes interviews, case studies, financing and distribution information, festival reports, technical and production updates, legal pointers, and filmmakers on filmmaking in their own words. Editor-in-Chief Scott Macaulay‘s experience as a working independent producer informs coverage of behind-the-scene aspects of the creative, technical and business realities facing today’s filmmakers. Scott Macaulay calls in to talk about the best and brightest films coming out of the 2013 Sundance Film Festival.

John Dies at the End – director Don Coscarelli

 

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It’s all about the Soy Sauce—a new street drug that promises an out-of-body experience with each hit. Users drift across time and dimensions. But some who come back are no longer human. Suddenly a silent otherworldly invasion is underway, and mankind needs a hero. What it gets instead is John (Rob Mayes) and David (Chase Williamson), a pair of college dropouts who can barely hold down jobs. Can these two stop the oncoming horror in time to save humanity? No. No, they can’t. Director Don Coscarelli joins us for a lively conversation about comedy, horror and sci-fi film making in a rousing follow-up to his cult classic, Bubba Ho-Tep.

“What may be the most freewheeling and imaginative film of Coscarelli’s checkered career, loaded with tripped-out mood and nicely balanced between humor, horror and an underlay of genuine sweetness.” – Andrew O’Hehir, Salon.com

“John Dies at the End is joyously heterodox in its method, an everything-but-the-kitchen-sink mélange of sci-fi, black comedy, and action, with disquieting body-horror sight gags that at times recall David Cronenberg’s Naked Lunch.” – Dana Stevens, Slate.com

DIRTY ENERGY, director Bryan Hopkins

 

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On April 20th, 2010, the Deepwater Horizon exploded in the Gulf of Mexico, killing eleven workers and spewing 200 million barrels of oil into the ocean. DIRTY ENERGY gets the inside story from Louisiana residents themselves—people whose jobs and health are directly impacted by one of history’s worst environmental disasters—and whose voice quickly faded from American television screens. The film explores the human cost of having millions of gallons of oil and toxic dispersant in the ecosystem, and exposes the management failure of BP and the U.S. Government in the clean up, which will affect the world’s oceans and rivers for generations. Director Bryan Hopkins will join us to talk about the aftermath and consequences of a slow-motion disaster that continues to this day.

Film School Picks for the Best Films of 2012

Film School picks for the best films of 2012.

Moonrise Kingdom – Wes Anderson

How to Survive a Plague – David France

Silver Lining Playbook – David O. Russell

Holy Motors – Leos Carax

The Law in These Parts – Ra’anan Alexandrowizc

Middle of Nowhere – Ava DuVernay

Rust and Bone – Jacques Audiard

Lincoln – Steven Speilberg

The House I Live In – Eugene Jarecki

The Master – Paul Thomas Anderson

Beasts of the Southern Wild – Benh Zeitlan

In The Family – Patrick Wang

Django Unchained – Quentin Tarantino

Beauty is Embarrassing – Neil Berkeley

Brooklyn Castle – Katie Dellamaggiore

The Ambassador – Hans Brugger

The Loneliest Planet – Julia Loktev

The Invisible War – Kirby Dick

Hello I Must Be Going – Todd Louiso

Searching For Sugar Man – Malik Bendjeloul

5 Broken Cameras – Emad Burnat

The Waiting Room – Peter Nicks

The Gatekeepers – Dror Moreh

Island President – Jon Schenk

The Imposter – Bart Layton

Ai Weiwei: Never Sorry – Alison Klayman

Brooklyn Brothers Beat the Best – Ryan O’Nan

Central Park Five – David McMahon, Ken Burns and Sarah Burns

Portrait of Wally – Andrew Shea

Safety Not Guaranteed – Colin Trevorrow

Only The Young – Elizabeth Mims and Jason Tippett

Tchoupitoulas – Bill Ross and Turner Ross

King Kelly -Andrew Neel

The Flat – Arnon Goldfinger

The Kite – Prashant Bhargava

This list is subject to periodic updates because, to my undying shame, I have not yet seen; Zero Dark Thirty, Amour, Footnote, Take This Waltz, The Deep Blue Sea, The Comedy, Oslo, August 31st, Sister, Queen of Versailles, The Sessions, This Is Not a Film, Marina Abramovic: The Artist is Not Present, Sleepwalk With Me, Barbara or Mea Maxima Culpa.

ONLY THE YOUNG, director Elizabeth Mims

 

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ONLY THE YOUNG follows the story of three teenagers that live in a small desert town in Southern California – a town dominated by foreclosed homes and underpasses, unfilled swimming pools and skate parks. These kids must find things to do in a place that offers nothing – yet in the course of observing their day-to-day lives, we see them discover friendship, first love, heartbreak, and what it means to be young. Co-directors Jason Tippet and Elizabeth Mims’ delicate, ethereal filmmaking and ONLY THE YOUNG’s innocent yet rebellious subjects collectively embody the very essence of adolescence. Elizabeth Mims will join us for a conversation on the challenges of capturing youth in bloom.

“A sketchbook of a documentary filled with adolescent bodies groping, lurching and skateboarding toward burgeoning adulthood.” – Manohla Dargis, New York Times

“Only the Young captures the lyricism of late childhood and the bewilderment of the road ahead. (It) is a lush beauty of a documentary whose youth face the danger of un-coolness.”  – Sarah Fisch, Village Voice

 “Directors Elizabeth Mims and Jason Tippet let their subjects meander, and instead unify their movie through tight control of tone, winding up with an elegiac portrait of teen America. “ – Farran Smith Nehme, New York Post

TCHOUPITOULAS, director Bill Ross

 

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“Tchoupitoulas” is a story of the New Orleans night. It is a visually exhilarating and aurally immersive record of one night in the many lives of a thriving nocturnal populace. Three young boys act as our wide-eyed conduits to a parade of entertainers and revelers as they dance through the lamp lit streets and doorways of the Crescent City. From dusk to dawn, from Rampart to the river, we explore the lives and locales of one of the world’s most unique cities. In moments, vignettes, performances, and exchanges, “Tchoupitoulas” is a kaleidoscopic odyssey into another side of New Orleans. Bill and Turner Ross (45365) join us for a conversation on the joys of childhood, filmmaking and New Orleans nightlife.

“It is alive with the risk and curiosity of youth, and unapologetic in insisting that the pursuit of fun can be a profound and transformative experience.” – A.O. Scott, New York Times

 “Without offering much context or addressing obvious social issues, it’s an evocative tribute to its setting and to childhood innocence.” – Todd Jorgenson, Cinemalogue

HITCHCOCK, director Sacha Gervasi

Lurking behind Alfred Hitchcock, cinema’s “master of suspense” — the extraordinary film icon known for orchestrating some of the most intense experiences of menace and intrigue audiences have ever seen, was a hidden side: his creatively explosive romance with his steadfast wife and filmmaking collaborator, Alma Reville.
 HITCHCOCK lays bare their captivating and complex love story. It does so through the sly, shadowy lens of their most daring filmmaking adventure: the making of the spine-tingling 1960 thriller, PSYCHO, which would become the director’s most controversial and legendary film. When the tumultuous, against-the-odds production was over, nothing about movies would ever be the same – but few realized that it took two to pull it off. Director Sacha Gervasi (Anvil: The Story of Anvil) joins us for a conversation on the challenges and rewards of making a film about this iconic filmmaker.

“Hugely entertaining.  Anthony Hopkins and Helen Mirren are acting giants in stellar form.” – Peter Travers, Rolling Stone

 “One for the Ages.” – Richard Brody, New Yorker

CHASING ICE, director Jeff Orlowski

 

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In the spring of 2005, acclaimed environmental photographer James Balog headed to the Arctic on a tricky assignment for National Geographic: to capture images to help tell the story of the Earth’s changing climate. Even with a scientific upbringing, Balog had been a skeptic about climate change. But that first trip north opened his eyes to the biggest story in human history and sparked a challenge within him that would put his career and his very well-being at risk.

 Chasing Ice is the story of one man’s mission to change the tide of history by gathering undeniable evidence of our changing planet. Within months of that first trip to Iceland, the photographer conceived the boldest expedition of his life: The Extreme Ice Survey. With a band of young adventurers in tow, Balog began deploying revolutionary time-lapse cameras across the brutal Arctic to capture a multi-year record of the world’s changing glaciers. Chasing Ice director Jeff Orlowski joins us to talk about his film’s siren call to meet the greatest challenge facing the planet.

 “Chasing Ice” aims to accomplish, with pictures, what all the hot air that has been generated on the subject of global warming hasn’t been able to do: make a difference.” – Michael O’Sullivan, Washington Post

 “As much as one may intellectually believe in climate change, to see it actually happening has the power to stun a viewer into wordlessness.” – Ty Burr, Boston Globe

 “But let’s say you already accept the reality of climate change. Or that you don’t. Either way, “Chasing Ice” by Jeff Orlowski is heart-stopping in its coverage of the brave and risky attempt by a scientist named James Balog and his team of researchers on the Extreme Ice Survey, where “extreme” refers to their efforts almost more than to the ice.”– Roger Ebert

LIFE OF PI – writer, David Magee

 

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Based on the best-selling novel by Yann Martel, is a magical adventure story centering on Pi Patel, the precocious son of a zoo keeper. Dwellers in Pondicherry, India, the family decides to move to Canada, hitching a ride on a huge freighter. After a shipwreck, Pi finds himself adrift in the Pacific Ocean on a 26-foot lifeboat with a zebra, a hyena, an orangutan and a 450-pound Bengal tiger named Richard Parker, all fighting for survival. Writer David Magee talks about the challenges and rewards of adapting a sprawling, best seller into a powerful three-dimensional drama.

That Ang Lee has managed to turn the limitations of the material into his adaptation’s greatest strength make “Life of Pi” into a significant achievement for the filmmaker in spite of blatant problems with structure, dialogue and other surface issues. – Eric Kohn, IndieWire

Melds a harrowing high-seas adventure with a dreamy meditation on the very nature of storytelling. – Justin Chang, Variety