Ask No Questions, Director Jason Loftus

In ASK NO QUESTIONS Chinese State TV blames his faith for a fiery public suicide, Chen Ruichang is detained in a Clockwork Orange-style brainwashing facility and forced to accept the government’s account. But Chen, a former insider of the state TV himself, believes it was all a government plot. A CNN reporter smuggled out footage of the event that day, but was then muzzled by Beijing. Now, her eyewitness testimony helps untangle an intricate conspiracy, as Chinese authorities begin pressuring the filmmaker’s family and business associates. The terrifying danger of a government nefariously crafting the narrative & imprisoning its citizens who practice Falun Gong in China in the gripping feature documentary ASK NO QUESTIONS from filmmakers Jason  Loftus (The Bleeding Edge, Human Harvest) and Eric Pedicelli (Black Code, Tin City Voices), which world premieres on Saturday, January 25th. In the vein of a journalistic true crime documentary, painting the scope of the crime, and the depths of the investigation. The story leads into allegations of criminal conduct at a governmental scale. Evidence is credibly presented, shocking, and thorough. Director Jason Loftus stops by for a conversation on the terrifying reach of a totalitarian state power structure and the impact it can have on those who dare challenge it.

 

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For news and updates go to: asknoquestionsfilm.com

About the filmmakers: Director and Producer Jason Loftus is a Peabody Award-winning film producer and four-time Canadian Screen Award nominee. His work spans documentary, docuseries, virtual reality, narrative games, and animation. He is CEO of the Toronto-based Lofty Sky Entertainment and Lofty Sky Pictures. Ask No Questions is Jason’s directorial debut in a documentary feature.

Director and Editor Eric Pedicelli – Eric’s films have highlighted women’s right to education in Ivory Coast, surveillance of activists in Rio de Janeiro, and internet censorship in Iran. He edited Black Code (directed by Nick de Pencier), examining perils faced by activists in the digital age. It premiered at TIFF and earned Eric a Canadian Screen Award nomination for Best Editing. Ask No Questions is his feature documentary directorial debut.

 
Social Media
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instagram.com/asknoquestionsdoc
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“A few cunningly-placed cameras, a couple of threats, and some psychologically unstable recruits – and voila! – a whole new reality may be formed (in that sense, it’s like a real-life version of Barry Levinson’s satire Wag the Dog)” – Alex Saveliev, Film Threat

““Dissects a dramatic event with clear arguments and reasonable analysis–it is very well done. Darkness must be exposed, and Ask No Questions can play a valuable role.” – Ai Weiwei

“The film is particularly relevant now… a cautionary tale about how hard it can be to come to the truth.” – SF Weekly

“It shows the terrifying height of ‘fake news’ and presents a lot of difficult but timely questions about media, governmental authority, censorship, and freedom of the press.” – rocketminer.com

“A wicked trip down the rabbit hole… Without a doubt, Ask No Questions is a must see.” – Unseen Films

“Like an ice bath with each revealed truth being another shred of ice raising the hairs on the back of your neck.” – Slug Magazine

Bully, Coward. Victim. The Story of Roy Cohn, Director Ivy Meeropol

BULLY. COWARD. VICTIM. THE STORY OF ROY COHN takes an unflinching look at the life and death of infamous attorney Roy Cohn. Cohn first gained prominence by prosecuting Julius and Ethel Rosenberg in what came to be known as the “atomic spies” case. The documentary draws on extensive, newly unearthed archival material to present the most revealing examination of Roy Cohn to date. Director Ivy Meeropol (“Indian Point,” HBO’s “Heir to an Execution”) brings a unique perspective as the granddaughter of Julius and Ethel Rosenberg, having  spent much of her life feeling both repelled and fascinated by the man who prosecuted her grandparents, obtained their convictions in federal court, and then insisted on their executions. The documentary is a riveting profile chronicles Cohn’s life from the late 1950s as chief counsel to Senator Joseph McCarthy, when he first began wielding political power, through the 1980s, when he became a darling of the Reagan White House, a rabid anti-homosexuality activist and political mentor to Donald J. Trump before meeting his death from AIDS in 1986.  BULLY. COWARD. VICTIM. THE STORY OF ROY COHN includes numerous interviews, including John Waters, Cindy Adams, Alan Dershowitz, Nathan Lane and Tony Kushner, whose 2018 Pulitzer Prize and Tony-winning revival of “Angels in America” featured Lane as Cohn. Lane offers insight into how devastatingly dangerous the actual Roy Cohn was and how he wielded power through invective and innuendo.Director Ivy Meeropol joins us to talk about one of the most renowned and reviled political figures of the last 60 years as well as the lasting impact he had on her own life, family and the country.

 

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BULLY. COWARD. VICTIM. THE STORY OF ROY COHN debuts on HBO Thursday, June 18 at 9 PM (ET) and will also be available to stream on HBO GO, HBO NOW, and on HBO via HBO Max and other partners’ platforms. June 19 marks the 67th Anniversary of the execution of Meeropol’s grandparents, Julius and Ethel Rosenberg.

Social Media
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instagram.com/roycohndoc
twitter.com/RoyCohnDoc
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“In its loosely anecdotal way it may bring us a notch or two closer to who Roy Cohn was.” – Owen Gleiberman, Variety

“The film might complicate who Cohn was, but it does not try to humanize his actions-and some aspects of his life, his choices, and what he might’ve been thinking still remain shrouded in mystery to this day.” – Michelle Jaworski, The Daily Dot

Sometimes Always Never, Director Carl Hunter

In the latest collaboration between director Carl Hunter and writer Frank Cottrell-Boyce SOMETIMES ALWAYS NEVER follows a stylish tailor and wayward father, Alan, (Bill Nighy) who is has spent a big chunk of his adult life playing the word game Scrabble. At the expense of his other relationships Alan has spent years searching tirelessly for his missing son, Michael, who stormed out over a game of Scrabble. With a body to identify and his family torn apart, Alan must repair the relationship with his youngest son, Jack (Sam Riley) and identify an online player who he thinks could be Michael, so he can finally move on and reunite his family. A quirky mystery / comedy starring the BAFTA winner Bill Nighy (Love Actually, Shaun of the Dead), SOMETIMES ALWAYS NEVER is a story about redemption, family, and finding the right words. Director Carl Hunter joins us to talk about his on-going work with screenwriter working with Cottrell-Boyce, and the photo that convinced lead actor Bill Nighy to join the project and striking the right visual look for his thoughtful, wryly funny film.

 

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For news, virtual screenings and updates goto: sometimes-always-never.com

About the filmmaker: Carl Hunter is a director, screenwriter and also the bass player for Liverpool band, The Farm, who had a number 1 LP, Spartacus in 1991, 3 top 10 singles and spent a total of 50 weeks in the official top 40s for both LPs and singles. He has been making films, producing and directing, since the late 1990s and in 2019 he directed his first feature film, Sometimes, Always, Never, starring Bill Nighy and produced by Hurricane Films. In 2007, Carl produced and co-wrote the feature film, ‘Grow Your Own.’ He’s currently developing his next ideas with writer Frank Cottrell-Boyce.

Social Media
twitter.com/thefarm_carl
twitter.com/Sometimesmovie
twitter.com/frankcottrell_b

 

“…charming, elegant, whimsical and unexpectedly moving gem.” – Chris Hunneysett, Daily Mirror (UK)

“It’s universally well acted and it’s directed with an inventive, original visual style that matches the audacity of basing a film on Scrabble, by TV director Carl Hunter. The end result is unusual, intriguing and endearing.” – Alexa Dalby, Dog and Wolf

“It’s Nighy who will have you enthralled. He delivers a subtle, nuanced performance that allows the actor to shine while in full support of his costars.” – Kevin Crust, Los Angeles Times

“Screenwriter Frank Cottrell Boyce, who adapted the film from his own short story, has crafted a joy of a script, which seeds its themes as elegantly as Nighy’s character, Alan, a Scrabble-obsessed tailor, wears his suits. – Wendy Ide, Observer (UK)

Disclosure, Director Sam Feder

DISCLOSURE (formerly titled Disclosure: Trans Lives on Screen) is an unprecedented, eye-opening look at transgender depictions in film and television, revealing how Hollywood simultaneously reflects and manufactures our deepest anxieties about gender. Leading trans thinkers and creatives, including Laverne Cox, Lilly Wachowski, Yance Ford, Jen Richards, Mj Rodriguez, Jamie Clayton, and Chaz Bono, share their reactions and resistance to some of Hollywood’s most beloved moments. Grappling with films like A Florida Enchantment (1914), Dog Day Afternoon, The Crying Game, and Boys Don’t Cry, and with shows like The Jeffersons, The L-Word, and Pose, they trace a history that is at once dehumanizing, yet also evolving, complex, and sometimes humorous. What emerges is a fascinating story of dynamic interplay between trans representation on screen, society’s beliefs, and the reality of trans lives. Reframing familiar scenes and iconic characters in a new light, director Sam Feder (Kate Bornstein is a Queer and Pleasant Danger) invites viewers to confront unexamined assumptions, and shows how what once captured the American imagination now elicit new feelings. DISCLOSURE provokes a startling revolution in how we see and understand trans people. Director Sam Feder joins us for a conversation on the prejudice and crippling stereotypes being pushed out by film and television as well as barrier breaking stories being told by filmmakers, writers and artists

 

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For news and updates go to: disclosurethemovie.com 

Watch: Disclosure premieres June 19 on Netflix

Statement from the filmmakers: DISCLOSURE shows audiences that decades-old stereotypes, memes, and tropes in the media both form and reflect our understanding of trans issues. They have shaped the cultural narrative about transgender people, and inform everything from dating and domestic violence, to school policy and national legislation. Since 80% of the population have never met a transgender person, all they know is rooted in media depictions, which are predominantly problematic and have rarely included participation by actual trans people. Disclosure is aimed at that 80%. 

Social Media
facebook.com/DisclosureDoc
twitter.com/Disclosure_Doc
instagram.com/disclosuredoc
twitter.com/SamFederFilm

“A thoughtfully crafted film that puts underheard voices first.” – Beandrea July, Hollywood Reporter

“Crafted with obvious love, Feder beautifully guides the audience through the many pitfalls transgender people have faced along the road to representation.” – Ian Thomas Malone, FanSided

“(Disclosure) not only leaves us with the hope that things will improve, but it also shows us how much better the industry is when everyone is included, represented, and respected.” – Norman Gidney, Film Threat

“In making the film, Feder and Cox are rewriting the very history they set out to tell, adding one more title to “positive representation” list. That alone is worth coming out for.” – Jude Dry, indieWire

My Darling Vivian, Director Matt Riddlehoover and Producer Dustin Tittle

MY DARLING VIVIAN is the the story of Vivian Liberto, Johnny Cash’s first wife and the mother of his four daughters. In 1951, Catholic schoolgirl Vivian Liberto meets handsome Air Force cadet Johnny Cash at her local San Antonio, Texas skating rink. Their whirlwind summer romance lays the foundation for a feverish three-year-long correspondence while Johnny is stationed in Germany. Thousands of letters later, the two marry upon his return in 1954. Within a year, a career blossoms and a family is started. By 1961, Johnny Cash is a household name, number one on the music charts, and perpetually on tour. Meanwhile, only two weeks postpartum, Vivian settles into their custom-built home in Casitas Springs, California with their four young daughters. Plagued by bobcats, rattlesnakes, all-hours visits from fans, and a growing resentment toward her husband’s absence, Vivian is pushed to a near breaking point when she and her daughters are targeted by hate groups over her perceived race. In MY DARLING VIVIAN, we meet the first Mrs. Cash as her daughters, Rosanne, Kathy, Cindy, and Tara, share with us first hand, for the first time, the entire story of love, isolation, fear, heartbreak, and survival. Director Matt Riddlehoover and Producer Dustin Tittle joins us to talk about an unacknowledged, but crucial part of the Cash legacy and the impact it has on the lives of those who loved him.

 

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

Watch: ondemand.drafthouse.com/film/my-darling-vivian

DIRECTOR’S STATEMENT – Vivian Liberto’s story is one that has intrigued me for years. Dustin, my husband and producing partner, is the grandson of Vivian and Johnny Cash; I’d heard fragments of her experience from my mother-in-law, Kathy, and how grossly misrepresented she was in the 2005 film, Walk the Line. It wasn’t until a close friend suggested we make this film that I even considered it a possibility – it seemed too huge a responsibility.  Now that Vivian’s truth is being told at a time when our society is beginning to listen to its aggrieved women, maybe her joy and pain and reality can be fully accepted. Her life was romantic and bewildering, difficult and significant, and wholly filmic – more than a mere footnote in the biography of Johnny Cash. The marks that were left on our four interviewees as children are undeniable, and also worth noting. These women have held an important piece of hidden history that seems more relevant today than ever before. It’s time we sat down and spent an hour or so in their, and their mother’s, shoes. Over these past two and a half years, I’ve fallen madly in love with Vivian, and my hope is that others do, too.  – Matt Riddlehoover, Director 

“An engaging and revelatory film that’s also deeply affecting.” – Sheri Linden, Hollywood Reporter

“This is a long-overdue must-see that sets the record straight for a woman whose whole life was glossed over in favor of a more camera-ready tabloid romance. There is great value to be found in My Darling Vivian if you’re up to walk this line.” – Bradley Gibson, Film Threat

“Enriched by a treasure trove of family photos, home movies, and previously unheard recordings, “My Darling Vivian” defiantly upends the accepted Nashville and Hollywood narrative…” – Andrew Osborne, culturevulture.net

“My Darling Vivian is an unmistakably loving and sensitive portrait, an imperfect but impassioned attempt to makes the case that the easy Johnny Cash narrative is missing an important figure.” – Steve Pond, TheWrap

The Grey Fox, Producer Peter O’Brian

Francis Ford Coppola protégé Phillip Borsos directs The Grey Fox, an elegiac, low-key tale about real-life bandit Bill Miner that has become a classic of Canadian cinema. Having been released from jail in 1901 following a 33-year prison sentence for robbing stagecoaches, Bill Miner (Richard Farnsworth) finds himself living in a society that has completely changed from the one of his youth. He tries to put his life of crime behind him and settle down in Washington state with his sister, but the quiet life does not suit him. He feels restless but uncertain as to how to proceed next. The answer comes to him when he sees Edward S. Porter’s The Great Train Robbery. Soon, Miner has slipped over the border into Canada and, along with his new partner, Shorty (Wayne Robson), robs the Canadian Pacific Railway Trans-continental Express. Later, while laying low after the crime in a remote corner of British Columbia, he meets the beautiful, strong-willed photographer Kate Flynn (Jackie Burroughs). In writing this script, Borsos reportedly made heavy use of contemporary court documents and testimonies. Producer Peter O’Brian stops by to talk about his collaboration with director Phillip Boros and Richard Farnsworth and The Grey Fox 4K Restoration is being released through Kino Marquee.

 

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Watch The Grey Fox and support local theatres – kinomarquee.com/the-grey-fox

Kino Marquee is a new initiative that creates “virtual cinemas” for temporarily closed independent theaters. Local audiences support their community’s theater in these uncertain times by buying a virtual “ticket” to watch the film. Their ticket purchases directly support their local art house as all revenue is being shared between distributor and exhibitor, just as if they bought their ticket at the theater’s box office. Kino Marquee currently works with over 350 art house theaters across the nation.

Farnsworth is a superb camera subject, with a lulling sexual presence. [Director Phillip] Borsos is an inspired image-maker.” – Pauline Kael, The New Yorker

 “One of the loveliest adventures of the year…director Phillip Borsos is able to make this a human story and still keep it exciting as an action picture.” – Roger Ebert, Chicago Sun-Times

 “Terrific. Richard Farnsworth is a delight…remarkably appealing with a face the camera adores.” – Vincent Canby, The New York Times

“Fits beautifully between McCabe and Mrs. Miller and Unforgiven, each of them stories about characters coming to term with changing times. There are even echoes of The Irishman, and the newly-refreshed film is ripe for reconsideration.”  – Jason Gorber, Slashfilm

Runner, Director Bill Gallagher

When he was only eight, Guor Mading Maker (formally known as Guor Marial) ran from captivity in war-torn Sudan to eventually seek safety in the US. In his new life, Maker began running again, participating in high school track and field and eventually becoming a sensation and qualifying for the 2012 Olympics. But because the newly formed South Sudan was not recognized by the International Olympic Committee, Maker had to fight to compete independently, refusing to run for Sudan and taking a stand against its oppression. RUNNER depicts Maker’s difficult and triumphant journey from refugee to a world-renowned athlete, told in intimate interviews with gorgeously animated flashbacks of Guor’s upbringing, and culminating in a heart-wrenching reunion with his parents after a 20-year separation. His story is a distinctly inspirational one in which the indomitable human spirit emerges against all odds. Director Bill Gallagher joins us to talk about the indomitable spirit of Guor Mading Maker and how the hope he has for “the world’s newest” country and love of his family have fueled his determination for finish his race.

 

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

About the filmmaker: BILL GALLAGHER is the director and producer of the award-winning documentary RUNNER that is currently playing at festivals around the world. He was the line producer for the Academy Award nominated documentary IF A TREE FALLS (Sundance), and Production Manager on the documentary RACING DREAMS (Tribeca – Best Documentary). Both films were in theaters and broadcasted on BBC and PBS. Originally from outside of Boston in the United States, he is now living in Madrid, Spain. He studied Documentary Media at The New School and has lectured on documentary production at the University of Navarra in Spain. RUNNER is his first film as director.

Social Media
facebook.com/RunnerDoc
twitter.com/therunnerdoc
instagram.com/runner_documentary
Hashtag #WhyIRun

Crystal Swan, Director Darya Zhuk

CRYSTAL SWAN is set in Belarus a few years after gaining independence in 1990. This vibrant debut feature film by director Darya Zhuk follows the path of young Velya (Alina Nasibullina), who dreams of moving to Chicago where she hopes to pursue her passion for house music.  However, obtaining a U.S. visa proves daunting. After purchasing blank letterhead and forging proof of employment, Velya realizes the American consulate plans to call the fake phone number on her application to confirm her employment. Velya’s only solution is to go to the small factory town and convince the family connected to the phone number to help her. She locates the cramped Soviet apartment on the other end of the line, overrun by a family preparing for the wedding of their son. But Velya’s presence soon upends both the family’s and the town’s order, with potentially disastrous consequences for all. Director Darya Zhuk joins us to talk about where the story behind Crystal Swan came from, casting Velya and how her debut feature film reflects a story about a woman and her country, where feelings of self and belonging are yet to be defined.

 

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For news and updates go to: loco-films.com/crystal-swan

Crystal Swan is available to watch on MUBI

Director’s statement – I’m a Belarus-born film director living in New York. I spent most of my young adult life straddling two worlds: the world of my freshly independent home-country, just starting to define its identity after the split from the Soviet Union, and my new home in America where I stayed after finishing an undergraduate degree at Harvard. Most of this straddling, I spent standing in long cues to the US Embassy in Minsk. I visited my parents a lot, and the visa requirements were quite brutal. It’s in this long line to the embassy that I first thought of Crystal Swan. People waiting on the permission to go to America were like prisoners waiting for the verdict, – they were so stressed out that they often shared their whole life stories with strangers next to them. I wanted to explore what this process of like. My protagonist Velya is a DJ dreaming to go to Chicago to visit the birthplace of house music. We meet her in one of these cues to the embassy. She is young and full of illusions, she still feels like she is the center of her world. She is an archetypal American character placed in the post-Soviet mess. Freedom she seeks is not available, and in the reality where she lives, the individualism doesn’t always win. Her beliefs and approach to life are constantly challenged with every step of her journey. Can she be a free agent in an unfree world? The unfreedom of people around is what stops my main character from reaching her goal. The history, the trauma of the previous history, catches up with her through the abusive actions of the people who surround her. – Darya Zhuk, Director, Co-screenwriter

Social Media
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twitter.com/crystalswanfilm
instagram.com/beatlezhuk
 
Official Oscar Entry for Foreign Language Film – Belarus 
Best Director – Bridge of Arts Film Festival
Best Actress – Bridge of Arts Film Festival
Best Actress – Cineuropa Film Festival
Best Film – Bratislava Film Festival (Fipresci Jury)
Best Debut of 2018 – Russian Critics Guild
Best Picture – Tbilisi Film Festival

 

100% on Rotten Tomatoes

“Crystal Swan feels like a poison-tipped letter from the filmmaker to her home country that is also an engrossing work of social criticism.” – Phil Guie, Film-Forward.com

“If something stands out above all it’s the excellent performance of Alina Nasibullina, an actress with a lot of presence that dominates the screen at all times.” – Jaime Fa de Lucas, Culturamas

“While some nuances may go over the heads of international audiences, its core social and economic frustrations are universal ones, driven by Velya’s fundamentally sympathetic wanderlust.” – Guy Lodge, Variety

“[Crystal Swan] is so effective at capturing the hopefulness of someone who’s seized by the promise of a better life, and the desperation she feels when that promise starts to slip through her fingers.” – David Ehrlich, indieWire

2040, Director Damon Gameau

Award-winning Director Damon Gameau (That Sugar Film) embarks on a journey to explore what the future could look like by the year 2040 if we simply embraced the best solutions already available to us to improve our planet and shifted them rapidly into the mainstream. Structured as a visual letter to his 4-year-old daughter, Damon blends traditional documentary with dramatized sequences and high-end visual effects to create a vision board of how these solutions could regenerate the world for future generations. Director Damon Gameau joins us to talk about the how current, scalable technologies are available that can mitigate the damage being done by the scourge of climate damage and move us toward a cleaner, sustainable life for the planet and humanity.

 

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For news and updates go to: madmanfilms.com.au/2040film

For news and updates go to: whatsyour2040.com

Watch 2040 at togetherfilms.org/2040-screenings

Get Involved 

“We have partnered with the curriculum experts at Cool Australia to build a comprehensive package of units of work for upper primary and secondary. These free lesson plans are learning recipes for teachers that utilise short clips from the film to support classroom learning, providing step-by-step instructions, student workshops and engaging content. We interviewed over 100 children from around the world for 2040 and asked them what their hopes and dreams were for the future. It is a world they will be inheriting from us so we have to show them that solutions exist, that there are people who care deeply about their future, and that wonderful careers await with genuine purpose and meaning.” – Damon Gameau 

Visit the “Resources for Teachers” page and sign-up to our Schools Mailing list to learn more about opportunities for schools and to receive updates on when localized curriculum resources will be available in your country.

Social Media
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twitter.com/2040Film
instagram.com/2040film

 

“2040 might just shift your world for the better.” – Liam Maguren, Flicks.co.nz

“Gameau pulls away from the apocalyptic doomsaying hard-wired into so much of the enviro-debate…Wisely, his speculations are restricted by the self-imposed discipline that they all need to be rooted in practices that already exist. A very smart move.” – Jim Schembri, 3AW

“None of the ideas explored here are purely theoretical or pie in the sky. Whether technological or systems-based solutions, they all exist now and could be massively expanded to huge global benefit.” –Lynden Barber, Limelight

“Gameau defaults to the position of inspiring people rather than alarming or overwhelming them. You leave the film wanting more, not less, of these sorts of productions.” – Luke Buckmaster, Guardian

“You can’t please everyone. Gameau is at least doing what he can to talk about some big problems, in an entertaining and accessible way.” – Paul Byrnes, Sydney Morning Herald

*HotDocs 2020 – All That I Am, Director Tone Grøttjord-Glenne

In her searingly insightful latest documentary, All That I Am, Director Tone Grøttjord-Glenne drops us into the life of eighteen year old Emilie Andrea. After five years in the foster system, she is returning to her family home to rebuild a fractured relationship with her mother and younger half-siblings. Over the next two years a determined Emilie begins to heal the trauma that haunts her, learns to speak her truth aloud, and takes her first steps towards a self-determined future. Now Emilie must gather the courage to reveal to her half-siblings the reason their father was imprisoned and their sister went away. Told with a commitment to emotional insight and dedication to Emilie’s subjective experience, this is the story of an extraordinarily courageous young woman on the cusp of adulthood finding the voice that was long denied to her. Director Tone Grøttjord-Glenne joins us for conversation on embedding herself into the lives of Emilie and her family, how a well intentioned Norwegian justice and welfare system can sometimes do more harm than good and the reception her remarkably intimate look at trauma, struggle and healing has received in her native country of Norway and the recent North American premiere at the HotDocs film festival. 

 

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For news and updates go to: allthatiammovie.com

About the filmmaker – Tone Grøttjord-Glenne has a master’s degree in direction from the National Film and Television School in England, and both her graduation film Brother (2003) and her debut film Prirechnyy won numerous awards, both in Norway and internationally. In 2005 she founded Sant & Usant with a vision of creating an environment for documentary film that had room to discuss both images and visual storytelling. Sant & Usant has produced several award-winning documentaries since then. Together with co-owner and producer Anita Rehoff Larsen, she has produced Bravehearts (2012), When the Boys Return (2012 ), I Am Kuba (2014),Maiko – Dancing Child (2015) and 69 Minutes of 86 Days (2017), among others. Currently she is directing Norway’s first Netflix Original, Sisters on Track, and is executive director on Gunda, which premiered at the Berlinale earlier this year, as well as working on the impact project for a cinematic release of ALL THAT I AM. 

“Gorgeously shot, expertly paced, and overwhelmingly emotional documentary All That I Am is the kind of film you hope everyone sees because it might make the world a more understanding and empathetic place.” – The Gate

“Tone Grottjord-Glenne directs this emotionally touching Norwegian documentary with a powerful appreciation of the lasting damage of sexual abuse on children and those closest to them.” – Frederic and Mary Ann Brussat. Spirituality and Practice

Ursula von Rydingsvard: Into Her Own, Director Daniel Traub

In URSULA VON RYDINGSVARD: INTO HER OWN filmmaker Daniel Traub nimbly illuminates the fascinating journey of Ursula von Rydingsvard – from her difficult early life in a family of nine emigrating to the US after five years in post-WWII German Displaced Persons camps, a traumatic first marriage, her arrival in 1970s New York to establish herself as an artist, and the staggering, triumphant body of work she subsequently produced. Von Rydingsvard is one of the few women in the world working in monumental sculpture. Von Rydingsvard’s work has been featured in the Venice Biennale and is held in the collections of some of the world’s great museums, including New York’s =Museum of Modern Art, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. But she may be best-known for the stunning “Scientia” at M.I.T. which evokes the power of nature and the firing of brain synapses. imposing pieces painstakingly crafted with complex surfaces. URSULA VON RYDINGSVARD: INTO HER OWN, goes behind the scenes with von Rydingsvard, as she and her collaborators – cutters, metalsmiths, and others – produce new work, including challenging commissions in copper and bronze. But the film also delves into the artist’s personal life, and how it has shaped her work. In conversations with curators, patrons, family, and fellow artists, we come to know von Rydingsvard as a driven but compassionate sculptor with a deep commitment to her art and the world around her.  Director Daniel Traub joins us to talk about von Rydingsvard’s creative process and how the materials she uses to create her complex and challenging sculptures influence her artistic approach.

 

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For news and updates go to: intoherownfilm.com

About the filmmaker: DANIEL TRAUB  Director / Producer / Cinematographer is a New York-based filmmaker and photographer. He lived in China from 1998 to 2007, working as cinematographer on documentary films for various networks and production companies, including PBS, German television ZDF and Arte. More recently, Traub directed the feature-length Barefoot Artist about Lily Yeh and her collaborative artworks in war-torn communities and Xu Bing: Phoenix about the condition of Chinese migrant laborers. Traub’s photographs have been exhibited internationally, including solo exhibitions at the Catherine Edelman Gallery in Chicago, Slought Foundation in Philadelphia and the Lianzhou Foto Festival in China. His work can be found in public and private collections, such as The Margulies Collection at the Warehouse and San Francisco Museum of Modern Art.

Social Media
twitter.com/icarusfilms

 

“A welcome cinematic account of her work.” – Glenn Kenny, The New York Times

“This compelling documentary portrait is a quiet ode to a woman whose approach to form and material are unmatched in the art world.” – Vancouver Int’l Film Festival

“While director Daniel Traub has little time to dive too deeply, the documentary serves as a fascinating glimpse into an artist’s work, inspirations and process.” – Kevin Crust, Los Angeles Times

“A fascinating and streamlined look at the renowned sculptor as we get a behind the scenes look at her creative process.” – Joe Friar, The Victoria Advocate

You Don’t Nomi, Director Jeffrey McHale

In YOU DON’T NOMI, a chorus of film critics and fervent devotees explore the complicated afterlife of 1995’s biggest film flop, Paul Verhoeven’s salacious SHOWGIRLS from disastrous release to cult adoration and extraordinary redemption 25 years later. Showgirls was met by critics and audiences with near universal derision. YOU DON’T NOMI traces the film’s redemptive journey from notorious flop to cult classic, and maybe even masterpiece.The film features Adam Nayman (Vice Guide to Film), April Kidwell (I, Nomi) and Peaches Christ (Milk) as well as archive interview footage with the cast and crew of Showgirls. While SHOWGIRLS is the main subject of YOU DON’T NOMI, the documentary is also a retrospective of Verhoeven’s directing career from RoboCop, Total Recall, Basic Instinct, Starship Troopers and Elle, among others. It explores the themes that unite his films, while showcasing Verhoeven as a genius and as a controversial figure all at the same time. Director Jeffrey McHale joins us to talk about his own Showgirls odyssey and how he came to document the subculture that celebrates a film that cinephiles often vilify and embrace at the same time.

 

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Available Tuesday, June 9 on Amazon Prime Video, iTunes, Google Play & Fandango NOW

About the filmmaker Jeffrey McHale, Director / Producer / Editor, is a documentary filmmaker based in Los Angeles. His feature film debut, YOU DON’T NOMI, is the zenith of what he calls his “Showgirls adventure.” While McHale’s inspiration for You Don’t Nomi originated with the unexpected viral success of his 2010 trailer mashup of Paul Verhoeven’s  Showgirls and Darren Aronofsky’s Black SwanNomi also synthesizes recurring themes in McHale’s work, including the examination of queer subcultures and the exploration of how identities are articulated. As a television editor, McHale’s work includes acclaimed technology and science news series TechKnow for Al Jazeera English and most recently the groundbreaking World Cup docuseries Phenoms for Fox. Earlier projects, including documentary shorts and music videos, have screened at NewFest, Frameline, Austin Gay & Lesbian International Film Festival, and the Melbourne Queer Film Festival. A native of Michigan, McHale began his career at WGN America after studying film at Columbia College Chicago.

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89% on Rotten Tomatoes

“You Don’t Nomi makes a compelling case that the much-maligned pop-culture landmark can be judged as either tawdry rubbish or subversive comic triumph.” – David Rooney, Hollywood Reporter

“This is the most thoughtful deconstruction of a film imaginable, as well as an ideal festival choice for those who used to buy DVDs just for the commentaries.” – Kent Turner, Film-Forward.com

“While far from a straightforward documentary about a widely marginalized film, You Don’t Nomi reminds us that it’s okay to like things with rough edges, that streamlined perfection is overrated…” – Chuck Foster, Film Threat

“Nomi leaves it up to audiences to decide if Showgirls is trash, a masterpiece, or a “masterpiece of trash,” but one thing is certain: no matter how good or how bad one considers the film’s objective quality, one can enjoy Showgirls all the same.” – Pat Mullen, POV Magazine

Feral, Actor Annapurna Sriram

FERAL tells the story of Yasmine (Annapurna Sriram), a homeless woman living in the tunnels underneath Manhattan’s West Side. Surviving on her own terms while trying to build a new life alone, she is reeling from the loss of her mother, who was deported when she was 16. Older now, Yasmine, struggles to rise from poverty as the perils of the underground fill her with despair. Along her journey, Yasmine meets a cast of characters and real New York personalities, each living in their own form of exile: a lonely piano player who’s never played his music out loud; a mother who regrets the birth of her six-year-old; a lonely grandmother nostalgic for her salsa music past and the Mission who is there to help, but only if she’s willing to play by their rules. Based on actual stories of living underground and working with former homeless individuals, FERAL peers deep into Yasmine’s emotional reality, staring this bold young woman directly in the eyes as she struggles to carry on. Lead actor Annapurna Sriram stops by to talk about her theatre background, adapting to working in a cramped, underground setting and collaborating with director and writer Andrew Wonder.

 

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For news and updates go to: feralfilmproject.com

About – Annapurna Sriram, (Yasmine) Nashville-born actor, writer, and director, landed her first agent at thirteen in Nashville, Tennessee.  After turning eighteen, Annapurna left Nashville and headed to Rutgers’ Mason Gross School of the Arts, where she studied for a year at London at Shakespeare’s Globe Theater, and was chosen to perform as part of the Sam Wanamaker Festival. Recent stage credits include the origination of “Reshma” in Jesse Eisenberg’s “The Spoils,” which was directed by Scott Elliot for The New Group and later reprising that role on the West End in London and Wallace Shawn’s United States premiere of “Evening at the Talkhouse.” 2019 has been a banner year for Annapurna, as two of her projects have been getting international attention. Her performance in the 2019 film Feral was her first lead role in a narrative feature film, and after its premiere at the Sarasota Film Festival, the film has been featured at the Sidewalk Film Festival, Bushwick Festival (where she won the Best Actor Award), and The Montreal Festival du Nouveau Cinema World Film Festival garnering excellent accolades from critics for her work. Her short film, Dom, won the Sidewalk Film Festival as “Best Narrative Short,” and has been programmed at the Brooklyn Film Festival, LES Film Festival, Indie Memphis, and the Cucalorus Film Festival. Annapurna resides in New York City, where she is currently working on films as writer, director and actor. 

More about Annapurna Sriram go to: annapurnasriram.com

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“Sriram is extraordinary in her role as Yazmine and carries the film on her own.” – Deirdre Crimmins, High Def Digest

“Sriram gives an amazing, empathic, and heartfelt performance. ” – Tim Murr, Biff Bam Pop 

“Annapurna Sriram is truly captivating as Yasmine. Her striking beauty is juxtaposed with her fierce attitude, but as the film progresses she also exhibits a serene spirituality coupled with a heartbreaking vulnerability. Like a force of nature in her own right, she flows and crashes into other denizens of the city. ” – Alec I. Gillis, Lewton Bus

“Sriram’s performance is exceptional; she completely embodies Yazmine, in her moments of loneliness, self-entertainment, brutality, pain, and brief moments of joy. We never doubt her completeness as a character, even if our view of her ranges from sympathy to anger to laughter. ” – Shelagh Rowan-Legg, Screen Anarchy

Feral, Director Andrew Wonder

FERAL tells the story of Yasmine (Annapurna Sriram), a homeless woman living in the tunnels underneath Manhattan’s West Side. Surviving on her own terms while trying to build a new life alone, she is reeling from the loss of her mother, who was deported when she was 16. Older now, Yasmine, struggles to rise from poverty as the perils of the underground fill her with despair. Along her journey, Yasmine meets a cast of characters and real New York personalities, each living in their own form of exile: a lonely piano player who’s never played his music out loud; a mother who regrets the birth of her six-year-old; a lonely grandmother nostalgic for her salsa music past and the Mission who is there to help, but only if she’s willing to play by their rules. Based on actual stories of living underground and working with former homeless individuals, FERAL peers deep into Yasmine’s emotional reality, staring this bold young woman directly in the eyes as she struggles to carry on. Director, producer, writer and cinematographer Andrew Wonder joins us fr a deep dive into the inspiration for Feral, his journey as a filmmaker, working with Paul Schrader and his organic approach to making one of the year’s best films.

 

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For news and updates go to: feralfilmproject.com

Director’s Statement –Yet for as many people as the tunnels beneath New York City represent fear, there are the few who see it as freedom. FERAL is inspired by my experiences underground and living with mole people in New York. To explore this world, our story revolves around the journey of a young homeless woman, Yasmine, living in the tunnels beneath the West Side (same as the one featured in Dark Days) in the days leading up to a blizzard. Within a month our key crew of four, cast of professional and non professional actors including former homeless people as well as those who work in the system, came together to create what we want to be an exploration of invisibility and the masks we put on when we face the world. The story is told, through the lens of a homeless woman, Yasmine, who only feels safe underground. – Andrew Wonder

For news and updates go to: andrewwonder.com

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“With its staggeringly beautiful cinematography of down-and-dirty New York and a layered central performance, Adam Wonder’s debut feature is a complex and dynamic look at social outliers and how we find the means to survive.” – Chloe Leeson, Screen Queens

“The larger truths the film conveys in distinctive artistic terms ultimately win out, and that’s what stays with you.” – Dennis Harvey, Variety

“A gritty but artful portrait.” – John DeFore, Hollywood Reporter

“Feral is a sobering and introspective journey into depression and isolation associated with life in the city, but it also presents a powerful social parable as the secret behind the protagonist’s sorrowful predicament is revealed.” – VyceVictus, Lewton Bus

F

Terrence McNally, Every Act Of Life, Director Jeff Kaufman and Producer Marcia Ross


Terrence McNally, Every Act Of Life, tells the story of the groundbreaking life and work of 5-time Tony-winning playwright Terrence McNally: a personal journey through 6-decades of the American theatre, the struggle for LGBT rights, triumph over addiction, the power of the arts to shape society, and finding love and inspiration at all ages. F. Murray Abraham, Audra McDonald, Christine Baranski, Edie Falco, Nathan Lane, Angela Lansbury, Rita Moreno and others weigh in on the pioneering playwright’s influential career, and speak frankly of his struggles as well as his monumental successes. The voices of Dan Bucatinsky, Bryan Cranston and Meryl Streep are also featured. Intimate conversations with the late McNally complete this essential portrait of the four-time Tony winner and 2019 recipient of the Special Tony Award for Lifetime Achievement in the Theatre. Playwright, librettist, scriptwriter and outspoken LGBTQ activist Terrence McNally died of coronavirus complications in April 2020 at age 81. American Masters and the filmmaking team explored McNally’s six-decade career through the intimate and revealing documentary. Director Jeff Kaufman and Producer Marcia Ross join us for a look back at one of the greatest playwrights  in American theatre history.

 

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For news and updates go to: everyactoflife.com

Terrence McNally, Every Act Of Life, will be returning to PBS Streaming on June 1st. 

About the filmmakers: Jeff Kaufman produced, directed, and wrote the documentaries Every Act Of Life (2018 Tribeca premiere, aired June 2019 on American Masters), The State of Marriage, Father Joseph, The Savoy King: Chick Webb and the Music That Changed America, Brush With Life: The Art of Being Edward Biberman, and Education Under Fire, plus a number of short films for Amnesty International, and programs for The Discovery Channel, and The History Channel. He also edited/designed a book based on the film Every Act Of Life, contributed cartoons to The New Yorker, and illustrations to The Los Angeles Times and The New York Times, wrote/illustrated several children’s books, and hosted daily radio shows in Vermont and Los Angeles.

Marcia S. Ross produced the documentaries Every Act Of Life, The State of Marriage, Father Joseph, and The Savoy King. Additionally she has an over 3-decade career as an independent casting director and casting executive, serving 16 years as EVP for Casting at Walt Disney Motion Pictures, and 5 years as VP for Casting and Talent Development at Warner Brothers TV. Some of her film and television credits include Clueless, Cujo, thirtysomething, Murder in Mississippi, 10 Things I Hate About You, The Princess Diaries, Romy and Michele’s High School Reunion, The Lookout, Enchanted, Oblivion, and Parental Guidance. She has received career achievement awards from the Casting Society of America and the Hollywood Film Festival.

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91% on Rotten Tomatoes

McNally’s life has the sweep of an epic novel, except that the novel’s inevitable movie version could never have as much star power as his life did.” – Ren Jender, Village Voice

“It’s a great introductory piece for those new to this area of theatre, and a pleasing chance for others to reflect on one of its greatest talents.” – Jennie Kermode, Eye for Film

“It does true justice to its subject by showing how his influence goes well beyond words, finding his tribe on Broadway and making it feel like home for others.” – Stephen Saito, Moveable Fest

“McNally’s life has the sweep of an epic novel, except that the novel’s inevitable movie version could never have as much star power as his life did.” – Ren Jender, Village Voice

 

The Ghost of Peter Sellers, Director Peter Medak

The Ghost of Peter Sellers is a comic-tragic feature doc about what it takes to be a film director and survive your biggest disaster. After 43 years the wounds have barely healed for Director Peter Medak (The Ruling Class, A Day in the Death of Joe Egg, Romeo is Bleeding) and this is his opportunity to tell the story and finally release the weight associated with its failure. At its core lies the story of an unraveling production but also the tale of a young Director firmly on a path to greatness. Medak had made 3 back-to-back successes; most notably ‘The Ruling Class’ in 1972 with Peter O’Toole. This film changed his career forever. In September 1973 Peter Sellers embarked on the production of a 17th Century pirate comedy in Cyprus for Columbia Pictures (Ghost in the Noonday Sun). Structured around the original director Peter Medak and his journey back to the island 42 years later, The Ghost of Peter Sellers is a timeline of events supported by eye-opening and heart-felt interviews with remaining cast members, production staff, Cypriot locals and others from the world of filmmaking. From Los Angeles to New York, from London to Cyprus, Medak recaptures what it was like to work with the genius talents of Sellers and Milligan whilst explaining the saga of the Pirate film and how such a brilliant and funny idea could go so terribly wrong and become a total disaster. Director Peter Medak joins us for a candid conversation on the toll the making of his star-crossed film took on him professionally, personally and psychologically and where he is today.

 

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For news and updates go to: theghostofpetersellers.com

Watch now on Virtual Theatre: theghostofpetersellers.com

About the Director – Peter Medak is an award-winning international Film Director. Born in Budapest, Hungary in 1937. In 1956 he fled to England at the age of 18 during the famous uprising against the communist regime. He studied and worked his way through by being an assistant editor, assistant cameraman and eventually a 3rd, 2nd and 1st assistant Director on some of the most remarkable British Films of the late 50’s and early 60’s. He was fortunate enough to work with some of the most legendary British film Directors such as Sir Carol Reed, Anthony Asquith, Fred Zimmerman and many others. In 1967 he went under contract with Paramount Studios where he directed his first feature film called Negatives with Glenda Jackson in her first ever film. He then proceeded making two highly acclaimed black comedies: A day in the death of Joe Egg (starring Alan Bates and Janet Suzman) and The Ruling Class (Starring Peter O’ Toole) for which he received an Academy Award Nomination. Since that time he has Directed a great number of feature films on both sides of the Atlantic starring Peter Sellers, Alan Bates, George C Scott, Richard Harris, Gary Oldman, Ted Danson and many more. In recent years Peter has made The Krays which won him The Evening Standard  Award for “Best Director in England”. Then he made Let Him Have ItRomeo is BleedingThe Men’s Club etc. In addition, he has directed a great number of television plays, mini-series, films for television, operas and stage productions over the past 50 years of his directing career and continues today.

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“The director has made a documentary that’s both a mea culpa for his role in a botched enterprise that left no one looking good and an affecting attempt to define a life’s turning point.” – Todd McCarthy. Hollywood Reporter

“Deeply entertaining and profoundly moving, The Ghost of Peter Sellers offers a slice of forgotten movie history that, it turns out, is well worth remembering.” – Christopher Llewellyn Reed, Hammer to Nail

“Many times throughout the documentary, Medak’s friends and associated ask him why he’s making this film. Like those tragic moments in our lives, we have to re-live it and confront it in order to move on with life.” – Alan Ng, Film Threat

“The Ghost of Peter Sellers beautifully allows the guilt-ridden director to exorcise his demons; against himself, against Sellers and against the film itself, within this surprisingly eloquent contemplation of a well-intentioned misfire.” – Alex Lines, Film Inquiry

American High, Founder Jeremy Garelick

Yale graduate Jeremy Garelick started in the mailroom at the Creative Artists Agency, before going on to work as assistant to legendary writer/director, Joel Schumacher on Tigerland, Bad Company, Phone Booth, and Veronica Guerin. Jeremy made his feature screenplay debut with the Vince Vaughn vehicle The Break-Up and followed that by teaming up with Todd Phillips to pen the production draft of The Hangover, establishing himself as the go-to A-list comedy writer in Hollywood. In 2015 Jeremy directed his first feature film, The Wedding Ringer starring Kevin Hart and Josh Gad. Between writing, directing, and show running his Netflix original limited series, Best. Worst. Weekend. Ever., and executive producing his YouTube Red original, Side Swiped, Jeremy also formed his own production company, American High. Staked with a $45 million film fund, American High has shot five indie comedies in Garelick’s recently acquired school-turned-studio in Syracuse, NY, including Big Time Adolescence, starring Pete Davidson, Jon Cryer, and Sydney Sweeney, which was recently invited to compete in dramatic competition at the 2019 Sundance Film Festival. In addition, American High Founder Jeremy Garelick is set to direct and produce a slate of three higher budget high school comedy features in 2020.

 

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For news and updates go to: americanhigh.com

 

About American High: Do for this generation what John Hughes did for the audiences of the 1980’s. Embrace the R-rated reality of high school and tell stories from eclectic characters from diverse backgrounds as they navigate the most formative (and often most hilarious) years of their lives. Why high school? Simple. Because it is one of the only shared experiences that we all go through. It’s where every challenge feels like life and death, where every victory is your greatest accomplishment. It’s a world of firsts. It’s where you first snuck out of your house and got in real trouble. Where you first learned how to drive and crashed into a lake. It’s your first kiss. The first time you touched a boob or someone touched yours. Where you discover who your friends are, the music you love, the movies you love, what your style is, who you are. In 2019 American High produced HULU’s very first original film, THE BINGE, starring Vince Vaughn and directed by American High founder Jeremy Garelick.

American High is using its sound stages for manufacturing 3-D Face Shields for our COVID first responders, Watch this video and go to the American High website to see how you can join them. 

Punching and Stealing, Co-director Ryan Churchill (Danny Parker-Lopes)

Inspired by actual crime. Set in the streets of Las Vegas, away from the strip, PUNCHING AND STEALING is an action comedy vigilante film about Sam Bransby (Ryan Churchill), a young man that becomes jaded and uses violence to get back his dad’s stolen pension money from corporate suits under the direction of his hitman boss (Melvin Rodriguez) in their organization, “Pension Recovery Force”. As fate would have it, as he turns to the dark side (with humor) in his vigilante faction, he meets the love of his life, Jen (Jenny Vilim). As hard as he tries to keep it a secret from her, his vigilante world and love life collide. He attempts to convince her to be his wing-woman but her moral code prohibits her from joining Sam’s underground faction of “beating people until they’re unrecognizable.” A modern day indie caper taking place over 13 years both in plot and film. Co-director, co-producer and lead actor Ryan Churchill stops by to talk about a personal connection to the origin story for his oft-kilter, high-energy comedy and how he pulled together a terrific supporting cast that pushed PUNCHING AND STEALING into a higher trajectory.

 

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For news and updates go to: PunchingAndStealingMovie.com

For more on the filmmaker go to: ryanchurchill.com

Available now on:
iTunes: apple.co/2LdAs0A
Amazon: tinyurl.com/yd385kfxhttps://youtu.be/9JOgvWY0T3o
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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

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Kate Nash: Underestimate the Girl, Director Amy Goldstein

Amy Goldstein’s wildly entertaining documentary, KATE NASH: UNDERESTIMATE THE GIRL, chronicles the meteoric rise and years-long struggle of musician / artist Kate Nash to re-establish a thriving career on her own terms. At 18, Nash reached the stratosphere of pop music, vaulting from a working-class family in North London into worldwide tours, a platinum record, and a season dominating the music charts. Fast forward to ten years later: Kate is breaking down, nearly homeless. Defrauded by her manager, she is forced to take odd jobs–like hosting a QVC show in a comic bookstore–and must sell off her clothes. After hitting bottom, she rises out of the darkness by crowd-funding her third album, using the uplifting power of online culture and her own authentic voice. From pop wonder, to riot grrrl, to TV wrestling queen, Kate’s journey is an inspiring call to the creative heart in all of us: be fearless. Blending performance footage with verité style sequences, KATE NASH: UNDERESTIMATE THE GIRLis both a no-punches-pulled look at an artist in flux who manages to come out on top, and at an industry that proves its own gender bias at every opportunity. The film is structured around songs and lyrics, as they are written and performed by Kate Nash, to tell its unfolding story. Director Amy Goldstein joins us to talk about Kate Nash, her work ethic, determination, sense of humor and how that has served her over the many years of struggle.

 

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For news and updates go to: thehoopinglife.com/kate-nash-underestimate-the-girl

KATE NASH: UNDERESTIMATE THE GIRL will be released nationally on Friday May 22 via the groundbreaking virtual cinema platform ALAMO ON DEMAND. Following the Saturday, May 23 6:00 PST / 9:00 EST there will be an interactive performance and Q&A with Kate Nash.The exclusive release will then hit a limited traditional theatrical rollout in August. Watch tonight: On Demand.drafthouse.com/film/kate-nash-underestimate-the-girl

 

About the filmmaker: Amy Goldstein, Director/Producer/Cinematographer Amy Goldstein graduated from Hampshire College with a BA in semiotics and from NYU Film School. She was a Louis B. Mayer fellow at NYU film school. Her short, “Commercial for Murder” (1990), screened at the Berlin Film Festival and was distributed theatrically in a collection of shorts. Her thesis film, Because the Dawn, was presented as the American Independents at the Toronto Film Festival with Todd Haynes‘ Superstar: The Karen Carpenter Story. After school, Amy directed music videos for artists from around the world, including Rod Stewart‘s “Downtown Train”. She directed the feature film The Silencer, which she co-wrote with Scott Kraft, and they went on to develop pilots for HBO, CBS, Fox, Showtime, and MTV, and the hip-hop musical Check Under the Hood for Jersey Films/Polygram. She directed the award-winning feature film East of A, an edgy comedy about an alternative family facing the challenges of raising a child with HIV. Amy directed “The Hooping Life” (1999), a chronicle of a worldwide subculture of “hoopers” who transcend their personal toil and the world’s fears through hula-hooping. Her most recent project is the documentary about the career of pop star Kate Nash, Kate Nash: Underestimate the Girl. Amy Goldstein and Anouchka van Riel, Producer head up Span Productions

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“What emerges is a comprehensive, thoroughly engaging portrait of a woman who has made it on her own terms and is back for more.” – Christopher Llewellyn Reed, Hammer to Nail

“If you want a reminder that misogyny is alive and well, this is the documentary for you. It actually ends on a bright note, but the road there is brutal” – Lindsay Pugh, Woman in Revolt

“While not quite as saddening as the recent Avicii documentary, Kate Nash: Underestimate the Girl is another indictment of the music business and its tendency to chew up young talent.” – Suzi Feay, Financial Times

Ovid and the Art of Love, Director Esmé von Hoffman

Set centuries apart but in the same place, OVID AND THE ART OF LOVE tellsthe story of the renowned Roman poet Ovid, whose comic verses and permissive lifestyle provoked the brutal Emperor Augustus’s ire. As Ovid and the emperor’s granddaughter – thrown together by fate – race to escape execution, Ovid’s story asks: In a world of unrest, is love the most radical act of all? Bringing together togas, high-tops, oration, poetry slams and hip-hop, this film tells a timely story about power, pleasure and politics. Strong women characters clamor for respect and a better place in society. All is set amongst the faded beauty of modern Detroit’s neoclassical architecture. Corbin Bleu (High School Musical) masterfully transforms into the poet Ovid, whose work has been cherished for over 2,000 years, while John Savage (The Deer Hunter) gives an electrifying performance as Augustus, Ovid’s conflicted nemesis. Tara Summers (Mercy Street, Boston Legal) plays Julia, Augustus’s tough, rebellious daughter, and Tamara Feldman (Gossip Girl, Hatchet) is the emperor’s activist granddaughter. Also starring Joseph McKenna (Shutter Island, 12 Monkeys) and Lailani Ledesma (Comedy Central’s Detroiters). Director and writer Esmé von Hoffman joins us to talk about her decision to recast this tale of a free-thinking Roman artist speaking truth to power as a modern parable. 

For news and updates go to: ovidandtheartoflove.com

About the filmmaker – Esmé von Hoffman: With a background in theater, journalism and visual arts, Esmé von Hoffman brings a fresh aesthetic to film to create a unique and topical world. An American-German dual citizen, born and raised in the U.S., Esmé has directed several shorts and has worked as a film editor on Alex Ross Perry’s Listen Up Philip, and Desiree Akhavan’s Appropriate Behavior and as a producer. She received a Sudler Fund for the Arts grant for her 16 mm film “Oblivion” and was commissioned to produce and direct a series of short documentaries, including one profiling three editors at The New York Times. Esmé was president of the Yale Film Society, where she oversaw visits of industry leaders including David Lynch, Alexander Payne and Doug Wick. She recently served as Director of the Filmmaking Program at The Edit Center in New York City.

 

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“Though Detroit may seem like an unusual backdrop for a classic story of government intrigue, politicking, and romance, the urban setting works … attracting an aware, woke audience who are almost certainly overdue for discovery of the charms of a 2000 year old poet.” – Picture This Post

“Corbin Bleu masterfully transforms into the poet Ovid, whose work has been cherished for over 2,000 years, while John Savage gives an electrifying performance as Augustus, Ovid’s conflicted nemesis.”– Vimooz

“Such a novel film … extremely entertaining and enlightening… ”– Debbie Elias, Behind the Lens, Adrenaline Radio

“Writer/director Esme von Hoffman has taken the risk of trying to blend the customs and costumes of Ancient Rome with the vibe of 21st century America … giving viewers a sometimes quirky, sometimes humorous, and sometimes brutal film that is unlike most of the fare on today’s big screens.” – Theatre Byte

Defending Jacob, Executive Producer Mark Bomback

Andy Barber has been an assistant district attorney in his suburban Massachusetts county for more than twenty years. He is respected in his community, tenacious in the courtroom, and happy at home with his wife, Laurie, and son, Jacob. But when a shocking crime shatters their New England town, Andy is blindsided by what happens next: His fourteen-year-old son is charged with the murder of a fellow student. Every parental instinct Andy has rallies to protect his boy. Jacob insists that he is innocent, and Andy believes him. Andy must. He’s his father. But as damning facts and shocking revelations surface, as a marriage threatens to crumble and the trial intensifies, as the crisis reveals how little a father knows about his son, Andy will face a trial of his own – between loyalty and justice, between truth and allegation, between a past he’s tried to bury and a future he cannot conceive. The Apple+TV limited drama series is a gripping, character-driven thriller based on the 2012 New York Times best selling novel of the same name by William Landay. Creator and Executive Producer Mark Bomback joins us to talk about how he and his creative team, including director Morten Tyldum, brought this complex and nuanced tale to life.

 

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To watch Defending Jacob go to: tv.apple.com/us/show/defending-jacob

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“One thing that’s evident from the outset is that all of the actors are perfect for their roles. Jaeden Martell, in particular, is still a young actor, but he handles the dark material with ease, and I appreciated the way the journey began with him.” – Paul Dailly, TV Fanatic

“The director applies an autumnal hue, with a color range of frosty blues that really adjusts to the atmosphere of slowly crumbling feelings.” – Jorge Loser, Espinof

“Chris Evans does some of the best work of his career as Andy… He expertly conveys Andy’s desperate, ferocious need to protect his son, his genuine love for his wife – and the haunting memories that jolt him awake in the middle of the night.” – Richard Roeper, Chicago Sun-Times

“The pilot does a remarkable job of building up the situation and its main players, but leaving enough in a nebulous spot that there’s still some doubt and some questions to dig deeper into.” – Kevin Lever, Tell-Tale TV

Raising Buchanan, Creator and Actor Amanda Melby

Inspired by a couple of true presidential corpse stories: the 1876 plot to steal Abraham Lincoln’s body, and the exhumation of Zachary Taylor in 1991, RAISING BUCHANAN took the idea of presidential corpse stealing to extraordinary lengths of dark comedy delight with terrible dead presidents. Because there’s certainly something to be learned from terrible presidents, as well as laughing at them. Finding their inspiration in the off-kilter tone of the dramatically rooted comedies of Alexander Payne, the Coen Brothers, and Hal Ashby, the RAISING BUCHANAN stars Amanda Melby (Candid Camera), René Auberjonois (Star Trek: Deep Space Nine), Cathy Shim (Reno 911!), Robert Ben Garant (Reno 911!), Terence Bernie Hines (The Secret Life of Walter Mitty), Jennifer Pfalzgraff  (21 Grams), Steve Briscoe (Covet), Lynnette ‘L.A.’ Brown (Kerry and Angie), and M. Emmet Walsh (Blade Runner). Produced by Melby and Joe Gruberman (Eleven Eleven), this award-winning feature film swept the film festival circuit racking up multiple awards, including: Best Feature, Best Dramedy, Best Actress (Melby) and Best Screenplay (Bruce Dellis), among others. Creator and lead actor Amanda Melby stops by for a lively conversation on her wryly funny and endearing film, Raising Buchanan, and her collaboration with the late, great René Auberjonois.

 

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“Auberjonois is so good as the feckless leader, nobly defending his poor decisions, that it makes you long for a full one-man show that will never come.” – Josh Bell, Crooked Marquee

“Surely, Buchanan was never going to earn the kind of cinematic lionization that so many American filmmaking greats (like Steven Spielberg and John Ford) gave to good old Abe Lincoln, but he could have done a whole lot worse than this.” – Nick Rocco Scalia. Film Threat

“Simply as a showcase for two of the best character actors of the last fifty years, Raising Buchanan deserves praise.” – M.V. Moorhead, Phoenix Magazine

Rewind, Director Sasha Joseph Neulinger

In REWIND, Sasha Joseph Neulinger’s candid personal memoir, he revisits his childhood and the events that tore apart his seemingly-perfect world. For as long as Neulinger can remember, his father was constantly filming— from birthday parties, to hockey games, to holidays. But his camera, trained on the frequent gatherings of a tight-knit family, was also documenting a hidden secret, the revelation of which would lead to a media firestorm, a high-stakes court battle, and a generational reckoning. Drawing upon an incredibly revealing home video archive, Neulinger revisits these events 20 years later to piece together an unflinching story of the cycles and consequences of abuse, to examine what it means to heal, and to use those experiences to effect positive change in the world. REWIND probes the gap between image and reality and proves just how little, and how much, a camera can capture. Director Sasha Joseph Nuelinger joins us for a candid conversation on the psychological, physical and emotional impact of abuse and how he was able to find the appropriate balance in his role as creator and director telling a story of unspeakable horror about himself and his family.

 

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100% on Rotten Tomatoes

“Watching the movie is like staring at a blurred image of the past that gradually, over 86 minutes, comes into terrifying focus… A documentary like this one has the effect of a moral thriller.” – OWEN GLEIBERMAN, VARIETY

“Rewind,” as indelibly as any film ever made, illustrates how the very process of investigating your own past can be a trauma unto itself. ” – DAVID EHRLICH, INDIEWIRE

“Somehow in documenting the family’s unraveling, Neulinger comes to show the strength that certain members were able to give to another… there is tremendous power in seeing the filmmaker taking the bad to make some good out of it, capturing the best and worst that humans are capable of in one brave and truly exceptional film.” – STEPHEN SAITO, THE MOVEABLE FEST

“Neulinger’s film, like any great documentary, maintains a steady drip of details whose importance are only revealed later… Rewind not only offers the story of a victim’s ordeal, but a brave and resilient spirit.” – ROBERT DANIELS, 812 FILM REVIEWS

“Sasha Joseph Neulinger’s wrenching surival story is an astounding documentary on sexual abuse trauma… The utter honesty behind these scenes could only be captured in a documentary.” – ANDREW BUNDY, THE PLAYLIST

The Plagiarists – Screenwriters Robin Schavoir and James N. Kienitz Wilkins

Co-written by experimental filmmakers James N. Kienitz Wilkins and Robin Schavoir (who, along with Paul Dallas, served as producers), The Plagiarists is at once a hilarious send-up of low-budget American indie filmmaking and a probing inquiry into race, relationships, and the social uncanny. A young novelist (Lucy Kaminsky) and her cinematographer boyfriend (Eamon Monaghan) are waylaid by a snowstorm on their way to visit a friend in upstate New York and are taken in by the kindly yet enigmatic Clip (Michael “Clip” Payne of Parliament Funkadelic), who puts them up for the night. But an accidental discovery months later recasts in an unnerving light what had seemed like an agreeable evening, stoking resentments both latent and not-so-latent. Exhilaratingly intelligent and distinctively shot on a vintage TV-news camera, The Plagiarists is a work whose provocations are inseparable from its pleasures. Screenwriters James N. Kienitz Wilkins and Robin Schavoir join us to talk about whip-smart project, as well as their creative process, white privilege, blending together acting styles and Dogma 95.

Background – The Plagiarists is a dramatic comedy about the clash of money and culture, reality and desire, race and identity. It’s a social satire about who has the privilege to say what in today’s world. It was conceived as a playful critique of the mannerisms of “indie film” used by aspiring filmmakers to denote authenticity of performance, often resulting in the casual perpetuation of stereotypes. The Plagiarists is at once the thing it mimics: a completely independent micro-budget feature shot entirely on vintage news cameras from the 1980s, despite a contemporary subject matter. The camera cited in the story is also the production camera, recording on real Betacam SP videotape (sourced from eBay) to create a visual style reflecting the internal debate over obsolescence, nostalgia, and the heavy weight of originality.

 

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“An adventurous comic thumping worth the working over of your sensibilities.” – Robert Abele, Los Angeles Times

“Its crude imagery and the sharp editing that implicitly contradicts it are deliberate components of a termite-like digging into the permutations of postmodern cultural work.” – Glenn Kenny, New York Times

“The Plagiarists’ perfectly judged mimicry of independent cinema illustrates the profound effect a lack of diversity has on the type of art that gets made.” – Patrick Gamble, CineVue

“The film improves upon reflection, raising, as it does, some knotty questions about originality in art and in life, as well as provocatively positing that even a copy of a copy of a copy has the potential to move hearts and minds.” – Keith Uhlich, Hollywood Reporter