Mr. Jones, Director Agnieszka Holland

Oscar nominated filmmaker Agnieszka Holland’s thriller, MR. JONES, set on the eve of WWII, sees Hitler’s rise to power and Stalin’s Soviet propaganda machine pushing their “utopia” to the Western world. Meanwhile an ambitious young journalist, Gareth Jones (James Norton) becomes famous after publishing an article about his ride on an airplane with the new Chancellor of Germany – Adolph Hitler. Jones uses his political position in the British government as a foreign affairs advisor to David Lloyd George to get privileged access to the Soviet Union. Once there he searches for his next big story, scrutinizing the political and economic situation in Russia. Jones soon learns of government-induced hunger program, known as Holodomor, imposed on the Ukrainian people. The Soviets, with the help of the British and American governments, keep the starvation of 4 to 5 million people mostly secret. Jones efforts to uncover the truth behind the propaganda and expose an international conspiracy could cost him and his informant their lives. Jones goes on a life-or-death journey to uncover the truth behind the façade that would later inspire George Orwell’s seminal book Animal Farm. Director Agnieszka Holland joins us for a lively conversation on the little known story of mass slaughter prior to the onset one World War II and the craven rationale by the Western Powers willing to look the other way as millions of innocent people perished.

 

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For news, updates and screenings go to: samuelgoldwynfilms.com/mr-jones

Watch on Apple TV, Amazon Prime, Google Play, Vudu and Fandango Now

Writer’s Statement: “It was for my grandfather, Olexji, and the countless others who suffered under the Soviet regime that I wrote and produced this film. The idea first came to me in my final year of university and followed me to Ukraine after college and to a road trip through Wales shortly before my wedding, and many research trips for several years after. I wanted to tell a story that would honor the millions of victims of Stalin, who has been resurrected under Putinism as a great hero, and expose how Kremlin propaganda works – sometimes with the help of corrupt Western journalists and political leaders. Fifteen years ago, I never imagined this film would be relevant. It was always my intention to unearth buried history not hold up a mirror to our own times. As surreal as this journey has been against the backdrop of growing authoritarianism around the world, I have been heartened by how our story has brought together so many talented, fearless people determined to fight for the truth. Agnieszka, who survived prison under Soviet occupation and lost loved ones to the regime, put so much of herself into this masterpiece. Never could I have written in detail the rich wonderland that she created on screen, poetically guiding the audience through an adventure, while giving greater context to the challenges the world faces today. It has been a testament of faith that this film came together with these brave artists, and the timing for its release could not be more urgent.” – Writer Andrea Chalupa

Social Media
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instagram.com/goldwynfilms
 
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#mrjones #spy #thriller #movie #newrelease
 

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)

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
twitter.com/Atlantidarya
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

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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For news, screenings and updates goto: youdontnomifilm.com

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.

Social Media
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instagram.com/youdontnomifilm

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

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. 

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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For news and updates go to: raisingbuchanan.com

Social Media
facebook.com/raisingbuchananmovie
twitter.com/raisingbuchanan
instagram.com/raisingbuchanan

 

“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

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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For news and updates go to: kimstim.com/film/plagiarists

Social Media
twitter.com/hashtag/theplagiarists
twitter.com/automaticmoving
twitter.com/hashtag/jamesnkienitzwilkins

“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

Selah and the Spades, Director Tayarisha Poe

SELAH AND THE SPADES tells the beautifully complex story of an insulated world at an elite Pennsylvania boarding school, Haldwell, where the student body is run by five factions. Seventeen-year-old Selah Summers (Lovie Simone) runs the most dominant group, the Spades, with unshakable poise, as they cater to the most classic of vices and supply students with coveted, illegal alcohol and pills. Tensions between the factions escalate, and when Selah’s best friend/right hand Maxxie (MOONLIGHT’s Jharrel Jerome) becomes distracted by a new love, Selah takes on a protégée, enamored sophomore Paloma (Celeste O’Connor), to whom she imparts her wisdom onruling the school. But with graduation looming and Paloma proving an impressively quick study, Selah’s fears turn sinister as she grapples with losing the control by which she defines herself. In her feature debut, writer/director Tayarisha Poe immerses us in a heightened depiction of teenage politics. This searing character study encapsulates just how intoxicating power can be for a teenage girl who acutely feels the threat of being denied it. Exciting newcomer Lovie Simone’s performance beautifully embodies both Selah’s publicly impeccable command and the internal fears and uncertainty that drive it. Director and writer Tayarisha Poe joins us for a lively conversation on her own high school experience, The Godfather, the importance of showcasing powerful young women and the remarkably talented actors who make Selah and the Spades so riveting.

 

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Selah and the Spades premieres April 17 on Amazon Prime

About the filmmaker: Director / writer Tayarisha Poe is a storyteller from West Philadelphia who believes that all stories are inherently multi-sensory and multi-dimensional, and thus should be told that way. She was chosen as one of the 25 New Faces by Filmmaker Magazine in 2015, and in 2016 she received the Sundance Institute’s Knight Foundation Fellowship. In 2017 she was selected for the Sundance Screenwriters and Directors Labs. Her first feature film, SELAH AND THE SPADES, premiered at the 2019 Sundance Film Festival.

For more about Tayarisha Poe go to: tayarishapoe.com

Social Media
twitter.com/tayarisha
twitter.com/jointhespades
instagram.com/tayarisha
twitter.com/PrimeVideo
#jointhespades

 

100% on Rotten Tomatoes

“Selah and the Spades shows a great deal of promise for writer/director Tayarisha Poe, who demands your attention with style and story in her directorial debut.” – Nick Allen, RogerEbert.com

“Quietly confident in its unconventional yet clear point of view, Selah and the Spades signals a bright future for a promising young filmmaker.” – Beandrea July, Hollywood Reporter

“The level of craft in Poe’s feature debut exceeds that of directors with more experience and portends a long career with more wonderful art to come.” – Bradley Gibson, Film Threat

“More than the sheer delight of watching a powerful Black girl, Selah and the Spades is an earnest celebration of youth and power -something long-reserved for white teens while excluding young people of color.” – Aramide Tinubu, Shadow and Act

Saint Frances, Director Alex Thompson

Flailing thirty-four-year-old Bridget (Kelly O’Sullivan) finally catches a break when she meets a nice guy and lands a much-needed job nannying six-year-old Frances (played by a scene-stealing Ramona Edith-Williams). But an unwanted pregnancy introduces an unexpected complication. To make matters worse, she clashes with the obstinate Frances and struggles to navigate a growing tension between Frances’s moms. Amidst her tempestuous personal relationships, a reluctant friendship with Frances emerges, and Bridget contends with the inevitable joys and shit-shows of becoming a part of someone else’s family. Director Alex Thompson joins us to talk about his collaboration with screenwriter / lead actor Kelly O’Sullivan, the casting of Frances and his approach to guiding this beautifully rendered story of three women and a child in search of family, love and power over their own lives.

 

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An open letter from Saint Frances writer and lead actor, Kelly O’Sullivan When I got pregnant in my early thirties and knew immediately I would get an abortion, I had no idea what to expect. My mom got me the “What to Expect When You’re Expecting” pregnancy book one Christmas, hoping I would hurry up and give her a grandchild, but nobody proudly hands you a guidebook on what to expect with abortion. I had no idea my abortion could be induced just with pills, and I had no idea how long my post-abortion bleeding would last. Women and girls are encouraged, outrightly or subliminally, to keep abortion, postpartum depression, periods, or any other innate part of womanhood that’s considered messy, “gross,” or shameful to ourselves. That makes for lonely, confusing, and isolating experiences. When my Mom finally learned what this movie was about, she said, “Well, you’re the first one in our whole family to get an abortion!” And I clarified, “Maybe I’m just the first person you know about.” Saint Frances endeavors to normalize and destigmatize those parts of womanhood that we’re encouraged not to talk about. I wanted not only to talk about these subjects, but to show them onscreen unapologetically, realistically. This movie could be called “There Will Be Blood 2,” and a sense of humor is a vital intention of the film. Saint Frances tries to show that abortion doesn’t always have to equal trauma, periods shouldn’t equal shame, and postpartum depression shouldn’t equal isolation. This story and these characters are filled with sincerity, empathy, humor and 6 tons of love. And there’s that healthy amount of blood. Thank you for watching. I truly, truly hope you enjoy. – Kelly O’Sullivan

For news and updates go to: saintfrances.oscilloscope.net

For more on the work of Director Alex Thompson go to: runawaytrainchicago.com

Social Media
facebook.com/oscopelabs
twitter.com/oscopelabs
instagram.com/oscopelabs
@oscopelabs
facebook.com/saintfrancesmovie
twitter.com/2019_saint
instagram.com/saintfrancesmovie
#saintfrancesmovie
#indiefilm
#alexthompson
#kellyosullivan
#saintfrancesfilm

 

98% on Rotten Tomatoes

“Kelly O’Sullivan writes and stars in the small masterpiece that’s both thought-provoking and wildly entertaining.” – Richard Roeper, Chicago Sun-Times

“I believe that everyone, especially women, should check out Saint Frances. It will make you laugh, it will make you cry, and it will make you think. That doesn’t happen all that often in the same movie.” – Lorry Kikta, Film Threat

“O’Sullivan and her creation are riveting, and when the film comes to an emotional end that hinges on all its early strengths, the result is satisfying and hard-won, a coming-of-age story told on just a slight delay.” – Kate Erbland, indieWire

“With a warm heart and a nonjudgmental mind, “Saint Frances” weaves abortion, same-sex parenting and postpartum depression into a narrative bursting with positivity and acceptance.” – Jeannette Catsoulis, New York Times

Banana Split, Director Benjamin Kasulke

It’s the end of April’s (Hannah Marks, Slash) senior year of high school, when she and longtime boyfriend Nick (Dylan Sprouse, The Suite Life of Zack and Cody) break up. While getting trashed at a house party, she bumps into Dylan’s new squeeze, Clara (Liana Liberato, also in To the Stars), a recent transplant from Fresno. BANANA SPLIT is set against the backdrop of April’s last days before heading off to college. Her plans for her last few high school months are about to hit a snag when she becomes best friends with her ex-boyfriend’s new squeeze. Usual teen social norms mean that they have to hate each, but it turns out they have way more in common than a mutual beau. Over the summer Clara and April develop a perfect kindred-spirit friendship in ways they never thought possible, all while working overtime to keep their relationship secret from Nick. Director Benjamin Kasulke (Your Sister’s Sister, Safety Not Guaranteed), stops by to talk about working with co-writer / co-star Hannah Marks, making the transition from cinematographer to director and finding the sweet spot of believability in this very entertaining teen drama / comedy.

 

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About the filmmaker
Benjamin Francis Kasulke is a director, cinematographer, and Stranger Genius Award recipient born in 1977 in Syracuse, NY. After earning degrees in film from Ithaca College and FAMU  (Film and TV School of the Academy of Performing Arts) in Prague, he worked as a negative cutter with the Image Treasury in Seattle. His cinematographer career began while working extensively with the local dance film community, which he turned into collaborations with the likes of Guy Maddin, Lynn Shelton, Megan Griffiths, and Colin Trevorrow. He became a vital component of the Pacific Northwest film community, acting as cinematographer on such films as Humpday and The Immaculate Conception of Little Dizzle (both SIFF 2009), The Freebie (SIFF 2010), The Off Hours (SIFF 2011), Your Sister’s Sister (SIFF 2012), Safety Not Guaranteed (2012), Touchy Feely (SIFF 2013), Laggies (2014), and My Last Year With The Nuns (SIFF 2014). Banana Split marks his feature directorial debut.

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

Social Media
twitter.com/bananasplitmov
twitter.com/benkasulke
twitter.com/hannahmarks

91% on Rotten Tomatoes

“[Banana Split] understands, perfectly, the enormous pressure teenagers face.”—Refinery29

“It is absolutely lovely. If I was going to watch a movie virtually this weekend, I would absolutely pick this one.” – Amy Nicholson, FilmWeek (KPCC – NPR Los Angeles)

“Like any romance, “Banana Split” is constrained to some familiar beats, but Kasulke, Marks, and Power have such a handle on what makes the film tick – and Marks and Liberato are so charming and fun – that even expected turns feel clever and fresh.” – Kate Erbland, indieWire

“Bolstered by a thoughtful script and beautifully authentic performances, Banana Split provides a fresh take on the coming-of-age romantic comedy.”

“Banana Split” is a supremely well written film, showing Hannah Marks not only to be a tremendous actress, but a wonderful screenwriter as well. She’s phenomenal on both ends. – Joey Magidson, Hollywood News

Phoenix Oregon, Director Gary Lundgren

PHOENIX OREGON is the story of two friends, a graphic novelist and a chef, seizing an unlikely opportunity to reinvent their lives, quit their jobs to restore an old bowling alley and serve the “world’s greatest pizza.” Phoenix, Oregon stars James Le Gros (Drugstore Cowboy, Living in Oblivion), Lisa Edelstein (Girlfriends’ Guide to Divorce, House), Jesse Borrego (Fame, Blood In Blood Out), Reynaldo Gallegos (Triple Frontier, American Sniper), Diedrich Bader (Napoleon Dynamite, Office Space, Veep), and Kevin Corrigan (The Departed, Pineapple Express, True Romance). PHOENIX OREGON takes a comedic look at the existential crisis many face when trying to find meaning and relevancy at midlife. Despite controlling bosses, dead-end jobs, and broken relationships, the two leads must awaken hibernating courage and resilience in order to take new risks and keep dreams alive. Director and writer Gary Lundgren (Calvin Marshall, Redwood Highway, Black Road) stops by to talk his own midlife angst and inspiration for this disarming gem of a film, working with a stellar cast and his love for the Pacific Northwest.

 

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

For more about the work of Gary Lundgren go to: jomafilms.com

For information on Phoenix Oregon screenings in Southern California go to: laemmle.com/film/phoenix-oregon

Social Media
facebook.com/phoenixoregonmovie
instagram.com/phoenixoregonmovie

 

“Walks a gorgeous line between pathos and comedy… having more to say about depression, anxiety, art, friendship and love than any dozen movies I’ve seen in the theater this year.” -SOURCE WEEKLY

 

Honesty Weekend, Director Leslie Thomas

Premiering at the Pasadena International Film Festival HONESTY WEEKEND begins when John and Ada’s therapist challenges them to be completely honest with each other for an entire weekend, a young married couple attempts to execute this advice over two days with good friends at a country house. At first amused by the couple’s newfound honesty, soon everyone is infected with the “honesty virus”. Secrets spill and desires flare to life. And when husband John’s sexy lesbian friend Delaney arrives to stir the pot, the whole thing heats up until it boils over. At the heart of this relationship comedy is a young marriage in trouble, but look deeper and you’ll see the angsty discomfort of early thirty-somethings struggling to embrace intimacy and true adulthood. In this grounded, smart, funny film writer-director Leslie Thomas exercises her distinct comedic voice and a wry understanding of our poignant and ridiculous human blind spots. HONESTY WEEKEND stars Adam Bartley (This Is Us), Sabina Gadecki (L.A.’s Finest), Dioni Michelle Collins (General Hospital), Pete Ploszek (Captain Marvel), Evan Watkins (College Humor Originals),  Allan Wasserman (Big), and Susan Walters (The Vampire Diaries). Director and writer Leslie Thomas joins is for an engaging conversation on a compressed shooting schedule, holding out for the right cast of actors, as well as the challenges and rewards of being a first time director.

 

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For news and updates go to: honestyweekend.com

Honesty Weekend screens at PIFF on Saturday, March 14 at 6:15 PM

About the filmmaker: LESLIE THOMAS produced the 2018 Emmy-winning documentary feature KEVYN AUCOIN Beauty & The Beast In Me (now on Netflix). She is the showrunner of ratings record breakers HALLOWEEN, HOLIDAY & KIDS BAKING CHAMPIONSHIPS on Food Network. She’s a playwright and a California native who studied Film & TV at Loyola Marymount University. Honesty Weekend is her first feature.

For more on the work of Leslie Thomas go to: puttimedia.com

 

Extra Ordinary, Co-directors Mike Ahern and Enda Loughman

Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ & tries to ignore the constant spirit related requests from locals – to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager- making her levitate. Her terrified father, Martin Martin, asks Rose to help save his daughter. Rose has to overcome the fear of her supernatural gift & work with Martin to save the girl, get the guy and be home in time for a light snack…maybe a yogurt or something… Co-directors Mike Ahern and Enda Loughman join us for a conversation on the making of their oddly endearing, winning comedy about everyday apparitions, Rose, Martin Martin and Christian and reconnecting with their Talents. 

 

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For news, screenings and updates go to: crankedupfilms.com/extraordinary

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“A near-perfect balance of outrageousness and subtlety. It’s a special film with a large imagination.” – Brian Orndorf, Blu-ray.com

“A fun, heart-warming and genuinely funny film, prepare for belly laughs and warm fuzzy feelings. Buoyed by great comedic, chameleon-like performances, and a rich fictional world, Extra Ordinary is extraordinarily charming.” – Kat Hughes, THN

“Extra Ordinary, writing-directing duo Mike Ahern and Enda Loughman’s feature film debut, is a remarkable achievement – a wholly unique cinematic experience that is grounded with a lot of heart.” – Sarah McIntyre, RTÉ (Ireland)

“A cracking debut feature from Irish writer-directors Mike Ahern and Enda Loughman.” – Peter Bradshaw, Guardian

Goldie, Director Sam de Jong

Goldie is a star – well, not quite yet, but at least in the eyes of her little sisters Sherrie and Supreme she is. The rest of the world is bound to take note soon too. Her big break surely awaits, she’s just got to pick up that golden fur coat she’s had her eye on first. And land a role as a dancer in a hip-hop video. And keep child welfare services from separating her from Sherrie and Supreme, after their mother is locked up. Holding onto those dreams isn’t easy when fate has placed such daunting obstacles in her path. With Goldie, Dutch director Sam de Jong has delivered a real New York film: raw and glamorous, unflinchingly realistic and relentlessly optimistic, with a ton of heart and at least as much attitude. Director / writer Sam de Jong joins us to talk about his tale of dreams, expectations and reality crash together in this verite explosion.

 

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About the filmmaker: Director Sam de Jong
After graduating from the Dutch Film academy with the acclaimed “Magnesium” Sam went on to write and direct the short film “Marc Jacobs” and entered the Berlinale shorts competition in 2014. With largely the same cast he returned to Berlinale the next year with his first feature Prince. Prince opened the Generations 14 competition in 2015. After Prince, Sam went on to make Goldie with 20th Century Fox and Vice Films. His short work has been shown around the world at festivals like Sundance, Berlin and AFI fest. His first feature Prince was theatrically released in the Netherlands, the United States and in Mexico. His work is heavily influenced by present-day youth culture and studies the implications of growing up in the 21st century: in the face of our rapidly changing multi-ethnic society where pop culture is the new predominant religion. From a mash up of different genres, lavishly coated in bright esthetics, Sam wants to research the meaning of our quest for recognition and identity. Red Sand will be Sam’s first international co-production together with longtime collaborator HALAL. With this movie Sam wants to explore new themes and broaden his horizon.

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

For February 21 Los Angeles screenings go to: lumierecinemala.com/film-goldie

 

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“This film is filled with bursts of color. The high energy visuals counterbalance the tragic malaise of Goldie’s life perfectly.” – Lorry Kikta, Film Threat

“Suspension between can-do spirit and come-down reality pumps blood into the irrepressible heart of this scrappy tale, along with the natural charisma of model Slick Woods, making a disarming feature debut in the title role.” – David Rooney, The Hollywood Reporter

“Goldie (played by fashion model Slick Woods in her first movie role) is a lot like the film that bears her name: full of attitude, bursting with scrappy New York style, and stuck under the thumb of a merciless system that won’t let her shine like she knows she can. “ – David Ehrlich, IndieWire

“De Jong brings a jolt of brash energy to a social realist scenario that could easily have attracted Ken Loach or the Dardenne brothers. A charismatic, eye-catching debut performance from Instagirl fashion world star Slick Woods adds considerably to the film’s appeal.” – Allan Hunter, Screen Daily

After Midnight (Something Else), Co-directors Christian Stella (Jeremy Gardner)

For small-town bar owner Hank (Jeremy Gardner), his 10-year relationship with Abby (Brea Grant) has been storybook-quality. Abby, however, wants more: marriage, to be exact, which Hank doesn’t seem ready to initiate anytime soon. As a result, she leaves him without so much as a note or any subsequent communication. Hank is crushed. Even worse, Abby’s departure seemingly triggers the arrival of an unseen monster that claws at Hank’s front door at night. As the nocturnal threat intensifies, Hank must figure out how to not only save his relationship, but also himself. Co-director Christian Stella (Jeremy Gardner) stops by to talk about the multi-layered film that is After Midnight (Something Else) and his creative cinematography that gives the film its lyrical power.

 

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

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“Something Else promises monsters but delivers more demons of the human experience variety, as this sweet and sincere creature feature is far more romantically heartfelt than expected.” – Matt Donato, We Got This Covered

“Sublime and emotional, Something Else is one hell of a love story, a nightmarish monster movie, and an overall fantastical experience.” – Michelle Swope, Dread Central

“There’s an honesty in Something Else that makes this man against (his) monsters story one that’ll give you deep meaning, beautiful cinematography, and just the right amount of wtf.” – Kristy Strouse, Film Inquiry

“Jeremy Gardner and Christian Stella’s winsome tale of thirtysomething angst, romance and existential terror, is beautifully written and played.” – Jennie Kermode, Eye for Film

Walk Run Cha Cha, Director Laura Nix

WALK RUN CHA-CHA has been nominated for Documentary Short Subject at the 92nd Academy Awards®. Directed by Laura Nix, the film follows Paul and Millie Cao, who lost their youth to the aftermath of the Vietnam War. Forty years later, they have become successful professionals in Southern California-and are rediscovering themselves on the dance floor. WALK RUN CHA CHA is now streaming on New York Times Op-Docs.

About the Filmmaker: Director Laura Nix Laura Nix is an award-winning fiction and nonfiction filmmaker based in Los Angeles. WALK RUN CHA-CHA is adapted from a feature-length documentary in progress. It was produced by Concordia Studio for The New York Times Op-Docs and premiered at the 2019 Tribeca Film Festival. Laura’s work also includes  other work includes her feature documentary INVENTING TOMORROW, about teenagers from around the globe tackling environmental issues through science,  THE YES MEN ARE REVOLTING, a comedy about activism and climate change, the documentary THE LIGHT IN HER EYES, about a Syrian Qur’an school for women and she was a writer on the Emmy-nominated documentary CALIFORNIA STATE OF MIND: THE LEGACY OF PAT BROWN. In 2001, Nix co-founded the production company Automat Pictures, where she produced and/or directed over 100 presentations, including the feature documentary WHETHER YOU LIKE IT OR NOT: THE STORY OF HEDWIG, which played in over a dozen film festivals in the U.S. and worldwide. Previously she was a member of Oscar-winning filmmakers Rob Epstein and Jeffrey Friedman’s production company Telling Pictures, where she was Associate Producer on THE CELLULOID CLOSET.

 

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For news and updates go to: feltfilms.com

Walk Run Cha Cha is now available at nytimes.com/Op-Docs

 

*** 2020 Oscar nomination for Best Documentary (Short) *** 

 

Official Selection – Tribeca Film Festival 2019

Winner – Grand Jury Trống Đồng Award for Best Short – Viet Film Fest 2019

Official Selection – SFFILM Doc Stories 2019

 

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“Laura Nix’s WALK RUN CHA-CHA is a moving, poignant portrait of two aging refugees who have endured a great deal, and who now face one of life’s biggest challenges: figuring out how to stay in love. Through them, Nix also evokes the textures, tastes, and sounds of Vietnamese refugee life, and mixes them in with everything that is good about the United States. Ultimately, WALK RUN CHA-CHA is an optimistic film about both love and hope—the hope that our country will continue to believe in welcoming strangers from other lands, who in the end are not that strange at all.” – Viet Thanh Nguyen, Pulitzer Prize-winning author of The Sympathizer

 

Slamdance Film Festival, Co-founder and President Peter Baxter

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

 

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

 

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

 

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Limerence, Director Tammy Minoff

LIMERENCE cleverly tips the scales on Hollywood’s approach to a romantic comedy. Women get to see themselves in female lead Rosemary—as complex, independent and real, breaking the stereotypes society has fed us. Rosemary (Tammy Minoff), an aspiring painter and free spirit, moves to Venice where she hooks up with Tom (Matthew Del Negro), a local gallery director. Their intense chemistry quickly and unexpectedly evolves into a serious relationship. This passionate romance is juxtaposed with Tom’s best friends, May (Jennifer Lafleur) and Donald (Evan Arnold), dealing with the monotony of their long marriage and the possibility of starting a family. Complicating everything is Leo, Rosemary’s oft inappropriate yet earnest best friend from high school Leo (Billy Aaron Brown). All their feelings about the nature of love will put their relationship choices to the test and the answers aren’t always black and white. LIMERENCE world premiered at the Other Venice Film Festival, winning Best Audience Award, before going on to win Best Feature at the SOHO International Film Festival. LIMERENCE will make its global VOD/Digital & DVD release across platforms everywhere on January 7th, 2020 through Gravitas Ventures, a Red Arrow Studios company. Director, producer, writer and lead actor Tammy Minoff joins us for a conversation on her honest and engaging look into romance, love, expectations and walking your own path.

 

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December 17 – First Love, Director Michael Masarof

Michael Masarof’s drama FIRST LOVE focuses on Rebecca (Annie Heise) is a notorious Hollywood actress, holed up in a seaside hotel, in the midst of a nervous breakdown. Her twin brother Matthew (Aaron Costa Ganis) is a lapsed lawyer and failed family man, whose new career as a writer is on the verge of a major breakthrough. They haven’t seen each other in fifteen years. Matthew travels to the City of Angels, with his tell-all memoir in hand, and a plan to make it big. All he needs is his reclusive twin’s blessing. He was the only one she ever trusted, but has their mysterious twin bond stood the test of time? As Rebecca slinks further into an abyss, and Matthew wanders the city looking for a connection, they both find distractions. A naïve Jordanian hotel worker (Amin El Gamal) and a young Swedish woman (Malin Barr) seem like the perfect fix, but these newfound romances only bring Matthew and Rebecca closer to one another. As the Pacific breaks in front of them and the California sun gets ever hazier, can Rebecca and Matthew grow a new bond if the old one is severed? Director and writer Michael Masarof joins us to talk about his intimate drama about identity, family and connection.

About the Filmmaker: Michael Masarof is a writer and director born in New York and residing in Los Angeles. Michael received his MFA in Film Directing from New York University’s Maurice Kanbar Institute of Film & Television’s Graduate film program at the Tisch School of The Arts, where he was the recipient of the Jane Rosenthal Scholarship and the Warner Bros. Production Grant. Michael’s short film You Should Have The Body won the first place prize at the International Munich Festival of Film Schools. It also screened as a special presentation at the Berlinale, as well as on Channel 3SAT in Germany. First Love is Michael’s debut feature.

 

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

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December 6 – Knives and Skin, Director Jennifer Reeder

What happened to Carolyn Harper? Part suburban nightmare, part neon-soaked teenage fever dream, this tantalizing mystery traces the wave of fear and distrust that spreads across a small Midwestern town in the wake of a high school girl’s mysterious disappearance. As the loneliness and darkness lurking beneath the veneer of everyday life gradually comes to light, a collective awakening seems to overcome the town’s teenage girls—gathering in force until it can no longer be contained. Unfolding in a hallucinatory haze of lushly surreal images, Knives and Skin is a one-of-a-kind coming-of-age noir that haunts like a half-remembered dream. Director / writer Jennifer Reeder joins us for a lively conversation on her heady melange of a film that bends multiple genres to its razor sharp will.

Director’s Statement: I tell stories about unruly women and the landscapes they transform. This is a story by a woman that proposes girlhood as a place of transcendence and transgression. I am committed to this voice and to producing unexpected narratives. I write scripts from actual experience and observation and my films are specific in mood and perspective. I am influenced by Ohio, where I grew up—all that sky and flatness. And even more so by the Midwestern people and their kind of everyday destructiveness and determination to cope. This awkward emotionality is evident in my films as scenes unfold like sticky flypaper and characters make one small mistake after another. – Jennifer Reeder

 

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For news and updates go to: chicagofilmproject.com/knives-and-skin

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“It may be the most anarchic and refreshing take on the American teen’s existential malaise since Heathers.” – Demetrios Matheou, Screen International

“An effervescent suburban noir rich with tragedy, rough around the edges, but sharp like the dagger when it counts.” – Matt Donato, Dread Central

“The film’s approach to narrative structure is both messy and strangely confident and alluring, poising Knives and Skin as a bold and complicated cross-genre anomaly, much like the women Reeder lovingly depicts.” – Chloe Leeson, Screen Queens

“At times fraught with anxiety, haunting in quiet horror, blackly comedic, and aching with with sorrow and love, Knives and Skin is many things and also defies easy categorization, as it puts forth a perspective that is multiple and complicated.” – Shelagh Rowan-Legg, ScreenAnarchy

In Bright Axiom – Director Spencer McCall and film subject Jeff Hull

The thought-provoking and intriguing new documentary IN BRIGHT AXIOM introduces us into the world of the House of Latitude. A place where absolute discretion is demanded in exchange for entry into a mysterious social experiment in the form of an elaborate immersive experience. Drawing a community of curiosity seekers, this secret society becomes a way of life for some, putting increasing pressure on the organizers to maintain this sophisticated and fantastical parallel world. From the minds who inspired AMC’s upcoming series Dispatches From Elsewhere, IN BRIGHT AXIOM weaves an intriguing cautionary tale about the unforeseen consequences of embracing the unknown.  Followers of Meow Wolf, Sleep No More,  Ingress and other immersive & augmented reality entertainment should take note. IN BRIGHT AXIOM also features never-before-seen discourse from the mesmerizing hip-hop polymath, RAMMELLZEE and original music by Justin Robbins, with additional songs from Isan, Tickles, and ü-Ziq. Director Spencer McCall has spent the last ten years orchestrating socio-reengineering and public hoax-prank performance art pieces. An avid fan of the Yes Men, McCall began by participating in Improv Everywhere inspired events, “plant” based roles in The Go Game, and location-based performances with Atmos-theater. In 2009, he became a co-creator of the Jejune Institute; a citywide alternate reality game in San Francisco that lasted three years and “inducted” over 10,000 unknowing participants. McCall took his experience working with Jejune and turned it into an award-winning documentary The Institute. The Institute is currently being remade into a series on a major television network. McCall also contributed to follow-up experience The Latitude Society; a faux secret society with an underground experiential labyrinth beneath San Francisco. Director Spencer McCall and House of Latitude founder and In Bright Axiom subject, Jeff Hull, join us for a fascinating conversation on the ebb and flow, as well as, the inherent contradiction that facilitated the unraveling of this remarkable enterprise.

 

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

For more on In Bright Axiom go to: nonchalance.com/AXIOM

For more on the work of  Spencer McCall go to: spencersreel.com

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Atlantics, Director Mati Diop

Winner of the Grand Prix at the 2019 Cannes Film Festival, ATLANTICS marks the feature narrative debut of director Mati Diop. Along the Atlantic coast of Africa, a soon-to-be-inaugurated futuristic tower looms over a suburb of Dakar. Ada, 17, is in love with Souleimane, a young construction worker. But she has been promised to another man. One night, Souleimane and his co-workers disappear at sea. Soon after, they come back to haunt their old neighbourhood by taking possession of the girlfriends they left behind. Some of the workers have come claiming revenge and threaten to burn the tower down if the developer does not pay their wages. But Souleiman has come back for Ada, so they can be together one last time. Director and writer Mati Diop joins us for a conversation on her compelling new film, finding love, and the mythology of a ghost story.

About the filmmaker: Trained in Le Fresnoy (National Studio of Contemporary Arts – a leading and very selective French artistic institution), Mati Diop directed four shorts and a medium-length film which received the “Martin E. Segal – Emerging Artist Award” of the Lincoln Center (USA) in 2016. A THOUSAND SUNS (2013), BIG IN VIETNAM (2011), SNOW CANON (2010) and ATLANTIQUES (2009) were selected and awarded in a wide number of international festivals such as the Venice International Film Festival, the Toronto International Film Festival, the Rotterdam International Film Festival, the Viennale, The Indie Lisboa International Film Festival, and the FID Marseille. They were also programmed in the MoMA and in the Moving Image Museum (USA). As an actress, Mati Diop played in HERMIA Y HELENA by director Matias Piñeiro (2015), FORT BUCHANAN by Benjamin Crotty (2014), SIMON KILLER by Antonio Campos (2012) and 35 SHOTS OF RHUM by Claire Denis (2008).

 

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For news, screenings and updates go to: mk2films.com/en/film/atlantics

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Grand Prix Winner, Cannes Film Festival 2019
Official Selection, Toronto International Film Festival 2019
Official Selection, New York Film Festival 2019
Mati Diop, Mary Pickford Award Winner, Toronto International Film Festival 2019

 

“This shape-shifting Senegalese drama is pure cinematic poetry. Slipping in and out of modes with a magician’s confidence, Atlantics is mysterious and mythic, with a wizardly use of sound and some unforgettable images.” ★★★★★ The Telegraph – Tim Robey

“A striking work, with a lyrical, richly evocative ghost story. Exquisitely shot by Claire Mathon and lushly scored by Fatima Al Qadiri, the film pulls together some exceedingly strong components.”The Hollywood Reporter – Leslie Felperin

“Constantly intriguing, Atlantics is an intense romance notable for the craft of the filmmaking and Diop’s original approach to complex issues of love, loss and the forces for change that can rise from the ashes of tragedy.”Screen International – Allan Hunter

“A gorgeous, mesmerizing feature directorial debut. Atlantics is an absorbing, otherworldly vision of an alienated seaside life in Dakar.”IndieWire – Eric Kohn

“A romantic and melancholy film, part social commentary, part ghost tale, that works best in its evocation of loss and female solidarity.”Variety – Jay Weissberg

Cold Brook, Director William Fichtner

COLD BROOK follows two men who live in a small college town in upstate New York. They are best friends who work the night shift as museum guards and handymen. Their lives are simple and mostly satisfying, until they are confronted with a supernatural situation. The men are then faced with a dilemma that puts their jobs, marriages, and their futures on the line. COLD BROOK is the directorial debut of William Fichtner (Armageddon, Black Hawk Down, Mom), who co-wrote the film alongside Cain DeVore. Fichtner also stars in Kim Coates (The Client, Black Hawk Down, Sons of Anarchy), Harold Perrineau (Romeo + Juliet, 28 Weeks Later, Sons of Anarchy) Robin Weigart (Concussion, Deadwood) and Mary Lynn Rajskub (Safety Not Guaranteed, The Kings of Summer, Sunshine Cleaning). Director William Fichtner joins us to talk about making a heartwarming, genre bending film in his upstate New York hometown surrounded by many of his closest friends.

 

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For news, screenings and updates go to: vert-ent.com

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“Cold Brook is an adult fairy tale that embraces its broad interpretations to remind its leading men about what truly matters most.” – Jared Mobarak, The Film Stage

“… Cold Brook succeeds in part by its fantastic cast, but mostly by its focus on simplicity. There’re no grand fights or superfluous moments, just a tale of love that transcends time and mortal existence.” – Douglas Davidson, Elements of Madness

“Are You Ready To Be Different: Part ghost tale, part Bartleby while at the same time a captivating slavery reparations fable, the film flirts with the supernatural even with its heart planted firmly in sobering class and race issues historically and now.” – Prairie Miller, WBAI Radio

“Hard to pin down, but moving nonetheless.” – Frank Scheck, Hollywood Reporter

The Riot Act, Director Devon Parks

At the turn of the 1900’s, two years after a quiet murder involving an out-of-town stage actor and a local doctor’s daughter, an esteemed Opera House welcomes a progressive Vaudevillian troupe from the East for its first performances since the tragedy; and along with it, a veiled actress with a curious intent. With tensions still thick surrounding past events, this mysterious performer discovers she isn’t the only one seeking revenge: someone or something has been “haunting” the assailant already. When the two conspirers uncover each other’s secrets, they decide their dual efforts will be more successful in subduing their enemy. THE RIOT ACT is a multi-award winning independent film that deftly immerses audiences in a layered tale of a caste system on the brink of violence where humanity and love are expendable in the eyes of society in the early 1900’s.  Following a wildly successful festival and theatrical run, the film will be available to audiences everywhere on October 8th, 2019. The feature film directorial debut from auteur writer / director Devon Parks (Step Into: Miss Laura’s, The Help), THE RIOT ACT stars Lauren Sweetser (True Detective, Winter’s Bone), Brett Cullen (Joker, 42, Dark Knight Rises), Connor Price (Cinderella Man), Micah Hauptman (Homeland, Rust Creek), Brandon Keener (Traffic, The Purge: Anarchy) and Travis Joe Dixon (NCIS, Blackish).  Director and writer Devon Parks joins us to talk about his intriguing mystery period piece, the he orchestrates from a very talented group of actors.

 

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

Social Media:

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“Murder, betrayal, revenge—“The Riot Act” has it all, and the why’s and when’s and where’s come trickling in so the audience has to stay on its toes to catch it all.” – Marie Asner, Phantom Tollbooth

“Despite the fact that it is a low budget film Parks has not allowed that to limit his story or the way he wants it told.” – Carey-Ann Pawsey, Orca Sound

“Parks succeeds in delivering a period mystery that feels authentically of the time.” – Jonathan W. Hickman, Daily Film Fix

“While there are a few narrative implausibilities, they never derail the story, and while the story takes on a bit more thematically then it can ultimately deliver, it is generally preferable that a film’s reach exceeds its grasp.” – Dan Jardine, Cinemania

“A troupe that claims to offer “high-end vaudeville” arrives, not only to seriously heat up plot possibilities, but prove that Parks might have a real future at the movies.” – John Urbancich, Your Movies (cleveland.com)