In the Earth – Director / Writer / Editor Ben Wheatley

As the world searches for a cure to a disastrous virus, a scientist (Joel Fry) and park scout (Ellora Torchia) venture deep in the forest for a routine equipment run. Through the night, their journey becomes a terrifying voyage through the heart of darkness, the forest coming to life around them as nature becomes a force of evil,   Director, writer and editor Ben Wheatley (Down Terrace, Kill List, Fields of England) joins us for a conversation on his endlessly compelling pandemic folk tale that is begins with a walk in the woods that drops us into subversively horrifying landscape of screeching trees and bone-crushing vibrations. Golden Globe nominee composer Clint Mansell (The Fountain, Requiem for a Dream, Moon) provides a stunningly propulsive soundtrack to the film.

 

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For news and updates go to: neonrated.com

“It’s damn terrifying, trippy, thoughtfully imaginative in sound design and visual tricks to convey communicating with nature, and packs a savage kick of relatively insane individuals and body horror” – Robert Kojder, Flickering Myth

“The biggest success, however, is the balance of psychedelic mysticism and heady science that are melded with toe-curling scenes of gore and suspense.” – Norman Gidney, Film Threat

“Wheatley is firing on all cylinders with his stripped-down approach to massive topics. An assault on the senses that’s bigger than any blockbuster.” – Kyle Anderson, Nerdist

“In the Earth reminds us that there’s so much more still to fear in the invisible darkness of the natural world — things that our little animal brains can barely grok in all of its terrible splendor.” – Nick Johnston, Vanyaland

“It’s one of the most exciting genre mashups I’ve seen in years.” – Lorry Kikta, Film Threat

“Wheatley and his collaborators have produced something that some of us thought would be impossible: an outrageously entertaining film that feels utterly rooted in the bleak era in which it was made.” – Robbie Collin, Daily Telegraph (UK)

“This is the work of someone who’s always been more in his element when making something out of nothing, and that energy is especially well-served to a story about the fundamental human impulse to do the same.” – David Ehrlich, indieWire

Funny Face – Director Tim Sutton

Tim Sutton’s menacing and hauntingly elegant film, FUNNY FACE,  follows the stifling dread of a young Muslim woman, Zama (Dela Meskienyar), running away from her aunt and uncle’s house, desperate for a new life. She quickly finds that she must now navigate the peril of life on the street. A disturbed young man, Saul (Cosmo Jarvis) from Coney Island dons the menacing “Funny Face” mask, transforming himself into a makeshift superhero with a rage disorder as he seeks revenge on the Real Estate Developer, (Jonny Lee Miller) of a soulless high rise that has displaced his grandparents. Misfit avengers in a changing city, the two embark on a neighborhood odyssey that brings danger, love, and tragedy. And pickles. Director / Writer Tim Sutton (Memphis, Dark Knight, Donnybrook) joins us for a conversation on creating films that connect with viewers beyond traditional storytelling, filmmakers and films that inspire him, and how telling the story of Saul and Zama reflects his own anxiety about the hallowing out of his beloved New York City.

 

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For news and updates go to: gravitasventures.com/funny-face

Tim Sutton’s menacing and hauntingly elegant film, FUNNY FACE,  follows the stifling dread of a young Muslim woman, Zama (Dela Meskienyar), running away from her aunt and uncle’s house, desperate for a new life. She quickly finds that she must now navigate the peril of life on the street. A disturbed young man, Saul (Cosmo Jarvis) from Coney Island dons the menacing “Funny Face” mask, transforming himself into a makeshift superhero with a rage disorder as he seeks revenge on the Real Estate Developer, (Jonny Lee Miller) of a soulless high rise that has displaced his grandparents. Misfit avengers in a changing city, the two embark on a neighborhood odyssey that brings danger, love, and tragedy. And pickles. Director / Writer Tim Sutton (Memphis, Dark Knight, Donnybrook) joins us for a conversation on creating films that connect with viewers beyond traditional storytelling, filmmakers and films that inspire him, and how telling the story of Saul and Zama reflects his own anxiety about the hallowing out of his beloved New York City. For news and updates go to: gravitasventures.com/funny-face

“Genuinely otherworldly… a tender evocation of a New York City that is currently passing before its inhabitants’ eyes.” —Variety

“Haunting.” —Screen Daily

“A hypotensive urban fairy tale…of a New York borough imagined as a faraway land of rooftops and distant lights and corner bodegas where every day—every moment even—seems to start with ‘once upon a time.'” — The Playlist
“Seductive.” —The Film Stage
“Electric.” —Indiewire

Colette, Director Anthony Giacchino and Producer Alice Doyard

In this Oscar® nominated Best Documentary (Short ) we follow one of the last surviving members of the French Resistance, ninety-year-old Colette Marin-Catherine. As a young girl, she belonged to a family of Resistance fighters that included her 17-year-old brother Jean-Pierre. The last time Colette saw Jean-Pierre was in 1943, when he was arrested by the Gestapo and “disappeared” into the Nazi concentration camp system, never to be seen by his family again. The family was inwardly shattered, but outwardly stoic. No tears. Never permitted. For the past 74-years, Colette has never allowed herself to put one foot in Germany. But that’s all about to change when a young history student named Lucie enters her life. Lucie is researching the camp in Germany where Jean-Pierre died. Tracing the story of Jean-Pierre is, in fact, her special assignment.  The film follows Colette as she travels with Lucie to what remains of the forced labor camp near Nordhausen, Germany. It’s a journey of discovery on many levels, but the film’s greatest revelation is Colette herself, who at 90, is finally ready to let go of what she has, for over seven decades, held so tightly inside. Lucie’s youth and genuine concern has pierced the armor. The ultimate discovery of the film is Colette’s to make. That some wounds can only be healed if we allow them to be re-opened. Director Anthony Giacchino and Producer Alice Doyard join us to talk about the incredible strength of Colette Marin-Catherine and why her clear-eyed admonishment that we never forget the monstrous brutality of Nazi Germany as well as the importance of vigilance and resistance.

 

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For news and updates go to: colettedoc.com

Watch Colette at theguardian.com/world

Director’s Statement – “When I first met Colette in the fall of 2019, one of the first things she told me was: ‘When it’s your turn to live through a war, you’ll see you don’t have time to feel anything.’ It was quite an introduction. While making the film, I learned that only one percent of the French population had actively resisted the Nazi occupation before the Normandy Invasion and Colette — as a young girl — was one of those resisters.  She had so much to tell us about the war. I was particularly interested in her immediate family, as they all played their part in the Resistance. In fact, Colette’s 17-year-old brother, Jean-Pierre, was captured by the Gestapo and died a gruesome death in a German forced labor camp. Seven full decades beyond the events of Colette’s youth, the war’s aftermath remains as a dramatic, living thing to filmically explore. And the terrific reality is that war, at its core, is a universally human experience that stays inside all who go through it. And as Colette’s story demonstrates, healing is possible if we find the courage to face our darkest and most haunting memories.” – Anthony Giacchino

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“The bond between these two different, very strong, intelligent women renders this film staggeringly powerful whilst remaining simplicity itself. I’ve never seen anything quite like it.” – Emma Thompson

“A miniature masterpiece” – Ian Martin

“A moving character study” – POV Magazine

I Blame Society – Director / Lead Actor Gillian Wallace Horvat

In I BLAME SOCIETY Gillian (Gillian Wallace Horvat) is one of those many struggling filmmakers in L.A. who just can’t seem to get the money for their first feature. Feeling like her friends and her partner (Keith Poulson) are losing faith in her abilities, she decides to resurrect her abandoned documentary based on a pseudo-compliment she once received that she would make a good murderer. But while she documents what makes “the perfect murder” a hitherto unseen dark side of Gillian emerges and grows. Furthermore the problem with being a successful serial killer, she discovers, is keeping the whole thing stealth, denying her the recognition that she craves… and that unhinges her even more. After accidentally-ish killing her best friend (Chase Williamson), Gillian goes on a killing spree culminating with a final bloody act that nobody would dare deny her credit for. I BLAME SOCIETY is razor-sharp satire of the pitfalls of post-#MeToo culture in Los Angeles. Director, writer and lead actor Gillian Wallace Horvat (Kiss Kiss Fingerbang) joins us to talk about her gleefully disturbing feature film debut that delves into the psyche of a young woman trying to believe in her dreams and herself… and facing the darkness that lurks inside in this macabre Cinderella story.

 

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For news and updates go to: crankedupfilms.com/IBlameSociety

About the filmmaker – Gillian Wallace Horvat is a Los Angeles-based filmmaker, writer, and film programmer. Her first short film, GUNPLAY, was a 2007 Wasserman Semi-Finalist and the only film to ever receive a disclaimer for graphic content at NYU Tisch’s First Run Film Festival. KISS KISS FINGERBANG, starring Anton Yelchin, Kate Lyn Sheil, and Buck Henry was awarded the Jury Prize in the Midnight Shorts category at the 2015 South by Southwest Film Festival; it later premiered online as a Vimeo Staff Pick. Miriam Bale wrote in Indiewire that. Gillian is one of “the most exciting American indie filmmakers I can think of.” Her films have screened in festivals around the world including SXSW, Fantasia, Palm Springs International Short Film Festival, Maryland Film Festival, Yale University, and many others. Gillian also produced A FULLER LIFE, a documentary on the life and films of director Samuel Fuller that premiered at the 2013 Venice Film Festival. Recently she has produced documentary shorts for Arrow Films, Kino Lorber, and Olive Films, working on projects ranging from an AMERICAN NINJA box set to Orson Welles’ MACBETH. She is also a guest columnist for Filmmaker Magazine and her writing has appeared in Sight & Sound.

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“I Blame Society is a pretty startling and original film. Writer-director-star Horvat explores the dark comedy genre on her own terms, and has the courage to keep upping the ante – right until the very end.” – Frank J. Avella, Edge Media Network

“In some ways, I totally believe that you have to be at least a little bit insane to want to follow an artistic career path. I Blame Society takes that ball and runs with it to a successfully awesome finish line.” – Lorry Kikta, Film Threat

“Writer/director/actress/mischievous malcontent Gillian Wallace Horvat’s I Blame Society is a wry, anarchic mockumentary that will almost immediately turn some people all the way the hell off. Pity those poor, incorrect fools.” – Ryan Syrek, The Reader (Omaha, NE)

“The originality of story and filmmaking is a sight to see, and its narrative is an exquisite example of how quickly the thin line between reality and art can blur.” – Stephanie Archer, Film Inquiry

Deadly Illusions – Director Anna Elizabeth James

DEADLY ILLUSIONS is a psychological thriller about a bestselling female novelist Mary Morrison (Kristin Davis), suffering from writer’s block, hires an innocent yet beautiful caregiver Grace (Greer Grammer) to watch over her children as she dangerously indulges into the fantasies of her new best seller. Everything changes when Mary becomes spellbound by Grace who soon becomes her muse. As their relationship blossoms, the line between the life she’s writing and the one she’s living becomes blurred. Director and writer Anna Elizabeth James (Emma’s Chance, Destined to Ride) joins us to talk about the themes running through her latest film of female sexuality and sexual fluidity, identity and the personal satisfaction of working with a top notch cast of actors.

 

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For news and updates go to: kissandtaleproductions.com

DEADLY ILLUSIONS was written and directed by Anna Elizabeth James (Emma’s Chance) and stars Kristin Davis, Dermot Mulroney, Greer Grammer, and Shanola Hampton. Netflix will release the film on March 18.

About the filmmaker – Anna Elizabeth James is a director, writer, and producer who first caught the filmmaking bug after being given the opportunity to create her own TV show in junior high school. Anna’s fourth feature film, Deadly Illusions, was completed under her company banner Kiss and Tale Productions – where she wrote, directed, and produced. The film stars Kristin Davis, Dermot Mulroney, Greer Grammer and Shanola Hampton. Anna directed her fourth feature film this past winter, Sinister Sorority. (2021). Anna Elizabeth James made her break into the feature world by writing and directing, Emma’s Chance, starring Greer Grammer and Missi Pyle. Most recently it has been added to the Hallmark Movie Collection. Anna’s second feature, Destined to Ride, starred Madeline Carroll and Denise Richards. Anna has directed numerous short films, including a teen pilot, Diary of a Teenage Nobody, which was optioned by MTV. Her psychological thriller, Zone 2, toured through the Etheria Film Festival, winning an audience award. Known as a pioneer in the industry for her iPhone filmmaking and distribution methods, Anna has been featured in WIRED MagazineThe New York TimesUSA Today, and has spoken at TEDxNew York Apple StoreDGA, and The Academy of Television, Arts and Sciences showcasing these forward thinking films. Anna holds an MFA from USC’s School of Cinematic Arts and is the mother of four. She currently resides in South Jordan, Utah with her two assistant pups, Pepper and Teddy, who sit by her side as she writes. annaelizabethjames.com

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La Llorona – Director Jayro Bustamante

Ripped from the pages of Guatemala’s recent wrenching history, LA LLORONA follows the story of a fictional and indignant retired general, Enrique, as he is being forced to face his murderous past at his own trial for the genocidal massacre of thousands of Mayans decades ago. As a horde of angry protestors threatens to invade their opulent home, the women of the house – his haute wife, conflicted daughter, and precocious granddaughter – weigh their responsibility to shield the erratic, senile Enrique against the devastating truths behind being publicly revealed and the increasing sense that a wrathful supernatural force is targeting them for his crimes. Meanwhile, much of the family’s domestic staff flees, leaving only loyal housekeeper Valeriana until a mysterious young indigenous maid arrives. A tale of horror and magical realism, the film reimagines the iconic Latin American fable as an urgent metaphor of Guatemala’s recent history and tears open the country’s unhealed political wounds to grieve a seldom discussed crime against humanity. LA LLORONA marks Jayro Bustamante’s third feature and demonstrates his continued efforts to highlight social inequality in his native Guatemala with deft sensitivity and visual richness. The Silver Bear-winning director, writer, producer and editor, Jayro Bustamante (Temblores, Ixcanul) joins us to talk about his tale of horror and fantasy, ripe with suspense, and an urgent metaphor of Guatemalan recent history and its unhealed political wounds, 

 

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For news and updates go to: filmfactoryentertainment.com/la-llorona

LA LLORONA will make its U.S. theatrical premiere this Friday, March 5 as part of the programming at the IFC Center, which is reopening following one year of closures of New York City movie theaters. 

LA LLORONA is Guatemala’s Official Oscar® entry for Best International Feature Film, and one of the 15 films shortlisted being considered for the final five films in the running for the Academy Award.

2021 National Board of Review WINNER – Best Foreign Language Film
2021 Satellite Awards WINNER – Best Film, International
2021 Critics Choice Awards Nominee – Best Foreign Language Film

97% on Rotten Tomatoes

“Bustamante’s La Llorona is a bold assertion of the embedded prejudice against indigenous populations in his home country of Guatemala while also asserting that women and children in particular bore the brunt of the violence.” – Natalia Keogan, Paste Magazine

“Smart and elegant. The real horror lies not in the supernatural but in the savage acts of men.” – Carolina Miranda, Los Angeles Times

“Bustamante’s reimagining of the famous folkloric figure is a reminder that in the right hands, horror can be turned into something with almost indescribably enormous ideological potency.” – Alexandra Heller-Nicholas, AWFJ Women on Film

“Bustamante’s latest travels into the dark recesses of the human condition to shine a brightly shimmering spotlight on vile evils that should never be locked away and forgotten.” Sara Michelle Fetters, MovieFreak.com

“La Llorona is a beautifully conceived and constructed piece which cleverly utilises ghost story tropes, imagery and sound effects to enhance the impact of its real-life inspired revelations.” – Emma Simmonds, The List

LUCKY – Director Natasha Kermani & Writer / Lead Actor Brea Grant

In the unnerving and creeping panic that is LUCKY, life takes a sudden turn for May, a popular self-help book author, when she finds herself the target of a mysterious man with murderous intentions. Every night, without fail he comes after her, and every day the people around her barely seem to notice. With no one to turn to, May is pushed to her limits and must take matters into her own hands to survive and to regain control of her life. The sophomore feature from Iranian-American filmmaker Natasha Kermani (Imitation Girl), Lucky is written and starring Brea Grant, star of the indie darling AFTER MIDNIGHT and writer/director of the critically acclaimed dark comedy 12 HOUR SHHIFT  Home invasion horror by way of a time loop mystery, LUCKY is a uniquely nightmarish, darkly funny, and timely slasher, and a thrilling addition to the Final Girl genre. Brea Grant stars alongside Dhruv Uday Singh (Good Trouble) and Kausar Mohammed (East of La Brea, What Men Want). Director Natasha Kermani and screenwriter / lead actor Brea Grant join us to talk about how they brought life to their feminist allegory on how relentless cultural and psychological duress undermines women and why injecting their perspective into a horror genre helps them deliver the appropriate mix of fear and reflection.

 

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For news, updates and screenings go to: epic-pictures.com/lucky

Lucky will premiere and debut exclusively to Shudder on March 4th in the US, Canada, UK, Ireland, Australia, and New Zealand, as well as via the Shudder offering within the AMC+ bundle where available. www.shudder.com.

About the filmmaker – Director Natasha Kermani is a writer and director in LA/NY, and the co-founder of Illium Pictures. Natasha’s credits includes science-fiction feature film Imitation Girl (FrightFest ‘17), starring Lauren Ashley Carter. Short form work includes Lewis Black’s web series The Mentors (for which she won Best Director at the NYC Web Fest), the very first live-action short film of beloved manga series, Battle Angel Alita, and the short film POLE, the first film to be funded entirely on twitch.tv. Kermani has directed a variety of commercial content for clients including NYDJ, Thinx, Microsoft, and ThirdLove. Outside film and television, Natasha is a violinist and composer who enjoys playing live shows with local bands and ensembles. Natasha’s Iranian-American heritage, her interest in female-led stories, and her love for genre- filmmaking all converge in her work — a lyrical exploration of how we experience the world around us. 

About the filmmaker – Writer and Lead Actor Brea Grant’s first television acting job was on Friday Night Lights. She is best known for her role as Daphne Millbrook on Heroes. Other TV credits include the series, Cold Case. She has starred in several films, including Battle Planet and Homecoming. She directed and starred in a post-apocalyptic film called Best Friends Forever. She also created a comic book miniseries called We Will Bury You with her brother Zane Grant and artist Kyle Strahm. She continued with the SuicideGirls comic miniseries, based on the pin-up web site of the same name.

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91% on Rotten Tomatoes

“As the filmmakers dial in tighter on those keen observations, their movie gets more and more chilling.” – Noel Murray, Los Angeles Times

“Lucky has something to say, and Grant has thought very deeply about the subjects of violence against women and trauma, as well as gender-based assumptions about these things.” – Sheila O’Malley, RogerEbert.com

“Lucky is a suspenseful, magnificently told metaphor for the real-life horrors women face on a daily basis.” – Molly Henery, The Blogging Banshee

“If you know someone who doesn’t quite grasp the emotional terrorism behind concepts like gaslighting and victim-blaming, sit them down with Lucky.” – Katie Rife, AV Club

“Harrowing experiences are revealed through disorienting sequences heightened by sleek cinematography from Julia Swain and a powerful lead performance from Grant.” – Katherine McLaughlin, Through the Trees

“A gutsy, kick-ass performance from Brea Grant combines with intricately thoughtful directing by Kermani to create a refreshingly modern spin on the tormented female story.” – Kat Hughes, THN

The Vigil – Director Keith Thomas

THE VIGIL, the debut feature film debut of writer and director Keith Thomas is the  accomplished and chilling tale steeped in ancient Jewish lore and demonology. THE VIGIL is supernatural horror film set over the course of a single evening in Brooklyn’s Hasidic Borough Park neighborhood. Low on funds and having recently left his insular religious community, Yakov (Dave Davis) reluctantly accepts an offer from his former rabbi and confidante (Menashe Lustig) to take on the responsibility of an overnight “shomer,” fulfilling the Jewish practice of watching over the body of a deceased community member. Shortly after arriving at the recently departed’s dilapidated house to sit the vigil, Yakov begins to realize that something is very, very wrong. Director Keith Thomas joins us for a conversation on informing his horror film in the iconography and literature of ancient Jewish traditions, finding a perfect location and the importance of finding a lead actor who could embody Yakov’s vulnerabilities and strengths.

 

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For news, updates and screenings go to: ifcfilms.com/films/the-vigil

Director’s Statement – “When I sat down to write the very first draft of THE VIGIL, I knew I wanted to tell a personal story that felt universal. The movie would be very contained and the stakes would, at first glance, seem small – one man, one ritual, and one struggle with a threatening force. But the stories I gravitate towards, the stories I like to tell, are rooted in tangible human experience. One person’s struggle can take on a mythic quality that resonates far more than stories about countries or even worlds at war. All of us have suffered “dark nights of the soul” (likely several times over during the upheaval of the past year) and most of us emerge from those lean and often frightening hours changed – generally for the better but sometimes for the worse. If you’ve come to the movie for a thrill, I hope you enjoy it and it troubles your sleep. If you’ve come to it for a glimpse into a cloistered world few secular people know, I’ll assure you that it is authentic. Regardless of the reason you’re watching THE VIGIL, I hope you find something in our little story that haunts you, that burrows like a splinter in your consciousness and leaves you thinking. Even if it’s just for a few heartbeats.” – Keith Thomas

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“The Vigil is proof that bible-thumping priests and haunted converts can’t have all the spooky fun. The filmmaking maintains its gripping spell all the way through; A remarkable showcase for Dave Davis, who commands every scene.” – Eric Kohn, IndieWire

“Get out your tallit, your tefillin and your terrifying visions of a diabolical entity because The Exorcist is coming to Borough Park. A devilish, and very Yiddish, bone-crunching chiller.” – Jordan Mintzner, The Hollywood Reporter

“Cultural context adds to an effectively creepy chiller. Anything might be (and usually is) hiding in the shadows. Davis is excellent.” – Dennis Harvey, Variety

“view[ing] Jewish history and identity through the prism of genre, The Vigil dramatizes the processes by which myth and memory sustain trauma down the generations” – Anton Bitel, Sight and Sound

“Featuring strong performances and excellent effects work, The Vigil is a genuinely creepy debut which explores the ways in which our psychological demons can get their claws into our entire lives.” – Nikki Baughan, Empire Magazine

Hunger Ward – Director Skye Fitzgerald

Filmed from inside two of the most active therapeutic feeding centers in Yemen, HUNGER WARD documents two female health care workers fighting to thwart the spread of starvation against the backdrop of a forgotten war. HUNGER WARD provides an unflinching portrait of Dr. Aida Al Sadeeq and Nurse Mekkia Mahdi as they try to save the lives of hunger-stricken children within a population on the brink of famine. HUNGER WARD is the third installment of Director Skye Fitzgerald’s Humanitarian Trilogy, focused on the global refugee crisis. The first film, 50 FEET FROM SYRIA focused on doctors working on the Syrian border and was Oscar® shortlisted. The second, LIFEBOAT documents search and rescue operations off the coast of Libya and was nominated for an Academy Award® and national Emmy®. Director Skye Fitzgerald (Lifeboat, 50 Feet from Syria, Finding Face) joins us for a conversation on the making of his 2021 Oscar® Shortlisted Hunger Ward documentary, how little American mass media has talked about the ongoing genocidal war against a defenseless civilian population – done with diplomatic,  political backing by the Trump Administration, as well as, intelligence and logistical support from the US military – and what we can do to stop it.

 

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For news and updates go to: hungerward.org

2021 Oscar® shortlist – Best Documentary (Short form)

About the filmmaker – Member of the Academy of Motion Picture Arts and Sciences (Documentary Branch). Oscar/Emmy/IDA-Nominated Director Skye Fitzgerald is directing The Humanitarian Trilogy: HUNGER WARD (2020) documents the impact of the war and famine in Yemen on children, families, and health care workers. LIFEBOAT (2018) highlights search and rescue operations off the coast of Libya and was nominated for an Academy Award® and national Emmy® award. 50 FEET FROM SYRIA (2015) focuses on doctors working on the Syrian border and was voted onto the Oscar® shortlist. Fitzgerald was also inducted as an honorary member into SAMS (Syrian American Medical Society) for his work with Syrian refugees and named a Distinguished Alumnus at his alma mater EOU for documentary work. As a Fulbright Research Scholar Fitzgerald directed the film Bombhunters and has since worked with the Sundance Institute, the U.S. Institute of Peace, the State Department, the Paul Robeson Fund and Mountainfilm. As a Director of Photography, Fitzgerald lenses work for major clients including Dateline, VICE, Mercy Corps, CNN, the Discovery, Travel, History and Animal Planet Channels. For more on Skye Fitzgerald go to: spinfilm.org

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Critical reactions to Skye Fitzgerald’s work:

“…a rare look inside the human impact of the war in Yemen” – Jane Ferguson – PBS NewsHour

“Once you see it, you won’t forget it.” – Sarah Larson – THE NEW YORKER 

“Fitzgerald has sought to harness this art-form to draw attention those who are struggling to obtain their most basic, fundamental human freedoms. LIFEBOAT…is vitally important.” – US HUMAN RIGHTS COMMISSION 

“…deftly addresses the most critical humanitarian issue of our time and those who are doing something about it.” – Michael Brody – Programmer Crested Butte FF  

“…visually brutal…a harrowing package.”  – VARIETY  

We’re All Going to the World’s Fair – Director Jane Schoenbrun and Actor Anna Cobb

How to take the World’s Fair Challenge: Say the words “I want to go to the World’s Fair. I want to go to the World’s Fair. I want to go to the World’s Fair.” into your computer camera. Prick your finger, draw some blood and smear it on the screen. Now press play on the video. They say that once you’ve seen it, the changes begin…  In a small town, a shy and isolated teenage girl (Anna Cobb in a stunning feature debut) becomes immersed in an online role-playing game. Late on a cold night somewhere in America, teenage Casey sits alone in her attic bedroom, scrolling the internet under the glow-in-the-dark stars and black-light posters that blanket the ceiling. She has finally decided to take the World’s Fair Challenge, an online role-playing horror game, and embrace the uncertainty it promises. After the initiation, she documents the changes that may or may not be happening to her, adding her experiences to the shuffle of online clips available for the world to see. As she begins to lose herself between dream and reality, a mysterious figure reaches out, claiming to see something special in her uploads. Director Jane Schoenbrun and lead actor Anna Cobb join us for a conversation on the making of this jarring, mind bending and strangely empowering tale of a young woman determined to challenge boundaries.

 

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For more go to: fliescollective.com/were-all-going-to-the-worlds-fair

About the filmmaker – Jane Schoenbrun is a non-binary filmmaker who co-created ongoing touring variety series “The Eyeslicer,” which has screened in hundreds of venues across the world, including MoMA, the Tribeca Film Festival, and Kansas City’s oldest porn theater. In 2018, they created the Radical Film Fair, a film flea market and mentorship event that drew thousands of attendees. Schoenbrun is the director of feature documentary “A Self-Induced Hallucination,” producer on Aaron Schimberg’s “Chained for Life” an EP on season one of Terence Nance’s “Random Acts of Flyness,” and creator of the omnibus “dream film” “collective:unconscious. “We’re All Going to the World’s Fair” is premiering at the 2021 Sundance Film Festival

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88% on Rotten Tomatoes

“Schoenbrun’s debut is one of the only American films that really excited me, in both ideas and film form, at this year’s Sundance Film Festival.” – Orla Smith, Seventh Row

“None of the formal inventiveness would work if it wasn’t grounded by a real person at its center. This may be her first feature, but [Anna Cobb] brings an immense amount of nuance to each moment.” – Drew Gregory, Autostraddle

“It’s a strong debut for both Schoenbrun and Cobb, capturing a profound sense of contemporary adolescent loneliness that many artists have tried (and failed) to portray on screen.” – Hannah Woodhead, Little White Lies

“This is a film of great and grand expression, transforming and challenging our own ideas and beliefs of art, of ourselves, and of others.” – Bill Arceneaux, Of Those Who

“Cobb and Michael J. Rogers both deliver haunting performances here. Cobb introduces enough vulnerability in the beginning to make her slow transformation into someone almost unrecognizable all the more terrifying.” – Alysha Prasad, One Room With A View

A Glitch in the Matrix – Director Rodney Ascher

A GLITCH IN THE MATRIX ask the question, what if we are living in a simulation, and the world as we know it is not real? To tackle this mind-bending idea, acclaimed filmmaker Rodney Ascher (ROOM 237, THE NIGHTMARE) uses a noted speech from Philip K. Dick to dive down the rabbit hole of science, philosophy, and conspiracy theory. Leaving no stone unturned in exploring the unprovable, the film uses contemporary cultural touchstones like THE MATRIX, interviews with real people shrouded in digital avatars, and a wide array of voices, expert and amateur alike. If simulation theory is not science fiction but fact, and life is a video game being played by some unknowable entity, then who are we, really? A GLITCH IN THE MATRIX attempts to find out. The film introduces us to a handful of real-world testifiers who are certain that their bodies and minds are being operated by some external game-player. Ascher, as ever an inviting, curious questioner (never one who mocks), brings a wealth of cultural and intellectual context to his latest exploration, from the videotaped musings of paranoid sci-fi giant Philip K. Dick to clips of Keanu Reeves in The Matrix and a host of bespoke animated re-creations that give eerie credence to the most outré of notions. Director Rodney Ascher joins us to talk about his paranoia-inducing, exhilarating and definitive introduction to a subject that, subscribe to it or not, involves us all.

 

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For news and updates go to: aglitchinthematrixfilm.com

About the filmmaker – RODNEY ASCHER (Director, Editor, and Executive Producer) RODNEY ASCHER is a filmmaker known for creating documentaries that explore the subjective experience, freely appropriating the vocabularies of genre, experimental, and found-footage films along the way. His first feature, 2012’s ROOM 237 looked at The Shining through the eyes of five very different people. He visualized their wildly different interpretations of Kubrick’s classic by juxtaposing excerpts of the film with everything from Murnau’s Faust to the cover of the January 1978 issue of Playgirl magazine creating a trip down the rabbit hole. His follow up, THE NIGHTMARE was called “The Scariest Movie of the decade.” Creatively, the film completely changed tactics from Room 237’s archival-driven montage. To visualize real people’s seemingly supernatural experiences during bouts of ‘sleep paralysis’ his team filmed interviews at night in the subjects’ own bedrooms and created stylized re-enactments inspired by the interviewees’ drawings and his own personal memories of a visitation by a ‘shadowman.’ Like Room 237, it premiered at Sundance before traveling around the world including an Imax screening in Moscow. A GLITCH IN THE MATRIX is his most ambitious film yet, using multiple styles of 3D animation to illustrate the experiences and philosophies of people who suspect the world itself is not quite real.

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“A Glitch in the Matrix becomes not about whether we’re living in a simulation but about the many understandable reasons someone may think this. In effect, it winds up being about the mysteries of the human experience.” – Bilge Ebiri, New York Magazine/Vulture

“’A Glitch in the Matrix’ goes for the head by way of the heart, or maybe vice versa. Superb and startling, breathtaking and compassionate.” – Bill Arceneaux, Of Those Who

“A compellingly out-there look at the possibility that we’re all avatars in a game we can’t comprehend.” – Nick Schager, The Daily Beast

“Ascher’s appropriately discombobulating stew of queasiness, comedy, and terror seems well-cued to the subject matter, even while missing a certain editorial sharpness that might have brought some of its notions into greater clarity.” – Chris Barsanti, The Playlist

“While Ascher casts a wide net, “A Glitch in the Matrix” works quite well as an overview of the various epistemological questions it raises.” – Eric Kohn, indieWire

The Toxic Pigs of Fukushima – Director Otto Bell

THE TOXIC PIGS OF FUKUSHIMA follows a lone hunter into an isolated and changed landscape. Along the way, other citizens who still live near the reactor share their perspectives on the aftermath of the Great East Japan Earthquake of 2011 triggered a tsunami, nuclear meltdown and mass evacuations in Fukushima Prefecture. Today, as part of a Government push to encourage resettlement, local hunters have been enlisted to dispose of radiated Wild Boars that now roam the abandoned streets and buildings. THE TOXIC PIGS OF FUKUSHIMA focuses on the people who still live near the reactor share their perspectives on the aftermath. Along the way, other citizens who still live near the reactor share their perspectives on the aftermath. THE TOXIC PIGS OF FUKUSHIMA was inspired by the photographs of co-producers Toru Hanai and Yuki Iwanami. The original score was written and performed by renowned ambient artist Midori Takada. Directed by Otto Bell (The Eagle Huntress) THE TOXIC PIGS OF FUKUSHIMA has been acquired by VICE and will be featured in “The Short List with Suroosh Alvi,” an upcoming series from VICE World News. The Short List is a collection of the world’s best documentaries curated by VICE founder Suroosh Alvi.

 

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**Top 10 short docs of the year from Cinema Eye**
**Official Selection – Telluride Film Festival 2020**
**WINNER – Rhode Island International Film Festival 2020 – Grand Prize, Green Planet Award
**Official Selection – Docs Without Borders Film Festival 2020
**Official Selection – Montclair Film Festival 2020
**Official Selection – St Louis Film Festival 2020
**WINNER – Thomas Edison – Black Maria Film Festival 2021
**Official Selection – Big Sky Film Festival 2021

 

About the filmmaker – Otto Bell runs Courageous, a commercial studio of filmmakers and designers based in New York. He has directed over fifteen documentary films as far afield as Uganda, Japan, Egypt and Vietnam for brands such as IBM and Philips. During a decade in the industry, he has also created and produced multi-award winning world affairs programming such as “Horizons” on BBC World News and “Shunya” on Times Now of India. Otto is a graduate of Oxford University and the prestigious WPP Fellowship Scheme. He lives in Manhattan, but originally hails from Northern England.

The Earthquake And Tsunami – The magnitude-9.1 earthquake struck March 11, 2011 at 2:46 PM. The epicentre was located some 80 miles (130 km) east of the city of SendaiMiyagi prefecture, and the focus occurred at a depth of 18.6 miles (about 30 km) below the floor of the western Pacific Ocean. The earthquake triggered a shut down of the three active reactors at the  Fukushima I Nuclear Power Plant (Fukushima Dai-Ichi). The ensuing tsunami crippled the site, stopped the Fukushima I backup diesel generators, and caused a station blackout. The subsequent lack of cooling led to explosions and meltdowns at the Fukushima I facility, with problems at three of the six reactors and in one of the six spent-fuel pools. The March 11, 2011, earthquake was the strongest to strike the region since the beginning of record keeping in the late 19th century, and it is considered one of the most powerful earthquakes ever recorded. Hundreds of aftershocks, dozens of magnitude 6.0 or greater and two of magnitude 7.0 or greater, followed in the days and weeks after the main quake.

The Impact – Following the 2011 Japanese Fukushima nuclear disaster, authorities shut down the nation’s 54 nuclear power plants. The Tokyo Electric Power CompanyFukushima Daiichi plant remains highly radioactive, with some 160,000 evacuees still living in temporary housing, and some land will be unfarmable for centuries. The  difficult cleanup job will take 40 or more years, and cost many tens of billions of dollars, with total economic costs estimated at $250–$500 billion

Lapsis – Director Noah Hutton

LAPSIS is a smart, funny, slyly suffocating look into a parallel present, delivery man Ray Tincelli (Dean Imperial) is struggling to support himself and his ailing younger brother. After a series of two-bit hustles and unsuccessful swindles, Ray takes a job in a strange new realm of the gig economy: trekking deep into the forest, pulling cable over miles of terrain to connect large, metal cubes that link together the new quantum trading market. As he gets pulled deeper into the zone, he encounters growing hostility and the threat of robot cablers, and must choose to either help his fellow workers or to get rich and get out. What he doesn’t expect is to be pulled into a conspiracy involving hostile cablers, corporate greed, and the mysterious LAPSIS who may have previously owned his permit. Director / writer / editor Noah Hutton joins us for a conversation on his unique vision of the near future, quasi-syfy world, relationships, family and cabling.

 

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

About Virtual Cinema – Virtual cinema is video-on-demand streaming brought to you by Film Movement in partnership with local independent movie theaters, which allows you to stream first-run movies and revivals of classic films at home on your TV or on your mobile device prior to their availability on any other digital platform. The proceeds from your streaming rental is shared between Film Movement and the presenting art house movie theater of your choice, so all ticket purchases help support independent cinema.

About the filmmaker – Noah Hutton is a writer and director of documentary and narrative films. He wrote and directed the sci-fi feature Lapsis, which premiered in the narrative feature competition at SXSW 2020 and was acquired by Film Movement for theatrical release in 2021. In 2020 he completed In Silico, a ten-year documentary begun in 2009 and supported by Sandbox Films and the Alfred P. Sloan Foundation about a ten-year project to simulate the human brain on supercomputers. Previously he directed the documentary features Deep Time (SXSW 2015) and Crude Independence (SXSW 2009). For more about Noah Hutton and his films go to: couple3films.com

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“Hutton’s inventive storytelling weaves a clever web throughout….” – Andrew Osborne, Culture Vulture

“An ingenious social satire wrapped inside an intelligent sci-fi parable.” – Rob Aldam, Backseat Mafia

“Lapsis lives on the central performance by Dean Imperial as Ray, and that life is undoubtedly vibrant and complex.” – Richard Whittaker, Austin Chronicle
“A world away from the clichés of popular science fiction, this is the real thing.” – Jennie Kermode, Eye for Film

“…entertainingly original…. This tale of a floundering gig-economy worker straddles both the bleak present-tense reality of Ken Loach’s “Sorry We Missed You” and the subversive near-future political satire of Boots Riley’s “Sorry to Bother You” while arriving at a whimsical critique all its own.” – Dennis Harvey, Variety

Film Maudit 2.0 – Executive Director Leo Garcia and Artistic Director Patrick Kennelly

January 12-24 2021, Highways, the legendary Los Angeles Performance Space and Gallery presents its Second Annual Film Maudit 2.0 festival showcasing and celebrating new outré, unusual and startling films. The festival will feature over 125 works of cinema from 25 countries including films rarely if ever, seen in festivals: works addressing socio-political issues and taboo subject matter that challenges conventional artistic assumptions and sexual mores.Virtual, online screenings of 18 feature films, 21 shorts programs, specially commissioned programs, and new film scored performed by artists who reflect the diversity of Los Angeles. Included are a range of narrative, documentary and experimental films that are deliberately bold, extreme, confrontational and unusual. Film Maudit 2.0 highlights this year include the U.S. premieres of Feature Films: Mathius Marvellous Shop, a Spanish/German surrealistic satire; Kriya, a magical Indian thriller, and the Los Angeles premieres of Woman of the Photographs; a powerful Japanese film about image and reality for a beautiful model; The Columnist, a darkly comic horror film from The Netherlands; A Dark, Dark Man, the Kazakhstan/France thriller just long-listed for the Golden Globes; and Darkness (Buio) the first feature film by Donatello Award-winning director Emanuela Rossi. Other special programs include a special fundraising screening of erotic art pioneers Annie Sprinkle and Beth Stephens’ Water Makes Us Wet, featuring a live stream Q&A with both; new, original music scores performed live to silent films, and multiple Feature and Shorts Programs that showcase works from 25 countries in 16 uniquely curated categories from ‘Ms. Fear’ to ‘Shattering Form’ – with animated documentaries to experimental works handmade on film; extreme horror to comic surrealism. There is a special focus on works in Film Maudit’s BEHOLD section, which includes NSFW! curated by Planet Queer, Hi Kicks Entrails, curated by performance artist Ironstone, and QLX: the Performance of Queer Latinx.

 

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For news, screenings and updates go to: filmmaudit.org

All films at the festival are free and available online January 12 through 24. Reservations are required and can be made for each program via Film Maudit 2.0’s Screening Portal: filmmaudit.org/filmmaudit

Film Maudit 2.0 festival is inspired by French avant-garde filmmaker and writer Jean Cocteau who created the original Festival du Film Maudit (literally “cursed films”) in 1949 aiming to celebrate overlooked, shocking and experimental films. Film Maudit 2.0, in its 2nd year, showcases a counter-cinema will blend of narrative, documentary and experimental films that in their style and/or subject matter, are deliberately bold, extreme, confrontational, troubling, shocking and/or unusual. The festival is funded in part by the California Arts Council, Los Angeles County Department of Cultural Affairs and the City of Santa Monica Cultural Affairs CAP Program.

About HIGHWAYS – Film Maudit 2.0 is co-presented by and takes place at Southern California’s boldest center for new performance and media arts, Highways Performance Space & Gallery in Santa Monica, CA. In its 31st year, Highways continues to be an important alternative cultural center in Los Angeles that encourages radical artists from diverse communities to develop and present innovative new works. Described by the Los Angeles Times as “a hub of experimental theater, dance, solo drama and other multimedia performance,” Highways promotes the development of contemporary socially involved artists and art forms. Under the helm of Executive Director, Leo Garcia, Highways has received funding and support from organizations such as the The James Irvine Foundation, Metabolic Studio, California Community Foundation, Liberty Hill Foundation, The Warhol Foundation, National Endowment for the Arts, and The Roy Cockrum Foundation. Leo Garcia is an award-winning playwright, filmmaker, visual artist and actor who has produced over 800 performance works as Artistic Director-turned-Executive Director of Highways since 2003. highwaysperformance.org

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Night Stalker – Director Tiller Russell

The Netflix limited docu-series Night Stalker: The Hunt for a Serial Killer tells the spellbinding true story of how one of the most notorious serial killers in American history was hunted down and brought to justice. In the sweltering summer of 1985, a record-breaking heatwave hit Los Angeles, along with a series of murders and sexual assaults that at first seemed disconnected. The victims were men, women, and children. They ranged in age from six to 82, coming came from different neighborhoods, racial backgrounds and socioeconomic levels. Never before in criminal history had a single killer been responsible for such a grisly array of crimes.  Racing against the clock to stop this nocturnal monster were a young detective named Gil Carrillo from the Los Angeles County Sheriff’s Department and the legendary homicide investigator Frank Salerno. As they worked tirelessly to solve the case, the media hounded their tracks, and panic gripped California.  Told through harrowing first-person interviews, gripping archival footage and spectacular original photography, this four-part series represents the definitive telling of this iconic L.A. real-life horror story, painting a portrait of how it felt to live in fear at a time when absolutely anyone could be the Night Stalker’s next victim. Night Stalker: The Hunt for a Serial Killer director Tiller Russell joins us to talk about his deep dive into truly terrifying chapter of Southern California history, capturing the palpable fear that gripped and connected so many communities in 1985 and the people who brought Richard Ramirez to justice.

 

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To watch go to: netflix.com/nightstalker

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Climate of the Hunter – Director Mickey Reece

Mickey Reece’s mind-bending latest film, CLIMATE OF THE HUNTER immerses us inhttps://youtu.be/vOT3l77LTZc the story of two sisters, Alma and Elizabeth, along with a dog who’s described as a “philosopher,” have come to Alma’s remote house to reconnect with Wesley after twenty years. Alma is recently divorced, Elizabeth is a workaholic in Washington, D.C., while Wesley lives in Paris dealing with a wife recently struck with a fatal disease. When the three come together for dinner it has all the makings of a lovely adult melodrama about loneliness, and the desire to connect and share our lives with someone… but we must add to the mix one otherworldly piece of information: Wesley could be a vampire. CLIMATE OF THE HUNTER stars Ginger Gilmartin, Mary Buss, Ben Hall, Danielle Evon Ploeger, Laurie Cummings, and Jacob Ryan Snovel. Director Mickey Reece (Arrows of Outrageous Fortune, Mono) joins us to talk about his shadowy slow-burn, stylized cinematic mind-f**k of a story.

 

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For news and updates go to: darkstarpics.com

On Demand beginning January 12, 2021 on iTunes, Amazon, Google Play, Xbox, Vudu,  Direct TV, Dish Network and all major cable providers.

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“an instant cult classic” – Film Freak Central

“Climate of the Hunter never sacrifices its smarts for fun (or vice versa), but with its dazzling visuals and hypnotic descent downwards into a seemingly inevitable chaos, the film’s delights are ultimately as sensorial as they are intellectual” – Alexandra Heller-Nicholas, AWFJ Women on Film

“Climate of the Hunter captures the 1970s perfectly and crafts a beautiful film filled with a central mystery that builds in every revelation.” – Amanda Mazzillo, Film Inquiry

“Climate of the Hunter is for anybody who, when dining out, feels compelled to try (and hopes to love) the weirdest item on the menu.” – Simon Abrams, RogerEbert.com

“This weird little slice of vampire movies is definitely not your average bloodfest. It’s odd and dreamlike and one of my favorite films I’ve seen so far this year. So give it a shot!” – Lorry Kikta, Film Threat

“Gloriously quirky cinematic feat” – Rue Morgue

Actor Azura Skye, The Swerve

In Dean Kapsalis’s feature film debut, THE SWERVE, we meet Holly, (Azura Skye) woman who seemingly has it all: two kids, a nice house, a good job as a teacher, and a husband with his career on the way up. But there are troubling signs that all is not right in her world. The insomnia. The medication for the insomnia. The dreams from the medication for the insomnia. (Are they even dreams?) And then there’s the mouse that appears in her home. Upsetting her already delicate balance, it sends her spiraling out of control. Writer/director Dean Kapsalis’ emotionally raw and unsparing film, THE SWERVE, explores a week in the life of a woman on the verge in this haunting meditation on mental illness. Actor Azura Skye joins us to talk about her preparation and collaboration with director / writer Kapsalis as well as the physical challenges of playing such a demanding role.

 

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For news, screenings and updates go to: epic-pictures.com/film/the-swerve

About the actor – Azura Skye is a Los Angeles native whose gemologist parents named her after the mineral azurite. Skye began her career in the theatre as a child and segued into film and television in her teens, where she’s since managed to garner a lengthy resume. Skye’s credits include the films 28 DAYS, BANDITS, RED DRAGON, ONE MISSED CALL, HEAVEN’S FALL and WRISTCUTTERS: A LOVE STORY. On the small screen she has appeared in numerous television shows including BUFFY THE VAMPIRE SLAYER, HOUSE M.D., THE MENTALIST, AMERICAN HORROR STORY, GIRLS, and RIVERDALE. She starred in the NBC comedy WORKING THE ENGELS and in the independent feature TAKE ME TO THE RIVER, which premiered at the 2015 Sundance Film Festival.

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98% on Rotten Tomatoes

“Azura Skye’s tremendous performance [is] as unblinkingly honest as anything Gena Rowlands has done.” – Sheila O’Malley, RogerEbert.com

“The Swerve’s devastating depiction of domestic depression is elevated by an astonishing, tortured performance from Azura Skye.” – Shaun Munro, Flickering Myth

“Azura Skye’s broken, powerhouse performance animates this brittle psychological thriller about a woman on the edge.” – Roger Moore, Movie Nation

“…no less irresistible and poisonous than the nation’s prevailing patriarchy, making Holly’s violent deviation from her prescribed homemaking path the last tragic swerve of a woman in trouble.” – Anton Bitel, Sight and Sound

“It is an amazingly cathartic experience. I’m incredibly impressed that Dean Kapsalis was able to convey the suffering of a woman so well, without belittling or objectifying Holly in the process.” – Lorry Kikta, Film Threat

“A beautiful and brutal study of depression, paranoia and the descent into the unthinkable. The message that Kapsalis voicing is one that, like Holly, needs to be heard.” – Kat Hughes, THN

Tandem Pictures, Founder Julie Christeas and COO Jonathan Blitstein

Tandem Pictures is a leader in conceiving and implementing eco-sustainable filmmaking practices in the indie film space, with all of their productions following Environmental Media Association standards and the Producers Guild’s Green Best Practices. They’re also an advocate for how these practices – from using hybrid vehicles on set, to having the sound and camera teams use rechargeable batteries, to composting and using metal straws – can and should be adopted industry-wide. Female owned and operated, it is Tandem’s mission is to bring female talent and narratives to the forefront. They embrace female-centric storytelling, and pride themselves on the fact that the casts and crews of their films are composed of underserved and underrepresented minority groups, LGBTQIA, and women.  tandempictures.com

 

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ABOUT TANDEM PICTURES Since 2010, TANDEM PICTURES has elevated and given a platform to misrepresented and underrepresented ideas. We are filmmakers, driven by justice and representation for both people and the planet. We strive to not only tell stories, but to share learnings with the industry in order to grow positive filming practices across our community.  Past films include acclaimed festival films THE SURROGATE, BLOODSTRIPE, THE EYES OF MY MOTHER, THE SLEEPWALKER, WILDLIKE, GHOST TEAM and more.  tandempictures.com

JULIE CHRISTEAS – Tandem Pictures – Founder, Chief Executive Officer        Julie’s recent films include BLACK BEAR (Sundance 2020) starring Aubrey Plaza, Christopher Abbott and Sarah Gadon which will be released later this year by eOne/Momentum and THE SURROGATE (SXSW 2020/Monument Releasing) . She also executive produced the cult horror favorite THE EYES OF MY MOTHER (Sundance 2016/Magnet Releasing), MONOGAMY (Best NY Narrative, Tribeca Film Festival 2010), the feature doc DUKALE’S DREAM starring Hugh Jackman, and GHOST TEAM starring Jon Heder, David Krumholtz, Justin Long, Amy Sedaris and Melonie Diaz. Previously she produced BLOOD STRIPE (Jury Prize for Best Narrative Film, LA Film Festival 2016), WILDLIKE starring Bruce Greenwood and Brian Geraghty (HIFF), and THE SLEEPWALKER starring Christopher Abbott and Brady Corbet (Sundance 2014/IFC). 

JONATHAN BLITSTEIN – Tandem Pictures – Co-owner, Chief Operating Officer Jonathan’s most recently produced the acclaimed films THE SURROGATE, and BLACK BEAR (SUNDANCE, EOne/Universal release) starring Aubrey Plaza. Prior to Tandem he worked in production and branded entertainment for Vudu, Sony and Disney, supporting Fortune 500 Brands such as Walmart, Sprint and Covergirl. At Oracle (formerly CrowdTwist), he initiated the creation of Marvel Studios’ first nationwide fan loyalty program Marvel Insider. In his early career, he made two micro-budget feature films LET THEM CHIRP AWHILE and ANOTHER KIND which both premiered at the Woodstock Film Festival which were distributed on Netflix and VOD. Early career roles include marketing arthouse films such as Park Chan Wook’s OLD BOY, and Noah Baumbach’s SQUID AND THE WHALE. 

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76 Days, Director Hao Wu

On January 23rd, 2020, China locked down Wuhan, a city of 11 million, to combat the emerging COVID-19 outbreak. Set deep inside the frontlines of the crisis, 76 DAYS tells indelible human stories at the center of this pandemic—from a woman begging in vain to bid a final farewell to her father, a grandpa with dementia searching for his way home, a couple anxious to meet their newborn, to a nurse determined to return personal items to families of the deceased. These raw and intimate stories bear witness to the death and rebirth of a city under a 76-day lockdown, and to the human resilience that persists in times of profound tragedy. MTV Documentary Films is pleased to announce the release of 76 DAYS, a raw and emotional look at the struggles of the people of Wuhan, China, in the earliest days of the COVID-19 outbreak. Directed by New York filmmaker Hao Wu (People’s Republic of Desire) and two China-based journalists, Weixi Chen and Anonymous, who took enormous personal risks to film at four different hospitals. 76 DAYS was directed by Hao Wu, Weixi Chen and Anonymous. Director Hoa Wu joins us for a conversation on the challenges of keeping his crew focused and in-tact while charging into the epicenter of the most devastating and understood pandemic of the last 100 years.

 

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For news, screenings and updates go to: 76daysfilm.com

76 DAYS world-premiered at the 2020 Toronto International Film Festival where it topped IndieWire’s Critics Poll as Best Documentary of the festival. It will be released in over 50 virtual cinemas nationwide (including Film Forum in NY and Laemmle Theaters in LA) beginning Friday, December 4.

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100% on Rotten Tomatoes

“A startling picture from inside Wuhan’s besieged hospitals at the onset of the pandemic” – Screen Daily

“Remarkable” – The Hollywood Reporter

“A potent and horrifying document” ★★★★ – Peter Bradshaw, The Guardian

“Essential viewing for now and the future” – The Playlist

“A tribute to the heroic efforts of the workers it follows” – The Atlantic

Koko-Di Koko-Da, Director Johannes Nyholm

In his follow-up to the acclaimed debut feature film, The Giant, Johannes Nyholm’s Koko-Di Koko-Da recounts the story of Elin and Tobias, a happily married couple who regularly vacation with their young daughter. The family is on a dreamy holiday when an innocuous case of food poisoning derails their plans and forever alters the course of their lives.Three years later, the once loving couple is on the road again to go camping, looking for one last chance to go back to the way things used to be. But what once was is lost, and our characters instead find themselves having to relive the same nightmarish events, as that day and the horrors it brings repeat themselves infinitely. Together, they must overcome their trauma, reconcile with their past and fight for their lives. Over, and over, and over again. Discerned through a dreamlike fabric, a story emerges about relationships in general, grief and reconciliation in particular, and love as a healing force. Director Johannes Nyholm stops by to talk about the mind-bending, Federico Fellini meets Rod Sterling mise-en-scène inhabiting this profoundly passive-aggressive tale of trauma, loss and truly terrible camping strategies.

 

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To watch the film on-line go to: laemmle.com/film/koko-di-koko-da

Director’s Statement – The setting is those wee hours of the morning when dreams are at their most relentlessly untamed. This is also when the seed for many of my films comes to me. I’m sweating, struggling to go back to sleep and plagued by scattered thoughts. Suddenly they come together, leading me into a fairy tale. I write it down and then I can sleep. “Koko-di Koko-da” was both written and takes place during such a time – this nightmarish landscape between wakefulness and sleep. The film is deeply personal and a means to confront my own worst fears, much like the way the characters in the film are forced to confront theirs. It’s a universal narrative about a relationship that is falling apart. The main reason for making this film is that I’m fascinated by the everyday situations and power struggles lurking beneath the surface in relationships; what is not said, what is embedded between the lines. The love and happiness they once shared has evaporated, and so has the care they used to show for each other. Over and over again, we see them pushed yet again onto the same stage, the open glen in the woods, and into the airless tent. We observe them from above, like gladiators clashing repeatedly, without any opportunity to escape – be it from their tormenters or from each other. They are forced to confront each other, to display emotions, to be pushed around, humiliated, spat upon, tormented; in short – to be together. Any attempts to get away inevitably lead back to the same claustrophobic scenario. Made up of dreams, this story is also structurally constructed like a dream – or more specifically, a nightmare. Taking us through a labyrinth in time, like a dark grinding thought, never letting go, stuck on repeat. Presenting minor variations, but always with the same horrific outcome. – Johannes Nyholm

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“Johannes Nyholm follows up his masterful debut, 2016’s The Giant, with this often inexplicable yet increasingly captivating endeavor…” – David Nusair, Reel Film Reviews

“Though at times tasteless and barely coherent, the story is oddly affecting, the very strangeness of Nyholm’s folkloric vision and its unnerving execution pulling you in.” – Jeannette Catsoulis, New York Times

“It works as a parable for what happens to grief when it is left un-exorcised and unexpressed.” – Peter Bradshaw, Guardian

“Writer-director Johannes Nyholm (The Giant, 2016) takes all the grief, loss and bitter recriminations of this Swedish couple and drops them into the realm of myth, dream and folklore.” – Anton Bitel, Sight and Sound

White Noise, Director Daniel Lombroso

The Atlantic’s first feature documentary, WHITE NOISE, is the definitive inside story of the movement that has come to be known as the alt-right. With unprecedented access, WHITE NOISE tracks the rise of far-right nationalism by focusing on the lives of three of its main proponents: Mike Cernovich, a conspiracy theorist and sex blogger turned media entrepreneur; Lauren Southern, an anti-feminist, anti-immigration YouTube star; and Richard Spencer, a white-power ideologue. Directed and shot by Daniel Lombroso in his directorial debut, this film takes the viewer into the terrifying heart of the movement—explosive protests, riotous parties, and the rooms where populist and racist ideologies are refined, weaponized, and injected into the mainstream. Just as the alt-right comes to prominence, infighting tears the movement apart. Spencer and Cernovich clash over the role of white nationalism in conservative politics. Southern struggles to reconcile her leadership role with the sexism and misogyny of her peers. Lawsuits mount and internecine fights erupt, but even as the alt-right fractures, its once-marginalized ideas gain a foothold in mainstream discourse; in Republican politics; in the establishment right-wing press, especially Fox News—and on the world’s biggest social-media platforms. Director Daniel Lombroso joins us to talk about his immersive experience into the world of the white nationalist movement, an ideology  that echos and trades on the tropes of fascism. 

 

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For news, updates and screenings go to: theatlantic.com/white-noise-movie

WHITE NOISE releases on October 21 in the U.S. on iTunes, Amazon Prime Video, and Google Play.

About the filmmaker – Daniel Lombroso is a freelance director and journalist. For five years, he was a staff producer at The Atlantic, where he directed shorts exploring Russian espionage, the Israeli settlement movement, far-right Christian media, and more. Lombroso graduated from McGill University with a degree in political science and lives in New York City.  His debut feature film, WHITE NOISE, based on his four years reporting inside the alt-right, premiered at AFI DOCS in June 2020 to critical acclaim. It is the first-ever feature film by The Atlantic. For more go to: daniellombroso.com

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“Lombroso did his homework, embedding himself with these people for several years, so that he won their trust and became privy to their private lives. “White Noise” is a deadly serious movie, but it is also, in a certain way, a funny one, because it captures the comedy of how much trouble even the influencers of hate now have squaring their lives with their belief systems.  It takes reality to create characters as rivetingly contemptible as these.” – Owen Gleiberman, Variety

“There have been several documentaries made about the ideological conditions that laid the ground for the Trump era, but White Noise may be the most illuminating.” – Stephen Silver, Splice Today

“Lombroso’s strategy is patient, and ruthless. He listens to these racists, spending long periods with them to better understand their lifestyles. We slowly start to see that they all kind of hate and resent each other; these fissures are at the heart of this movement’s moral and intellectual rot.” – Alan Zilberman, Brightest Young Things

“Director Daniel Lombroso takes a very clear-eyed approach to the subject, utilizing unprecedented access to show the movement for what it is – an effort to launch a full-on culture war, driven by people whose anger and media savvy is matched by their opportunism. Despite refraining from overt commentary most of the time, the last couple minutes of White Noise poignantly pull together the results of recent alt-right messaging.” – Mike McGranaghan, The Aisle Seat

The Swerve, Director Dean Kapsalis

In the gripping psychological thriller THE SWERVE focuses on the life on the edge. Holly seems to have it all: two kids, a nice house, a good job as a teacher, and a husband with his career on the way up. But there are troubling signs that all is not right in her world. The insomnia. The medication for the insomnia. The dreams from the medication for the insomnia. The arrival of her estranged sister and a mouse invading her home don’t help either. Add the weight of a dark secret, and her already delicate balance collapses, sending her spiraling out of control. THE SWERVE is anchored by an unforgettably riveting performance by Azura Skye as Holly. Skye masterfully crafts a portrait of a struggling mother on the edge. Writer/director Dean Kapsalis’s joins us to talk about his powerful heart-wrenching feature debut that explores a week in the life of a woman on the verge in this haunting meditation on mental illness.

 

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For news, screenings and updates go to: epic-pictures.com/film/the-swerve

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100% on Rottentomatoes

“It is an amazingly cathartic experience. I’m incredibly impressed that Dean Kapsalis was able to convey the suffering of a woman so well, without belittling or objectifying Holly in the process.” – Lorry Kikta, Film Threat

“…no less irresistible and poisonous than the nation’s prevailing patriarchy, making Holly’s violent deviation from her prescribed homemaking path the last tragic swerve of a woman in trouble.” – Anton Bitel, Sight and Sound

“Azura Skye’s broken, powerhouse performance animates this brittle psychological thriller about a woman on the edge.” – Roger Moore, Movie Nation

“A beautiful and brutal study of depression, paranoia and the descent into the unthinkable. The message that Kapsalis voicing is one that, like Holly, needs to be heard.” – Kat Hughes, THN

Get Duked!, Director Ninian Doff

GET DUKED! follows teenage pals from Glasgow Dean, Duncan and DJ Beatroot as they embark on the character-building camping trip — based on a real-life program — known as the Duke of Edinburgh’s Award, where foraging, teamwork and orienteering are the order of the day. Eager to cut loose and smoke weed in the Scottish Highlands, the trio find themselves paired with strait-laced Ian, a fellow camper determined to play by the rules. After veering off-path into remote farmland that’s worlds away from their urban comfort zone, the boys find themselves hunted down by a shadowy force hell-bent on extinguishing their futures. From writer-director Ninian Doff — making his feature debut after a slew of award-winning music videos and short films for artists including Run the Jewels, The Chemical Brothers, Miike Snow, Migos, and Mykki Blanco — comes an anarchic satire of generational politics, hip-hop-loving farmers and hallucinogenic rabbit droppings that pits the youth of tomorrow against the status quo of yesterday. GET DUKED! stars Eddie Izzard, Kate Dickie, Georgie Glen, James Cosmo and a breakout young cast featuring Samuel Bottomley, Viraj Juneja, Rian Gordon, and Lewis Gribben. Creator and director Ninian Doff joins us for a raucous conversation on the brilliance of Eddie Izzard, getting a chance to bring his music video chops to a feature film and why the Brits are so attuned to the power of satire.

 

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Watch Get Duked! at amazon.com/Get-Duked!

About the filmmaker: Ninian Doff is a robot built by the military as an advanced ruthless killing machine. Unfortunately when they booted him up he showed no interest in murder and to their dismay started making films instead. He is considered the greatest military failure in history. Nominated for 9 British Arrows 2020 (Sainsburys and Veg Power), Grammy 2020 Best Music Video Nominated (Chem Brothers), Campaign’s Top 10 Directors 2019, Winner Shots Awards “Television Commercial of the Year – Up to and including 60 second” (Veg Power), BIFA Best Debut Director Nominated (Boyz In the Wood/ Get Duked!), Winner Just Film Grand Prix Talin Black Night Festival (Boyz In the Wood/ Get Duked!), Winner The Siren Award for Best Feature Film 2019 Lund Fantastik Film Festival (Boyz In the Wood/ Get Duked!), Winner Music video of the year Ars Independent Festival (Chemical Brothers), Nominated Best Dance Video UKMVA 2019 (Chemical Brothers), Winner SXSW Audience Award Midnighters (Boyz In The Wood), Winner of Best Director at UKMVA 2016. Winner Best Urban Video, Best Pop Video UKMVA 2016. D&AD Director Pencil 2016. Gold in FilmCraft at Europebest 2015. UKMVA 2015 Best Director Nominee. UKMVA 2104 “Best Director” Nominee. Winner UKMVA 2014 “Best Choreography”. Winner of UKMVA 2013 “Best Indie Video”. Jury and Audience award at ‘Depict13 at Brief Encounters Film Festival 2013. Nominee at UKMVA’s in last 3 years running including “Best New Director”. Selected for Saatchi and Saatchi’s New Director’s Showcase at Cannes 2012 and One Dot Zero’s “New British Talent 11”. Work has been screened at over A BILLION festivals around the world including SXSW, LA Film Festival, London Short Film Festival, Las Vegas Film Festival, Montreal Museum of Modern Art, The V&A London. For more on the filmmaker fo to: niniandoff.com

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“Fabulously funny and subversive.” – Anne Brodie, What She Said

“Serves as a distinctive calling card for a gifted yet twisted comedian, one without the slightest qualms about turning a bucolic countryside jaunt into a bloody “The Hills Have Eyes”-style hunting party.” – Peter Debruge, Variety

“A rambunctious film shot through with daft humour and an endearing, toxic masculinity-smashing sweet streak.” – Jamie Dunn, The Skinny

“An anarchic, pitch black, generation gap horror comedy that’s also one of the funniest films in a year where we are desperately in need of a laugh.” – James Croot, Stuff.co.nz

Ravage, Director Teddy Grennan

In this taut psychological thriller, RAVAGE, Harper (Annabelle Dexter-Jones), a young nature photographer on assignment in the woods of the Watchatoomy Valley, captures a disturbing event of a man being brutally whipped and beaten in the woods. After reporting the incident to the local sheriff, she is quickly captured by the culprits and taken to an abandoned farm in the woods to be tortured. Due to Harper’s experience as a survivalist she is able to escape but is on the run and has to quickly outsmart capturers. Harper explains to the Police how she fought her way out of the Watchatoomy Valley, they dismiss her crazed and violent story as a meth-induced nightmare. The RAVAGE also features two-time Oscar-nominee Bruce Dern (ONCE UPON A TIME IN HOLLYWOOD, PEANUT BUTTER FALCON, NEBRASKA, COMING HOME) and Robert Longstreet (DOCTOR SLEEP, HALLOWEEN KILLS). RAVAGE Director / Writer Teddy Grennan joins us to talk about his skillful blending of the sights and sounds that produce a heart-pounding story that ranges from the damsel in distress to a bad-ass warrior woman a la Ripley.

 

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For news and updates go to: brainmedia.com/films/ravage

RAVAGE opens at select drive-ins on August 14th and August 21st via video on demand everywhere you can rent or buy movies. 

Winner – Best Feature – New York City Horror Film Festival 2019
World Premiere – Genre Blast 2019
Official Selection – Cucalorus Festival 2019
Official Selection – Austin Film Festival 2019
Official Selection – ScreamFest Horror Film Festival 2019
Official Selection – Phoenix Film Festival 2019
Official Selection – NOLA Horror Film Fest 2019
 
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“”RAVAGE” is a tension filled, realistic horror movie about the evil that men do and how things can go very wrong very quickly. It presents a strong female character who isn’t waiting around to be rescued […]. She’s not a super powered spy or superhero, just any ordinary woman who refuses to lie down and die.”- Dolores Quintana, Nightmarish Conjurings

Volition, Director Tony Smith and Producer Ryan Smith

From the Smith Brothers and Director Tony Dean Smith comes VOLITION, a mind-bending science-fiction thriller, where the line between fate and free-will blurs. When you know your world is pre-determined, it’s hard to care about your choices.  This is true for James Odin (Adrian Glynn McMorran). On a rain-soaked night in 1991, two cars collide, leaving all drivers dead on the scene, including the mother of the lone survivor, a child , James Odin.  It’s a tragedy.  But what’s more tragic is that seven-year-old James foresaw the accident happening two days prior.  He tried to prevent it, but who’s going to believe a kid who claims to see the future? Twenty-plus years later, James is a product of the failed foster care system. Knowing that the events of his future are predestined, he’s getting by, using his ability for petty crime and cheap thrills. But when a pre-sentient vision reveals to him his own imminent murder, James must go on the run and change the fate he knows is fixed. Director /co-screenwriter Tony Dean Smith and Producer / co-screenwriter Ryan Smith join us to talk about their consistently creative, high-wire tale of time travel, heartbreak and determining your own fate.

 

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For news and updates go to: volitionthemovie.com

Volition is now available at Apple TV

About the filmmakers: Tony Dean Smith (director/co-writer) & Ryan W. Smith (producer/co-writer) Born in Johannesburg, South Africa, Tony Dean Smith & Ryan W. Smith are the Smith Brothers, a creative partnership forged in the fires of sibling revery.  

Tony Dean Smith is the recent recipient of the Director’s Guild off Canada “Best BC Director” award, granted at the Whistler Film Festival for his feature film debut, VOLITION. An award-winning director, writer and editor, Tony has gone on to write and direct various long-form projects for film & television – as well as constantly developing new material that’s close to his heart. Tony is also an acclaimed editor, having cut for Neill Blomkamp, Netflix, 20th Century Fox, Universal Studios, NBC, Syfy and others. 

Ryan W. Smithis an award-winning writer/producer, having won the ScreenCraft Fellowship for his feature script, Jacaranda.  Along with his film work, Ryan has written on over 135 episodes of television, which has earned him two Leo Awards.  Ryan has written for such companies as Netflix, Anonymous Content, Andrew Lauren Productions, SyFy, Disney and Original Film. The Smith Brothers live in Vancouver, B.C., where they continue to be not only creative partners, but brothers.

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“Ingenious” — Sci-Fi Now 

“Enthralling” —Horror DNA

“Fantastic and original” —Nerdly

“Prepare to get your mind scrambled” – Hollywood News

“Sci-fi with a healthy serving of smarts” — Electric Shadows

“Think LOOPER, THE TWILIGHT ZONE and BLACK MIRROR” — London Frightfest

“One of the truly, best hybrids of horror and science fiction this year and perhaps this decade.” – Horror Hound