Canadian-based director Jeanne LeBlanc’s searingly insightful drama, Les Nôtres takes us into the heights and depths of the French speaking, tight-knit community of Sainte-Adeline Quebec. Magalie (Émilie Bierre) appears as a normal suburban high school sophomore surrounded by friends. But this popular teenage girl is harboring a shocking secret: she’s pregnant. When Magalie refuses to identify the father, suspicions among the townsfolk come to a boiling point and the layers of a carefully maintained social varnish eventually crack. Anchored by a host of remarkable performances from a cast that includes Marianne Farley, Judith Baribeau, Paul Doucet, A. Patrice Mareau and the aforementioned Emilie Bierre.Les Nôtres director and co-screenwriter Jeanne LeBlanc (co-writer Judith Baribeau) masterfully peels back the brittle veneer of respectability and conformity in her subversive tale of class, racism, sexual assault and the community’s bourgeoisie capitulation to the heavy hand of power.
“Les nôtres is going to ruffle plenty feathers. Not because of its topic, but because of its willingness to depict characters that will stop at nothing to keep pretending.” – Jared Mobarak, The Film Stage
“Les Nôtres finished on something of an unsatisfactory but realistic note, but such is the story that knows that sadly this is still common in small communities, those that only pretend to have everyone’s best interests at heart.” – Shelagh Rowan-Legg, ScreenAnarchy
“An enraging film astringent enough to peel the paint from the façade of virtue propped up by the small-town Quebecois community in which it takes place.” – Jessica Kiang, Variety
“The film is a j’accuse aimed at those complicit in oppressing the most vulnerable in order to protect the powerful.” – Pat Brown, Slant Magazine
“Any time you make a movie with well-played characters who compel the audience to want to shout at the screen, you’ve accomplished something.” – Roger Moore, Movie Nation
I’LL BE GONE IN THE DARK returns with a special episode directed by Elizabeth Wolff (HBO’s “I’ll Be Gone in the Dark”) and executive produced by Liz Garbus (HBO’s “I’ll Be Gone in the Dark” and “Who Killed Garrett Phillips?”). The critically acclaimed six-part documentary series based on the best-selling book of the same name debuted in June 2020 and explores writer Michelle McNamara’s investigation into the dark world of the violent predator she dubbed “The Golden State Killer.” In the summer of 2020, former police officer Joseph James DeAngelo, also known as the Golden State Killer, was sentenced to life in prison for the 50 home-invasion rapes and 13 murders he committed during his reign of terror in the 1970s and ‘80s in California. Many of the survivors and victim’s family members reconvened for an emotional public sentencing hearing in August 2020, where they were given the opportunity to speak about their long-held pain and anger through victim impact statements, facing their attacker directly for the first time and bringing a sense of justice and resolution to the case. This powerful special closes one chapter in McNamara’s investigative work on cold cases, and brings to light another, the rape and murder of Kathy Lombardo in 1984 in McNamara’s hometown of Oak Park, Illinois, which sparked her life-long fascination with unsolved murders. This special episode brings shocking new revelations to light in the Lombardo case and features the late McNamara’s own research into the rape and murder, which led to her return to Oak Park in 2013 to investigate it on the ground, quickly finding inconsistencies in the police work. Featuring the late McNamara’s own archival research and voice recordings, and interviews with residents of present-day Oak Park, this special episode highlights the trauma that persists when a crime goes unsolved, with McNamara’s work standing as a stark reminder of the importance of citizen sleuths who remain dogged in their search for the truth. I’LL BE GONE IN THE DARK co-producer and co-director Elizabeth Wolff joins us to talk the years-long collaboration with series director Liz Garbus and her team, the art of storytelling, defining her own personal boundaries and becoming a mom.
The I’ll Be Gone in the Dark docs-series was directed by Academy Award nominee and Emmy® winning director Liz Garbus (HBO’s “Who Killed Garrett Phillips,” “Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper”) and produced by Story Syndicate. Additional directors on the series include Elizabeth Wolff, Myles Kane and Josh Koury.I’LL BE GONE IN THE DARK will also be available on HBO On Demand, HBO NOW, HBO GO and partners’
“This is both a satisfying story of justice restored, and a moving tribute to one woman’s refusal to give up on forgotten victims.” – Anna Leszkiewicz, New Statesman
“Deviating from the well-trodden arc of most true-crime documentaries, I’ll Be Gone in the Dark tells several parallel stories, each of them interwoven, yet discretely fascinating.” – Kylie Northover, The Age (Australia)
“”I’ll Be Gone in the Dark” is more than a true crime documentary, although it succeeds in a terrifyingly brilliant way.” – Kristen Lopez, indieWire
“Sensitive, unusual, uplifting, revelatory and deeply moving, I’ll Be Gone in the Dark is one of the best true crime docu-series in a while and it’s up against stiff competition.” – Rosie Fletcher, Den of Geek
“I’ll Be Gone in the Dark can be very difficult to watch; it’s haunting and incredibly sad. But that’s also what made it all the more moving, in the end, to see the survivors join together: bonding, smiling, and living their lives in the light.” – Allison Keene, Paste Magazine
Director D.W. Thomas’, Too Late, cozy horror comedy set in the Los Angeles indie comedy scene features Violet Fields who works a thankless job as the assistant to Bob Devore, famed comedian and host of the live variety show,Too Late. But what only Violet knows is that Bob is a monster both literally and figuratively. Resigned to her fate, Violet is caught by surprise when she meets aspiring comedian Jimmy Rhodes and sparks fly. But as her feelings for Jimmy grow and Bob starts to doubt her loyalty, she and Jimmy could end up as Bob’s next meal.TOO LATE is the debut feature film from director D.W. Thomas and writer Tom Becker. It stars Alyssa Limperis (Aunty Donna’s Big Ol’ House of Fun), Ron Lynch (Bob’s Burgers, Adventure Time), Will Weldon (Comedy Central’s This Isn’t Happening), Mary Lynn Rajskub (24, It’s Always Sunny in Philadelphia), Fred Armisen (SNL, Portlandia), Jenny Zigrino (Bad Santa 2, 50 Shades of Black), Jack De Sena (Avatar: The Last Airbender), and Brooks Wheelan (SNL). Director and writer D.W. Thomas joins us for a spirited conversation on comedy, fame, Hungarian Cultural Centers, Stand up, and a well-balanced diet.
Gravitas Ventures will release TOO LATE in select theaters and on digital platforms including iTunes, Google Play, Fandango Now and all major cable/satellite platforms on June 25.
About the filmmaker – D.W. Thomas is a feature film director. She had her start editing films for indie production company, Cineville International known for Mi Vida Loca, Gas Food Lodging and Swimming with Sharks. She has produced and edited behind-the-scenes segments for studios including NBC, Disney, Marvel, and Pixar. Her feature film directorial debut Too Late will be premiering June 25th in theaters and on demand. For more go to: firemarkmedia.com
“’Too Late’ can be taken as a show business metaphor. Throughout we see that only the strong and ruthless survive and succeed, with Devore himself being a symbol of star power gobbling up the competition.” – Bob BloomJournal and Courier (Lafayette, IN)
In 1921, white mobs in Tulsa terrorized and burned down the Greenwood District, known as “Negro Wall Street.”With the discovery of a mass grave, the city reckons with its painful past.In the early 20th century, racial violence erupted in dozens of cities across the United States. Hundreds were killed. Black communities fought back, rebuilt, and prospered in the face of extreme oppression and the evils of white supremacy. Dawn Porter’s RISE AGAIN: TULSA AND THE RED SUMMER comes one hundred years from the two-day Tulsa Massacre in 1921 that led to the murder of hundreds of Black people and left thousands homeless and displaced. Award-winning Washington Post journalist and Oklahoma native DeNeen Brown is at the heart of the film, reporting on the search for a mass grave in her native state. Digging into the events that led to one of the worst episodes of racial violence in America’s history, Brown reveals insights into racial conflict incidents that erupted in the early 20th century. Between 1917 and 1923, when Jim Crow laws were at their height and the Klu Klux Klan was resurging across the nation, scores of Black homes and businesses were razed, and hundreds of Black people were lynched and massacred with impunity. Brown’s reporting highlights the revived call for justice for victims and survivors. Following a 2018 investigative report, Brown explores the current anti-racism movement in the context of the Tulsa Massacre and the Red Summer. With access to family members of those killed, city officials, archeologists, and historians, the film reveals the decades-long effort by descendants and community members to find victims’ bodies and unearth truths that have been suppressed for nearly a century. RISE AGAIN: TULSA AND THE RED SUMMER also untangles the role the media played in covering events at the time in order to reveal the full extent of the nation’s buried past. Our guide into this harrowing and disgraceful chapter of American history is award-winning journalist DeNeen Brown joins us for a detailed and personal perspective of the events that played a part in a deadly racist attack on innocent, law-abiding Black citizens.
About the filmmaker – DeNeen Brown is an award-winning staff writer at The Washington Post, who has covered night police, education, courts, politics and culture. She has written about the black middle class, poverty, the homeless, arts and gentrification. As a foreign correspondent, Brown traveled throughout the Arctic to write about climate change and indigenous populations. Her 2018 piece on the Tulsa mass graves restarted the search that had gone dormant. She has won awards from the American Association of Sunday and Feature Editors and the American Society of Newspaper Editors, and she is also a professor at the University of Maryland and Merrill College.
Set in 1985, against the backdrop of social hysteria surrounding gory British video nasties.CENSOR is a psychological horror starring Niamh Algar (Raised By Wolves, The Virtues, Calm With Horses). Film censor Enid takes pride in her meticulous work, guarding unsuspecting audiences from the deleterious effects of watching the gore-filled decapitations and eye-gougings she pores over. Her sense of duty to protect is amplified by guilt over her inability to recall details of the long-ago disappearance of her sister, recently declared dead in absentia. When Enid is assigned to review a disturbing film from the archive that echoes her hazy childhood memories, she begins to unravel how this eerie work might be tied to her past. After viewing the strangely familiar video nasty at work, Enid attempts to solve the past mystery of her sister’s disappearance, embarking on a quest that dissolves the line between fiction and reality. CENSOR had its world premiere at the Sundance Film Festival 2021, opening the Midnight section of the festival, and will have its European premiere at Berlinale – Berlin International Film Festival. Director Prano Bailey-Bond stops by for a conversation on her debut feature film that flawlessly captures the frightening ambiance of the “nasties” while plumbing the depths of Enid’s defenseless psyche.
About the filmmaker – Prano Bailey-Bond is a director and writer who grew up on a diet of Twin Peaks in the depths of a strange Welsh community. Named a 2021 ‘Director to Watch’ by Variety and a Screen International ‘Star of Tomorrow’ 2018, Prano’s work invokes imaginative worlds, fusing a dark vocabulary with eerie allure, revealing how beauty resides in strange places. Her debut feature film, CENSOR, had its world premiere at the SUNDANCE FILM FESTIVAL 2021, opening the festival’s Midnight section, moving next to its European premiere at the BERLINALE – Berlin International Film Festival. Prano’s strong body of shorts have screened at festivals including BFI London Film Festival, Tampere Film Festival, UKMVA’s, Sitges Film Festival and Melbourne Int’l Film Festival. She was one of 17 filmmakers selected for the BFI Network@LFF 2017 which identified original new voices, iconoclasts and risk takers. She is an alumna of the Berlinale Talent Campus. Her short film NASTY screened at over 100 festivals to-date, winning awards globally. SHORTCUT, made as part of Film4’s Fright Bites series, was broadcast on Film4 and is available to view on All4. It screened at festivals around Europe, the USA and Canada, and toured with The Final Girls‘ WE ARE THE WEIRDOS program. THE TRIP won Best Director at Underwire Festival. Based on a real-life case study by ECPAT UK, it has been used to educate Police and other professionals on recognizing victims of human trafficking. Prano’s post-apocalyptic short MAN VS SAND, commissioned by The Letters Festival, Milan in association with London Short Film Festival, won Best Experimental Short at Aesthetica Short Film Festival, who described it as “a powerful satire of the live-to-work ethic”. Her music videos have picked up accolades including a UKMVA, Best Music Video at the European Independent Film Festival and Best Music Short at London Short Film Festival. Prano is on the Advisory Board for Underwire Festival, is a member of Cinesisters, BAFTA and is also an award-winning editor. For more go to: pranobaileybond.com
“Bailey-Bond creates something almost unbearably close and oppressive, like the bottom of a murky fish tank. It’s a very elegant and disquieting debut.” – Peter Bradshaw, Guardian
“Censor works as such a strong study of someone whose personal and professional lives are dangerously intertwined and loses sight of every boundary in her life, though Bailey-Bond ensures it has plenty of edge.” – Stephen Saito, Moveable Fest
“Bailey-Bond creates something almost unbearably close and oppressive, like the bottom of a murky fish tank. It’s a very elegant and disquieting debut.” – Peter Bradshaw, Guardian
“With a winning confidence, [Bailey-Bond] guides the viewer to a frightening, disorienting, and frankly shocking third act.” – Nick Allen, RogerEbert.com
“It’s more than emulating a cinematic look, like those faux-gialli. It’s creating an engrossing, disturbing, yet authentic world that cracks wide open like Enid’s fragile psyche.” – Richard Whittaker, Austin Chronicle
Martin Kraut’s chilling psychological thriller feature film debut focuses on the morally ambiguous life of Marcos (Carlos Portaluppi), an experienced nurse, who works the night shift of a private clinic. He is successful and professional, though it is soon revealed that he uses his position to help suffering patients find early peace. A new nurse in the clinic, Gabriel (Ignacio Rogers), shakes the sector: he is young, intelligent, beautiful, and seduces everyone. He soon deciphers Marcos’ secret and the clinic becomes a battle of wits and seduction. Marcos retracts until he discovers that Gabriel also dabbles in euthanasia, though for different reasons. This revelation forces him to confront Gabriel and Marcos knows that only by exposing his own true identity will he be able to stop him. Director Martin Kraut stops by to talk about his slow-burn deadly game of cat and mouse thriller, the story’s moral ambiguity and his collaboration with the gifted lead actors Ignacio Rogers and Carlos Portuppi.
LA DOSIS, the sharp slow-burn thriller from distributor Samuel Goldwyn Films, will be released on-demand and digital on June 11, 2021. The film world premiered at the Rotterdam Film Festival in 2020, and also played BFI Flare, the Fantasia Film Festival, and others.
Director’s Statement – Back in 2012 I read a news story on two nurses in Uruguay who had euthanized multiple patients, and almost right away I felt it was the plot for a movie. I followed the case with interest as I worked on multiple versions of a script that was increasingly drifting from what had allegedly happened. “La dosis” captures the essence of this conflict, the discussions it generated and the issues that surfaced with an entirely free approach. On the other hand, I am interested in investigating what happens when doctors and nurses know there is no chance of survival yet they must keep the bodies alive while they can: Keeping patients on life support or alive is also a very important and profitable business. This fact coupled with the immense power that some nurses like Marcos have while working the night shift, and who devote their time to the care of others in those conditions, can lead them to extreme situations. The film addresses, in as much detail as possible, the story of a nurse in the midst of an internal struggle. Day after day, year after year, and decade after decade, he has cared for hundreds of patients who were fighting for their lives, many of whom lost their battles. Sometimes the patients and their families find themselves in a modern yet perverse labyrinth that forces them to make very difficult decisions. The lead actor’s feelings in the face of the hiring of a new young nurse are also of interest to me as a narrative trigger. The known vs. the unknown, the ensuing competitiveness and the changes brought about in environments used to specific habits are also issues explored in the movie. The strange and complex reality that we have to live in today amid COVID-19 definitely gives the movie another meaning, for it revolves around the dynamics inside an intensive care unit (ICU). Involuntarily, the movie brings our worst nightmares to the forefront as healthcare professionals, who must provide care for us, end up committing illegal acts. – Martin Kraut
About the filmmaker – Martin Kraut is a director, screenwriter and photographer born in Buenos Aires (Argentina) in 1982. He graduated from Colegio Nacional de Buenos Aires and studied Film Studies at the Universidad del Cine. Kraut took screenwriting classes from Mauricio Kartún and Pablo Solarz, among others. His first short film “Que Miren” screened and was recognized in several festivals. Kraut’s photography exhibition “Centros Clandestinos de Detención Hoy” (Today’s Clandestine Detention Centers) was shown in multiple places in Argentina. He also participated in other solo and group exhibitions. Since 2015, he has worked as a photographer and audiovisual producer at Revista Anfibia. His debut feature “La dosis” premiered at the 2020 The International Film Festival Rotterdam (IFFR). He has participated in the Bucheon International Film Festival in Korea (BIFAN), the Fantasia International Film Festival in Canada and his work will soon be featured at the Taoyuan Film Festival in Taiwan and the USA.
“It emerges as a valuable film that takes us from the most pure realism to the most disturbing extremes of psychological terror.” – Diego Batlle, Otroscines.com
“It’s a film about threatened masculinity, the ethics of euthanasia, the tension between relevance and irrelevance, all played out with a decidedly subtle hand.” – Clint Worthington, The Spool
“Martin Kraut captures realistic tremors of physical tension among the characters, and much of the film’s first half is a captivating, slow-burn study of the protagonist in his setting.” – Chuck Bowen, Slant Magazine
?… doesn’t pass judgment on either of its main characters as they match wits, while the intriguing dynamics ratchet up the tension amid the inherent life-or-death stakes.” – Todd Jorgenson, Cinemalogue
It’s been 75 years since the start of the Atomic Age, with the U.S. nuclear bombing of Hiroshima and Nagasaki killing hundreds of thousands of civilians, but its trail of destruction has never ended. The newly re-mastered Dark Circle, being re-released through First Run Features, covers both the period’s beginnings and its aftermath, providing a scientific primer on the catastrophic power of nuclear energy while also relating tragic human stories detailing the devastating toll radioactive toxicity has taken on people and livestock—focusing in large part on Rocky Flats, Colorado, whose plutonium processing facility infamously contaminated the surrounding area. Documentary Grand Prize winner at Sundance, Academy shortlisted for Best Documentary, and Emmy winner, Dark Circle is no less potent today than it was 40 years ago. Co-director Judy Irving (The Wild Parrots of Telegraph Hill, Pelican Dreams) joins us for an informative and provocative conversation on the history and development of nuclear weapons and nuclear power facilities, as well as the clear and present danger this unimaginably destructive weaponry andtroubled technology continue to pose to the planet and the survival of humanity.
Filmmaker’s Statement – When I set out to make a personal film about the impact of nuclear weapons and power on ordinary people, I had no idea that the movie would create such a ruckus, or that it would still be so relevant 39 years after its release. My aim was to point the camera away from experts and politicians, and find stories about how plutonium is affecting us, even in the absence of a nuclear war. Those effects are not only physical, but psychological and spiritual as well. Having grown up under this nuclear cloud, I wanted to show how nuclear power and weapons are in fact the same industry, despite government propaganda that urges us to see them as separate. Part of understanding this industry required that we travel to Japan to film interviews with survivors of the atomic bombings. We were astonished to discover that we were the first American film crew to do so. American writers and still photographers had been to Hiroshima and Nagasaki before us, but no documentary film crew until we arrived in 1979. To me, this spoke volumes about how much guilt and denial we bring to the issue. After its theatrical release, Dark Circle was accepted for a national broadcast on public television, but then PBS gatekeepers broke the contract. Claiming we were not objective, they insisted that we cut a sequence in which we name the corporations that build the hydrogen bomb, such as General Electric, whose slogan is, ironically, “We bring good things to life.” Many of these corporations are PBS underwriters. We refused to cut the Arms Convention sequence and fought the obvious censorship. It took seven years before PBS finally created a new series, “POV,” to showcase films with a strong point of view, and when Dark Circle was broadcast it won a National News & Documentary Emmy – for PBS! Flash forward three decades: with nuclear stockpiles growing, missile accidents in the news, and nine nuclear states including China flexing their powers with threats, Dark Circle is suddenly relevant again.
About the filmmaker – Pelican Media Executive Director Judy Irving is a Sundance-and-Emmy-Award-winning filmmaker whose theatrical credits include The Wild Parrots of Telegraph Hill, a feature documentary about the relationship between a homeless street musician and a flock of wild parrots in San Francisco, Pelican Dreams, about California brown pelicans and the people who know them best, and Dark Circle, a personal film about the links between nuclear power and weapons. In 2015 Judy was invited to become a voting member of the Academy of Motion Picture Arts & Sciences. Wild Parrotswas a “Top Ten Film of the Year” (National Film Critics’ Poll), was the highest-rated program on the 2007 national PBS series “Independent Lens,” and is now in international distribution. Pelican Dreams (completed in late 2014), features a young brown pelican who mistakenly landed — tired, hungry, and confused — on the roadway of the Golden Gate Bridge, creating a spectacular traffic jam and re-igniting Judy’s years’-long fascination with these ancient, charismatic birds. Judy spent childhood summers on the North Fork of Long Island, and came to love birds thanks to her grandfather. She graduated from Connecticut College with a degree in Psychology and worked as a freelance journalist in Montreal before hitchhiking across the continent and living on a handmade raft-house in British Columbia. Later, she received her Masters in Film and Broadcasting from Stanford University, and a Guggenheim Fellowship in Film. Her documentary film career has taken her to Alaska, Japan, Russia, Nepal, and Zimbabwe, with peace and the environment as her main areas of interest. For more about Judy Irving go to: pelicanmedia.org
“Dark Circle is one of the most horrifying films I’ve seen, and also sometimes one of the funniest (if you can laugh at the same things in real life that you found amusing in Dr. Strangelove). Using powers granted by the Freedom of Information Act, and sleuthing that turned up government film the government didn’t even know it had, the producers of this film have created a mosaic of the Atomic Age. It is a tribute to the power of the material, and to the relentless digging of the filmmakers, that the movie is completely riveting. Four Stars!”– Roger Ebert, Chicago Sun-Times (1982)
“You owe it to yourself to see this chilling documentary. A much needed warning sign on a very dangerous road. Rated: A.”– People Magazine
“The best of the recent films about the atomic age” – Valerie Ellis, In These Times
“Uncompromising power” – Denver Post
:The most eloquent, far ranging, and convincing film on the subject to date.” John Hartl, Seattle Times
“An urgent horror story, Vincent Canaby, New York Times
In Stephen Maxwell Johnson’s powerful new film, High Ground, a young indigenous man, Gutjuk, teams up with a World War I soldier / ex-sniper, Travis, to track down the dangerous Bayawara, a fierce warrior in the Territory, who is also his uncle. As Travis and Gutjuk journey through the outback they begin to earn each other’s trust, but when the truths of Travis’ past actions are suddenly revealed, it is he who becomes the hunted. High Ground was conceived as a story that would challenge accepted notions of the colonial settlement of Australia. High Ground is a powerful human drama, instilled with a strong sense of hope and fear, a story of treachery, heroism, sacrifice, freedom and love, misguided beliefs, an unequal struggle for power, and grief. But above all it is a story about the finding of one’s roots. Director Stephen Maxwell Johnson joins us for a conversation on the shameful treatment the indigenous peoples of Australia have suffered under, the denial of that history and why it was so important that High Ground reflect the human drama, instilled with a strong sense of hope and fear, but above all a story about the finding of one’s roots.
Director’s Statement – At the heart of High Ground is the tragic story of Frontier encounters and the missed opportunity between two cultures, black and white. High Ground was conceived as a story that would challenge accepted notions of the settlement of Australia. Faced with the myth of terra nullius the aim with the film is to create a new mythology and present a different perspective on how this country was made. It explores the themes of identity and culture and the attempts that were made to preserve and progress culture in the face of an overwhelming threat. High Ground is a story with mythic proportions with complexity and no easy answers. This story presents a view that there really is no such thing as settlement it’s all about conquest, it explores the way in which society is built and how connections are made between people and it exposes the shameful truth of our frontier history but rather than choosing to dramatize a specific historical event ‘High Ground’ draws on contact history from a variety of locations – a fiction to illustrate a deeper truth. High Ground is a powerful human drama, instilled with a strong sense of hope and fear, a story of treachery, heroism, sacrifice, freedom and love, misguided beliefs, an unequal struggle for power, and grief. But above all it is a story about the finding of one’s roots. My aim has been to entertain and immerse an audience in an environment teeming with unexpected threats, and to take them on a ride through an aspect of our history that is under-represented and hopefully encourage them to rethink the Australian story.
About the filmmaker – Stephen Maxwell Johnson grew up in the Bahamas, Africa and the Northern Territory of Australia. He began his film and television career at Channel 9 as a trainee cameraman and has worked on mainstream drama, news and current affairs shows. He attended acting school in London and then headed back to the Northern Territory intent on making his first movie. Stephen established a production house and narrow cast television station in Darwin and directed, produced and photographed drama, documentaries, television commercials, animation, corporate films and rock clips all over the Northern Territory, Australia and many remote Indigenous communities. Stephens work include his multi award winning rock clips for the band Yothu Yindi including ‘Treaty’ an AFI award for best Children’s drama ‘Out There’, an AFI nomination for best direction in television and his first movie which he directed, executive produced and script edited ‘Yolngu Boy’. Stephen has recently completed his second feature film ‘High Ground’ which has been 20 years in the making. High Ground premiered at the at the Berlin International Film Festival in 2020 and will be released in cinemas 2021.
“Australian storytelling that packs a punch and pushes you to think deeply about the history of this country, High Ground captures the raw beauty of Arnhem Land as it does the brutality of colonialism.” Wenlei Ma, News.com.au
“More intimate than epic, but gorgeous, stately and tense, it captures a last burst of tit-for-tat reprisals in a country starting to face its genocidal past and racist present.” – Roger Moore, Movie Nation
“…High Ground is an overwhelming achievement of cinematic brilliance. It continues the legacy of Sweet Country by exposing the horrifying actions of White Australians…” – Andrew F. Peirce, The Curb
“High Ground is a deceptively simple story about the lingering consequences of revenge through racism taken to heights of excellence due to beautiful vistas, top representation of Aboriginal culture and its brutal depiction of violence.” – Harris Dang, The AU Review
“In the magnetic Nayinggul, superb as the boy on the brink of manhood who must choose whether to reject anger or embrace it, the film showcases a notable new talent.” – Wendy Ide, Screen International
Turner Classic Movies (TCM) is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
TCM UNDERGROUND – Tune in every Friday night for TCM Underground, our late-night movie franchise that showcases the best of classic cult favorites and hard-to-find films, from experimental shorts to off-beat comedies. For more discussions around the wild, weird world of cult films and films shown on TCM Underground, check out our web series TCM Slumberground on YouTube!
TCM SLUMBERGROUND is the official monthly pre-show for TCM Underground, a late-night cult movie franchise that airs at 2:00 am EST on Friday nights on Turner Classic Movies. In each episode, TCM Underground programmer Millie De Chirico sits down with a panel of her fellow TCM employees to discuss the upcoming double feature and other cult movie topics.
Other Midnight Films at past TCM Classic Film Festivals include: Boom!, Duck Soup, Eraserhead, Freaks, Gog, Island of Lost Souls, Kentucky Fried Movie, Night of the Living Dead, Nothing Lasts Forever, Phase IV, Roar, Santo vs. The Evil Brain,The Bride of Frankenstein, The Day of the Triffids, The Mummy, The Student Nurses, The Tingler, The World’s Greatest Sinner and Zardoz.
In the late 1960s, in the aftermath of the Watts Uprising and against the backdrop of the continuing Civil Rights Movement and the escalating Vietnam War, a group of African and African-American students entered the UCLA School of Theater, Film and Television, as part of an Ethno-Communications initiative designed to be responsive to communities of color (also including Asian, Chicano and Native American communities). Now referred to as the “L.A. Rebellion,” these mostly unheralded artists created a unique cinematic landscape, as—over the course of two decades—students arrived, mentored one another and passed the torch to the next group. Beyond the films themselves, what makes the L.A. Rebellion movement a discovery worthy of a place in film history is the vitality of its filmmakers, their utopian vision of a better society, their sensitivity to children and gender issues, their willingness to question any and all received wisdom, their identification with the liberation movements in the Third World, and their expression of Black pride and dignity. As part of the 2021 TCM (Turner Classic Movies) Film Festival is spotlighting two of the L.A. Rebellion’s leading lights, Charles Burnett and Billy Woodberry in the festival’s Special Collections section. Charles Burnett and Billy Woodberry join us for a conversation on their recollections the birth of the L.A. Rebellion and the inspiration for their life altering decision to become filmmakers.
About the filmmaker – Charles Burnett is a writer-director whose work has received extensive honors. Born in Vicksburg, Mississippi, his family soon moved to the Watts neighborhood of Los Angeles. Burnett studied creative writing at UCLA before entering the University’s graduate film program. His thesis project, Killer of Sheep (1977), won accolades at film festivals and a critical devotion; in 1990, it was among the first titles named to the Library of Congress’ National Film Registry. European financing allowed Burnett to shoot his second feature, My Brother’s Wedding (1983), but a rushed debut prevented the filmmaker from completing his final cut until 2007. In 1988, Burnett was awarded the prestigious John D. and Catherine T. MacArthur (“genius grant”) Fellowship and shortly thereafter Burnett became the first African American recipient of the National Society of Film Critics’ best screenplay award, for To Sleep withAnger (1990). Burnett made the highly acclaimed “Nightjohn” in 1996 for the Disney Channel; his subsequent television works include “Oprah Winfrey Presents: The Wedding” (1998), “Selma, Lord, Selma” (1999), an episode of the seven-part series “Martin Scorsese Presents The Blues” (2003) and “Nat Turner: A Troublesome Property” (2003), which was shown on the PBS series “Independent Lens.” Burnett has been awarded grants from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts and the J. P. Getty Foundation. In 2011, the Museum of Modern Art showcased his work with a month-long retrospective.
To Sleep with Anger – Writer and Director Charles Burnett – A slow-burning masterwork of the early 1990s, this third feature by Charles Burnett is a singular piece of American mythmaking. In a towering performance, Danny Glover plays the enigmatic southern drifter Harry, a devilish charmer who turns up out of the blue on the South Central Los Angeles doorstep of his old friends. In short order, Harry’s presence seems to cast a chaotic spell on what appeared to be a peaceful household, exposing smoldering tensions between parents and children, tradition and change, virtue and temptation. Interweaving evocative strains of gospel and blues with rich, poetic-realist images, To Sleep with Anger is a sublimely stirring film from an autonomous artistic sensibility, a portrait of family resilience steeped in the traditions of African American mysticism and folklore.
About the filmmaker – Billy Woodberry Born in Dallas in 1950, Billy Woodberry is one of the founders of the L.A. Rebellion film movement. His first feature film Bless Their Little Hearts (1983) is a pioneer and essential work of this movement, influenced by Italian neo-realism and the work of Third Cinema filmmakers. The film was awarded with an OCIC and Interfilm awards at the Berlin International Film Festival and was added to the National Film Registry of the Library of Congress in 2013. His latest feature film And when I die, I won’t stay dead (2015) about the beat poet Bob Kaufman was the opening film of MoMA’s Doc Fortnight in 2016. Woodberry has appeared in Charles Burnett’s “When It Rains” (1995) and provided narration for Thom Andersen’s Red HOLLYWOOD” (1996) and James Benning’s “Four Corners”(1998). His work has been screened at Cannes and Berlin Film Festivals, the Museum of Modern Art (MoMA), Harvard Film Archive, Camera Austria Symposium, Human Rights Watch Film Festival, Tate Modern and Centre Pompidou. He received his MFA degree from UCLA in 1982 where he also taught at the School of Theater, Film and Television. Since 1989 Billy Woodberry is a faculty member of the School of Film/Video and the School of Art at the California Institute of the Arts.
Bless Their Little Hearts – Director / Producer / Editor Billy Woodberry – A key masterpiece of the L.A Rebellion, Bless Their Little Hearts distills the social concerns and aesthetics of that trailblazing movement in African American cinema. Billy Woodberry’s film showcases his attentive eye, sensitivity to the nuances of community and family, and the power of the blues. Searching for steady work, Charlie Banks (Nate Hardman) views his chronic unemployment as a kind of spiritual trial. But day work and selling a few catfish can’t sustain a family of five. While his wife, Andais (Kaycee Moore), works to support them with dignity, Charlie finds comfort for his wounded sense of manhood in an affair that threatens his marriage and family.At the heart of this devastatingly beautiful film is the couple’s agonizing confrontation – shot in one continuous ten-minute take – that ranks as “one of the great domestic cataclysms of modern movies.” (Richard Brody, The New Yorker) Named to the National Film Registry, Bless Their Little Hearts features contributions by two iconic American artists: Charles Burnett (Killer of Sheep, To Sleep With Anger), who wrote and shot the film, and Kaycee Moore (Daughters of the Dust), whose powerful performance as Andais Banks remains a revelation. Film restoration by Ross Lipman with Billy Woodberry at UCLA Film & Television Archive. 2K Digital restoration by Re-Kino, Warsaw. English captions and Spanish subtitles.
Turner Classic Movies (TCM)is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
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.
“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
“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
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.
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
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.
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
“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
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.
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.
“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 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.
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 Magazine, The New York Times, USA Today, and has spoken at TEDx, New York Apple Store, DGA, 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
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,
2021 National Board of ReviewWINNER – Best Foreign Language Film
2021 Satellite AwardsWINNER – Best Film, International
2021 Critics Choice AwardsNominee – 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
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.
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.
“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
“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, the debut feature film debut of writer and director Keith Thomas is theaccomplished 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.
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
“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
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.
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
“…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
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.
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
“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 ask the question, what if we are living in a simulation, andthe 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.
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.
“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 FUKUSHIMAfollows a lone hunter into an isolated and changedlandscape. 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.
**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 Sendai, Miyagi 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 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.
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
“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
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.
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
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.