The Captain, Director Robert Schwentke

Based on the arresting true story of the Executioner of Emsland, The Captain follows a German army deserter, Willi Herold (Max Hubacher), after he finds an abandoned Nazi captain’s uniform in the final weeks of World War II. Emboldened by the authority the uniform grants him, he amasses a band of stragglers who cede to his command despite the suspicions of some. Citing direct orders from the Fuhrer himself, he soon takes command of a camp holding German soldiers accused of desertion and begins to dispense harsh justice. Increasingly intoxicated by the unquestioned authority, this enigmatic imposter soon discovers that many people will blindly follow the leader, whomever that happens to be. Simultaneously a historical docudrama and sociological examination with undertones of the absurd, The Captain presents fascism as something of a game to be played by those most gullible and unscrupulous. Director Robert Schwentke stops by for a conversation on the troubling implications of this tale of myopic madness sanctioned by a psychotic regime on the verge of collapse.

 

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For news and updates go to: musicboxfilms.com/The Captain

74% on Rotten Tomatoes

“It compels our attention with a remorseless, gripping single-mindedness, presenting Naziism as a communicable disease that smothers conscience, paralyzes resistance and extinguishes all shreds of humanity.” – Jeannette Catsoulis, The New York Times

“Schwentke intends for these actions to parallel what Wehrmacht participated in against Jews and Roma …This astute film is an excoriating portrait of Nazism or fascism.” – Nora Lee Mandel, Film-Forward

“A brave and uncompromising indictment of human nature, Teutonic or otherwise.” – Peter Debruge, Variety

“We are left to contemplate this vision of Fascism as a machine that, once turned on, can sustain itself even in the absence of explicit direction from above.” – David Edelstein, New York Magazine / Vulture

Actor Piper Laurie (Snapshots)

In her latest project,SNAPSHOTS, legendary actor Piper Laurie plays family matriarch Rose.. The story will resonate with every person who has lived through the complexity of family relationships, It reminds us that if we are loved no secret is too difficult to hear and accept. Or is it? Rose (Gran) is the matriarch. She has lived in this house for over fifty years. She and her deceased husband Joe raised their daughter Patty in this home. Patty, now a widow in her early 50’s, lives in St. Louis. Each year Patty and her newly married daughter Allison spend a laughter filled girl’s weekend with Gran. This year will be different. Piper Laurie joins us for a conversation on the making of her latest project (Snapshots) in a legendary film career that includes three Academy Award nominated performances (The Hustler, Carrie, Children of a Lesser God) and an Emmy nomination for David Lynch’s groundbreaking television serial (Twin Peaks).

 

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For news and updates go to: snapshotsthefilm.com

Social Media:

Facebook:facebook.com/threewomeninabox

Twitter:@SNAPSHOTSmovie

Instagram: @Snapshotsthefilm

“Performances all around are strong, with Piper Laurie’s Rose taking the lead and directing us through the story’s narrative. We are invited to soak in the retro atmosphere as the story unfolds at a leisurely pace.” – Paul Parcellin, Film Threat

Scotty and the Secret Story of Hollywood, Director Matt Tyrnauer

Scotty and the Secret History of Hollywood  is the deliciously scandalous story of Scotty Bowers, a handsome ex-Marine who landed in Hollywood after World War II and became confidante, aide de camp and lover to many of Hollywood’s greatest male — and female — stars. In the 1940s and ’50s, Scotty ran a gas station in the shadow of the studio lots where he would connect his friends with actors and actresses who had to hide their true sexual identities for fear of police raids at gay bars, societal shunning and career suicide. An unsung Hollywood legend, Bowers would cater to the sexual appetites of celebrities – straight and gay – for decades. In 2012, he finally spilled his secrets in the New York Times bestselling memoir “Full Service,” which revealed a dramatic, pre-Stonewall alternate history of Hollywood. While the studio PR machine were promoting their stars as wholesome and monogamous, Bowers was fulfilling the true desires of many of them. This cinema-vérité documentary tells his story, as well as presents eye-opening takes on icons from the Hollywood Golden Age including Cary Grant, Katharine Hepburn, Spencer Tracy, Lana Turner, Ava Gardner and many more. Director Matt Tyrnauer (Studio 54, Citizen Jane: Battle for the City, Valentino: The Last Emperor) joins us for spirited conversation on the days when the Hollywood PR machine mattered more than the lives of the artist who made it successful and the role Scotty Bowers played in breaking that stranglehold on them.

 

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For news and updates go to: scottymovie.com

Scotty and the Secret History of Hollywood open July 27th at the Arclight Hollywood

“Scotty” rolls out across the country beginning August 3, find theatres near you.

Hashtag: #ScottyMovie

Twitter / Instagram: @ScottyTheMovie

Facebook: Facebook.com/ScottyTheMovie

92% on Rotten Tomatoes

“Scotty” is more than just a portrait of the man, also serving as a history lesson on how the film industry once tried to project a repressive, clean-cut image to satisfy moral watchdogs” – Tim Grierson, Screen International

“A nicely filled-out look at different eras, one secrecy-ridden and dedicated to the preservation of illusion, the other wide open and blasé about personal predilections.” – Todd McCarthy, Hollywood Reporter

“There’s plenty of gossip to be found here, but there’s also no shortage of humanity.” – Alonso Duralde, The Wrap

“The present-day footage is more compelling than any of the gossipy bits, which turn out to be the hook that pulls the film into more fraught and complex directions.” – Kevin Ritchie, NOW Toronto

“’Scotty and the Secret History’ is a fascinating portrait that neither lionizes nor judges its subject. It merely lets you take him for what he is.” – Jason Bailey, Flavorwire

40 Years in the Making: The Magic Music Movie, Director Lee Aronsohn

40 YEARS IN THE MAKING: THE MAGIC MUSIC MOVIE chronicles how one of their greatest fans, acclaimed director (and UC Boulder alumnus) Lee Aronsohn, tracked down the original band members four decades later to tell their story. More importantly, he makes a dream come true for himself, fellow fans, and the band, by bringing them all back to Boulder for a sold-out reunion concert that preserves their legacy for posterity. Magic Music is one of the most fondly remembered bands of the Boulder Revolution of the late 60s and early 70s. Living in a makeshift camp up in the mountains, they would delight local residents and university students with their original songs, acoustic instruments, and light harmonies; their growing popularity brought them to the brink of success more than once. Unfortunately, they never signed a record deal and eventually broke up in 1975. 40 YEARS IN THE MAKING: THE MAGIC MUSIC MOVIE opens in New York August 3, and in Los Angeles August 10, with a national release to follow. Director Lee Aronsohn talks about his endearing and poignant documentary on the music that became a living soundtrack for a community and the band of musicians who became life-long friends.

 

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For news and updates go to: magicmusicmovie.com

Opening on Friday, August 10 at the Laemmle Music Hall

Social Media:

facebook.com/MagicMusicMovie

twitter.com/MagicMusicMovie

instagram.com/magicmusicmovie

“Beyond celebrating the music, 40 Years in the Making: The Magic Music Movie has something to say about the compromises and reconciliations that are a part of aging, and it turns out to make for a stirring and healing reunion.” – Stephen Farber, Hollywood Reporter

“By the end of the film, I was singing along” – Ain’t It Cool News

“Good vibes…” – Variety

Snapshots, Director Melanie Mayron

SNAPSHOTS has been compared to the award winning films THE KIDS ARE ALL RIGHT, CLOUDBURST, DIVINE SECRETS OF THE YA YA SISTERHOOD, FRIED GREEN TOMATOES, and STEEL MAGNOLIAS. All of these films show the strength and resilience of people as they cope with the fragilities of life. SNAPSHOTS resonates with every person who has lived through the complexity of family relationships, It reminds us that if we are loved no secret is too difficult to hear and accept. Or is it? Rose (Piper Laurie) is the matriarch. She has lived in this house for over fifty years. She and her deceased husband Joe raised their daughter Patty (Brooke Adams) in this home. Patty, now a widow in her early 50’s, lives in St. Louis. Each year Patty and her newly married daughter Allison (Emily Baldoni) spend a laughter filled girl’s weekend with Gran. This year will be different. Director Melanie Mayron (The Babysitter’s Club, Freaky Friday, Thirtysomething Grace and Frankie) joins us for a conversation on working with talents like Piper Laurie and Brooke Adams and her story of life, love, struggle and the roads not taken.

 

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For news and updates go to: snapshotsthefilm.com

Social Media:

Facebook:facebook.com/threewomeninabox

Twitter:@SNAPSHOTSmovie

Instagram: @Snapshotsthefilm

“Performances all around are strong, with Piper Laurie’s Rose taking the lead and directing us through the story’s narrative. We are invited to soak in the retro atmosphere as the story unfolds at a leisurely pace.” – Paul Parcellin, Film Threat

Pin Cushion, Director Deborah Haywood

Super close Mother Lyn and daughter Iona (Dafty One and Dafty Two) are excited for their new life in a new town. Determined to make a success of things after a tricky start, Iona becomes ‘best friends’ with Keely, Stacey and Chelsea. Used to being Iona’s bestie herself, Lyn feels left out. So Lyn also makes friends with Belinda, her neighbor. As much as Lyn and Iona pretend to each other that things are going great, things aren’t going great for either of them. Iona struggles with the girls, who act more like frenemies than friends, and Belinda won’t give Lyn her stepladders back. Both Mother and Daughter retreat into fantasy and lies. Anchored by two remarkable performances by the film’s leads, Joanna Scanlon (Lyn) and Lily Newmark (Iona) writer / director Deborah Haywood feature film debut confidently delivers a lacerating take on bullying, cruelty and mental illness.

 

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For news and updates go to: pincushionfilm.co.uk

Social Media:

instagram.com/pincushionfilm

facebook.com/pinCushionfilm

Twitter.com/PinCushionFilm

94% on Rotten Tomatoes

“Pin Cushion is most emotionally piercing in depicting the daily ways in which the world still punishes this loving, mild-as-milk woman for her difference.” – Guy Lodge, Variety

“Writer-director Deborah Haywood makes her feature directorial debut with the surreal and whimsical mother-daughter nightmare Pin Cushion, driven by a singular vision and masterful control of a unique tone, which tiptoes the line of beauty and terror.” – Katie Walsh, Los Angeles Times

“The film is like a cross between a crocheted bunny and a nail bomb.” – Wendy Ide, Observer

“Pin Cushion is a whimsical and achingly sad story.” – Emily Sears, Birth.Movies.Death

A Midsummer Night Dream, Director Casey Wilder Mott

A Midsummer Night’s Dream is one of Shakespeare’s most beloved creations. The frolicking tale of lovesick young aristocrats, energetic but inept rustics, and mischievous woodland spirits is a staple of stage and screen. In the past, filmed adaptations have emphasized the play’s traditional, Elizabethan qualities. This production however is a fresh and stylish reinvention that takes an entirely different approach.The story takes place in present day Hollywood – a place where glamorous stars, commanding moguls, starving artists and vaulting pretenders all vie to get ahead. Hollywood is sometimes called “The Dream Factory,” and like the world of Shakespeare’s Dream, it’s a place where fantasy and reality collide.In the tradition of Baz Luhrmann’s rapturous reimagining of Romeo + Juliet, this modern vision breathes new life into a classic tale. Combined with a cast of established and emerging stars, as well as a pulsing original soundtrack, the film will appeal to ardent fans of the Shakespeare as well as audiences discovering Shakespeare for the first time. Director and screenwriter Casey Wilder Mott talk with us about the challenges and rewards of re-imagining one of the Bard’s most endearing plays.

 

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For news and updates go to: amidsummernightsdreammovie.com

100% on Rotten Tomatoes

“If you’re hoping to see a production just like the one that would have been done in 1596, this ain’t it. But Mott’s version is a hell of a good time in its own right.” – Nick Allen, RogerEbert.com

“Mott’s “Midsummer Night’s Dream” may not have a high bar to reach to be better than average as filmed Shakespearean comedies go. But by any standard, it’s a modest, resourceful and unexpected delight.” – Dennis Harvey, Variety

“Darned if Casey Wilder Mott’s feature directorial debut doesn’t prove to be a disarmingly effective, visually vibrant frolic.” – Michael Rechtshaffen, Los Angeles Times

“Awake the pert and nimble spirit of mirth and indulge in a film I feel certain Shakespeare himself would enjoy.” – Bradley Gibson, Film Threat

“A vibrant dose of California dreamin’.” – Sheri Linden, Hollywood Reporter

Path of Blood, Director Jonathan Hacker

PATH OF BLOOD depicts Islamist terrorism, as it has never been seen before. Drawn from a hoard of jihadi home-movie footage that was captured by Saudi security services, this is the story of Muslim terrorists targeting Muslim civilians and brought to justice by Muslim security agents. It is a stark reminder that all who are touched by terrorism are victimized by it. A powerful and sometimes shocking cinematic experience, PATH OF BLOOD reveals how brainwashed youths, fuelled by idealism and the misguided pursuit of adventure, can descend into madness and carnage. The raw, unvarnished footage, to which the filmmakers negotiated exclusive access, captures young thrill-seekers at a jihadi “boot camp” deep in the Saudi desert, having signed on to overthrow the Saudi government. They plot to detonate car bombs in downtown Riyadh, become embroiled in a game of cat-and-mouse with government forces and, as their plans unravel, resort to ever more brutal tactics. Adopting a strictly objective approach, the film doesn’t editorialize and contains no interviews or “talking heads” commentary. The home video footage was shot by the terrorists themselves, allowing viewers to see them in all their complexity, while compelling audiences to draw their own conclusions.  Director / Producer Jonathan Hacker  is a documentary producer and director with numerous awards under his belt including the prestigious BAFTA and RTS awards. He joins us for a conversation on his frightening look at operational level of terrorism and the people who commit these heinous crimes.

 

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http://www.pathofbloodfilm.com/

83% on Rotten Tomatoes

“It commands attention as an object lesson in the banality of evil.” – Ben Kenigsberg, New York Times

“Operates as a potent reminder of the randomness, and casual cruelty of modern terrorism, the way it leeches out the humanity of victims and perpetrators on both sides.” – Leslie Pelperin, Guardian

“The film is compiled from footage that was shot by the terrorists themselves… And the fact that the film offers no real sense of hope makes it that much more alarming.” – Rich Clines, Shadows on the Wall

“This is a dazzlingly revealing and upsetting film.” – Nigel Andrews, Financial Times

Social Animals, Director Theresa Bennett

In this raucous new comedy, Social Animals Zoe Crandle’s life didn’t exactly turn out the way she planned. She’s facing eviction, her business is going under and she is resigned to a life of one-night stands. Just when it seems her whole world is unraveling, she meets Paul, a fellow loveable loser, and the pair have an instant connection. There’s only one problem, Paul is married. With help from her best friend, Zoe devises a plan to save her business and salvage her love life.  Social Animals is an honest, uncompromising comedy of modern relationships that stars Noël Wells, Josh Radnor, Aya Cash, Carly Chaikin, Fortune Feimster and Samira Wiley. Director and writer Theresa Bennett stops by to talk about the perils and rewards of low budget filmmaking and working with a talented cast of rising talents.

 

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Social Media:

Facebook: SocialAnimalsMovie

Instagram: @socialanimalsmovie

Twitter: @SocAnimalsMovie

“‘Social Animals’ has its funny business and lightness, and the picture’s comfort with sexuality is refreshing, but there’s realism just underneath the surface that’s intriguing.” – Brian Orndorf, blu-ray.com

“This rom-com from writer and first-time director Theresa Bennett is easy viewing.

“ – Ann Storm, Film Journal International

Sollers Point, Director Matthew Porterfield

One of the distinguished voices in American independent film, Matthew Porterfield his back with a riveting new film. Sollers Point tells the story of Keith (McCaul Lombardi), a twenty-four-year-old newly released from prison and living with his father (Jim Belushi) under house arrest in Baltimore. Keith is struggling to reestablish himself, and break free of the bonds forged behind bars, within a community scarred by unemployment, neglect, and deeply entrenched segregation. His intentions are in the right place and he possesses an aggressive desire to get back on his feet, but as he taps into all his familiar resources, he finds that he may be reverting to his old ways. Director / writer Matt Porterfield (Putty Hill, Hamilton, I Used to Be Darker) joins us for a conversation on the inherent hurdles to untangling from a criminal justice system and chronic social malaise that pulls people back into it’s stifling grasp.

 

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

86% on Rotten Tomatoes

“What “Sollers Point” accomplishes is a singular balancing act, compensating for the mood of heavy discouragement with only the slenderest thread of hope.” – Michael O’Sullivan, Washington Post

“‘Sollers Point’ is an intimate and wise character study, not only of an unformed young man but also of a neighborhood struggling to preserve itself in the face of economic decline.” – Joe Blessing, Playlist

“Sketching Keith’s inner conflicts and practical struggles with a graceful, mood-rich lyricism, Porterfield presses gently but painfully on some of the most inflamed and sensitive parts of American society.” – Richard Brody, New Yorker

“The journey is everything in Sollers Point… By film’s end, you understand that life, and hopefully growth, goes on. There’s real beauty in coming to grips with that.” – Chrs Kaltenbach, Baltimore Sun

Los Angeles Asian Pacific Film Festival, Festival Co-Director David Magdael

Visual Communications, the nation’s premier Asian Pacific American media arts center, announced its outstanding program of films and events for the upcoming 34th edition of the Los Angeles Asian Pacific Film Festival (LAAPFF) running MAY 3 – MAY 12, 2018. The all encompassing annual film celebration is presented across Los Angeles in West Hollywood, Downtown LA, Little Tokyo, Koreatown, and Hollywood. Visual Communications proudly celebrates the Film Festival’s 34 years as Southern California’s largest and most prestigious film festival of its kind.  LAAPFF launches the celebration of Asian Pacific Heritage Month through this year’s slate of over 100 films from both Asian Pacific American and Asian international artists.  For over three decades, the Festival has presented nearly 5,000 films by Asian Pacific American and Asian International talent. This year, 39 feature films and 79 shorts from the over 800 submissions will be showcased during the ten-day fest. The Festival opens with the Los Angeles premiere of Aneesh Chaganty’s feature debut  SEARCHING starring John Cho and Debra Messing giving audiences an early chance to see the movie that took the NEXT audience award and the Alfred P. Sloan award at the 2018 Sundance Film Festival. Other programs include  CENTERPIECE FILMS will feature two outstanding world premieres with IN THE LIFE OF MUSIC and FICTION & OTHER REALITIES. Centerpiece Films will be presented on Saturday, May 5th at the Aratani Theatre at the Japanese American Community and Cultural Center (JACCC) in Little Tokyo – Downtown Los Angeles.  The CLOSING NIGHT FILM will be the Los Angeles premiere of the acclaimed 2018 Sundance World Documentary Special Jury Award winner MATANGI/ MAYA/ M.I.A., directed by Stephen Loveridge.  Inspired by her roots, M.I.A. created a mashup, cut-and-paste identity that pulled from every corner of her journey; a sonic sketchbook that blended Tamil politics, art school punk, hip-hop beats and the voice of multicultural youth. Los Angeles Asian Pacific Film Festival Co-Director David Magdael will join us to talk about this years’s exciting festival line up.

 

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For news and updates on the Los Angeles Asian Pacific Film Festival go to: Festival.VConline.org/2018

Indian Film Festival of Los Angeles, Mike Dougherty, Director of Programming

The Indian Film Festival of Los Angeles (IFFLA) is a nonprofit organization devoted to a greater appreciation of Indian cinema and culture by showcasing films, supporting emerging filmmakers, and promoting the diverse perspectives of the Indian diaspora. Each year the festival features a rich mix of film programs designed to build and support the growing interest in the Indian entertainment industry. This includes programming that cultivates an audience for Indian films while supporting filmmakers of Indian descent in career development as they navigate the larger studio system in Hollywood. The Indian Film Festival of Los Angeles, runs from Wednesday, April 11 – 15 at Regal Live in downtown Los Angeles, featuring programs that include One-on-One program where film industry professionals from major and independent production and distribution companies are invited to participate in meetings with the IFFLA filmmakers; and panel discussions with speakers from the film industry. We are joined by IFFLA’s Director of Programming Mike Dougherty to talk about the past, present and future of Indian cinema and the increasing acceptance among mainstream American film lovers.

 

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For news, updates and screening information go to: Indianfilmfestival.org

facebook.com/indianfilmfestival

Wild Wild Country, Director Maclain Way and Chapman Way

On a quiet day in 1981, disciples of an obscenely wealthy religious guru named Bhagwan Rajneesh suddenly appear in the small, conservative Oregon town of Antelope, dressed in all red and with portraits of their leader hanging from their necks. This, of course, makes the townsfolk uneasy. The Rajneesh followers spend over $125 million to build Rajneeshpuram, a 64,000-acre utopia, complete with a hospital, schools, restaurants, a shopping mall, and their own airport. The spokesperson for the movement is Ma Anand Sheela, a fearless disciple whose belief in the principles of Rajneesh are only outweighed by her feisty spirit. In order to stack the results of county elections in their favor, the Rajneesh bus thousands of homeless people onto the ranch. When these new recruits are denied voting rights by the state, Rajneesh leaders surreptitiously infect local restaurants with salmonella, resulting in the largest biochemical terrorist attack on U.S. soil. And that’s only the beginning … Directors Maclain and Chapman Way, whose debut documentary, The Battered Bastards of Baseball, premiered at the 2014 Sundance Film Festival, return with this riveting six-part docu-series that recounts the amazing true story of a fallen religious movement. They join us to talk about this amazing, riveting and unbelievable story.”To describe Wild Wild Country as jaw-dropping is to understate the number of times my mouth gaped while watching the series.” 

 

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For news and updates go to: netflix.com

100% on Rotten Tomatoes

“Wild Wild Country…is a true story that seems too strange to be real, but with the sure hands of directors Chapman and Maclain Way, who weave this together with a keen artistic skill, it manages to feel not only tangible, but it provokes sincere emotion.” – Kristy Strouse, FIlm Inquiry

“To describe Wild Wild Country as jaw-dropping is to understate the number of times my mouth gaped while watching the series.” – Sophie Gilbert, The Atlantic

“Wild Wild Country couldn’t be more timely-even if the particulars of its story are crazily unique to itself.” – Nick Schager, The Daily Beast

“It’s a slice of partially forgotten history in which real life just keeps getting more and more outlandish and implausible.” – Dan Fienberg, Hollywood Reporter

In the Land of Pomegranates, Hava Kohav Beller

In the Land of Pomegranates is a suspenseful, multi-layered documentary about a group of young people who were born into a violent and insidious ongoing war. They are young Palestinians and Israelis invited to Germany to join a retreat called ‘Vacation From War’ where they live under the same roof and face each other every day. In these highly charged encounters they confront the entrenched myths and grievances that each side has for the other. As they try to gain insight into the seemingly irreconcilable narratives, the paradoxes and contradictions born of legend and history along with passionately held ideals and the daily fight for survival surface. Interwoven into this intense footage, adding context, the film also follows other embattled lives in the Occupied Territories and Israel: a mother and her four children living in the shadow of the wall abutting Gaza; an imprisoned Palestinian and the subsequent path he’s taken; an Israeli survivor of a suicide bombing; and a daring Palestinian mother whose son’s life is saved by an Israeli doctor. They are all caught in the duality of the pomegranate: will they embrace rebirth and each other’s humanity, or will they pull the pin on the grenade? We are joined by the Director Hava Kohav Beller (The Restless Conscience: Resistance to Hitler within Germany 1933-1945) for a conversation on what, if any, options may be available to break the cycle of violence and mistrust for people living in a place where hatred and retribution have been normalized.

For news and updates go to: firstrunfeatures.com/landofpomegranates

“The state of affairs in the Middle East may actually be thornier than it seems from afar: that is the position this brave, intimate perspective on the Israeli-Palestinian conflict seems to take.” – MaryAnn Johanson, Flick Philosopher

“Amidst tense airings of grievances, context is set against beautiful images of the disputed homeland, archival footage, and personal testimonials of clashes and cooperation” – Nora Lee Mandel, Film-Forward

“Sobering. A tough and clear-eyed look at how things are, rather than how we want them to be.” –  Ken Jaworowski, The New York Times

“Hava Kohav Beller’s beautifully shot documentary gives an urgent and very modern new face to the Israeli-Palestinian conflict.” – New York Magazine

Michael Rabehl – 2018 Cinequest Film & VR Festival, Director of Programming

Cinequest has led the world in its showcase and implementation of the innovations that have revolutionized film making, exhibition and distribution. Over 100,000 attend CQFF, yet the three-block proximity of its state-of-the-art venues along with Cinequest’s renowned hospitality, makes the festival experience as warm and personal as it is electrifying. Cinequest presents over 90 World and U.S. premieres with groundbreaking innovations by 700+ participating filmmakers from over 50 countries each year. Set in the home of the world’s most influential media technology companies (Apple, Cisco, Facebook, Twitter, Netflix, LinkedIn etc.) CQFF showcases premier films, renowned and emerging artists, and breakthrough technology—empowering global connectivity between creators, innovators and audiences. Michael Rabehl has been a member of the Cinequest team since 1994. As the Director of Programming he manages the film selection process for the festival and supervises the programming teams to create a world class line up of films and guests every year. In his role as the Associate Director he is directly involved with the strategic planning of the festival. Michael joins us to talk about the 2018 Conquest film and virtual reality line-up.

 

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For news and updates go to: cinequest.org

Cinequest Film and Virtual Reality Film Festival February 27 – March 11, 2018

“Move over Cannes! Of the more than 4,000 film festivals around the globe, more than half take place on U.S. soil, and many rank among the best of the best. Our panel of film experts, movie buffs and festival gurus were tasked with narrowing down the field to the best 20 film festivals in the nation before we turned it over to USA TODAY and 10Best readers to choose their favorites. After four weeks of voting, we have a winner. Cinequest Voted Best Film Festival!” — USA Today

“Technology always drives the film business. In Cinequest, we have a good window on the future. I think they’re leading the world in this regard.” — Peter Belsito, Executive Vice President, Film Finders

“This festival is one that sets the trends and is actually ahead of the trends. Other festivals are copying Cinequest; I see it all the time.” — Chris Gore, Ultimate Film Festival Survival Guide and Film Threat

“At Cinequest you often haven’t heard of the film before you go see it, but the audiences come anyway. That’s a testament to the festival — that audiences are willing to take that leap of faith.” — Kenneth Turan, Los Angeles Times

Carter Pilcher, Chief Executive of Shorts International

Carter Pilcher founded Shorts International in 2000. Coming from a background in both investment banking and law, Carter has made Shorts International the world’s leading short movie Entertainment Company, functioning as distributor, broadcaster and producer. Carter has extensive experience in short movie production and short movie entertainment. He is a voting member of the British Academy of Film and Television Arts and a member of the Short Film and Feature Animation Branch of The US Academy of Motion Pictures, Arts and Sciences (AMPAS) – the guys who pick the Oscars. Carter, originally from Terre Haute, Indiana, received a B.S. from the U.S. Air Force Academy, a J.D. from Georgetown University, is a member of the New York Bar and attended the London Business School Corporate Finance Evening Program. Carter Pilcher has been and continues to be the highlight of Oscar season here on Film School. His insight, commitment and love of films and filmmaking always makes for a lively and informative conversation on some of the best films you will see all year.

 

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shorts.tv/theoscarshorts/

shorts.tv/theoscarshorts/theatrical-release

SHORT FILM (ANIMATED) NOMINEES

DEAR BASKETBALL

Glen Keane and Kobe Bryant

http://believeentertainmentgroup.com/portfolio-item/dear-basketball/

https://www.facebook.com/DearBasketballFilm/

GARDEN PARTY

Victor Caire and Gabriel Grapperon

https://www.facebook.com/gardenpartymovie/

https://www.gardenparty-movie.com/

LOU

Dave Mullins and Dana Murray

https://www.pixar.com/short-films/#short-films-launch

https://en.wikipedia.org/wiki/Lou_(2017_film)

NEGATIVE SPACE

Max Porter and Ru Kuwahata

http://ikkifilms.com/archives/portfolio/negative-space

https://vimeo.com/user72791802

http://www.thisiscolossal.com/2018/01/negative-space-short-film/

REVOLTING RHYMES

Jakob Schuh and Jan Lachauer

http://www.bbc.co.uk/programmes/b0876ds6

https://en.wikipedia.org/wiki/Revolting_Rhymes_(film)

SHORT FILM (LIVE ACTION) NOMINEES

DEKALB ELEMENTARY

Reed Van Dyk

https://www.dekalbelementaryfilm.com/

https://www.facebook.com/dekalbelementary/

THE ELEVEN O’CLOCK

Derin Seale and Josh Lawson

http://oscar.go.com/nominees/short-film-live-action/the-eleven-o-clock

https://en.wikipedia.org/wiki/The_Eleven_O%27Clock

MY NEPHEW EMMETT

Kevin Wilson, Jr.

https://www.facebook.com/mynephewemmett/

https://www.mynephewemmett.com/

THE SILENT CHILD

Chris Overton and Rachel Shenton

https://www.facebook.com/TheSilentChildFilm/

https://www.thesilentchildmovie.com/

WATU WOTE/ALL OF US

Katja Benrath and Tobias Rosen

https://www.facebook.com/WatuWote.AllOfUs/

http://oscar.go.com/nominees/short-film-live-action/watu-wote-all-of-us

DOCUMENTARY (SHORT SUBJECT) NOMINEES

EDITH+EDDIE

Laura Checkoway and Thomas Lee Wright

https://www.facebook.com/EdithEddieFilm/

https://www.kartemquin.com/films/editheddie

HEAVEN IS A TRAFFIC JAM ON THE 405

Frank Stiefel

http://heavenisatrafficjamonthe405.com/

https://www.facebook.com/heavenisatrafficjamonthe405/

HEROIN(E)

Elaine McMillion Sheldon and Kerrin Sheldon

http://heroinethefilm.com/

https://www.netflix.com/title/80192445

KNIFE SKILLS

Thomas Lennon

https://www.facebook.com/KnifeSkillsDoc/

http://knifeskillsthemovie.com/

TRAFFIC STOP

Kate Davis and David Heilbroner

https://www.hbo.com/documentaries/traffic-stop

http://oscar.go.com/nominees/documentary-short/traffic-stop

Ivan Williams, Producer, Partner – Scenario Entertainment

Ivan Williams is a partner and Scenario’s executive vice president of finance.  After a successful career as a senior business leader at major energy companies (ARCO and BP), he has been active starting up a media technology company, and executive producing feature films, Broadway musicals, musical recordings, theatrical plays, and Web tv shows.  A member of Film Independent and the Sundance Institute, Ivan holds a bachelor’s degree in chemical engineering from Oregon State University, and is a Dean’s M.B.A. Scholar at the UC Irvine Paul Merage School of Business, and a veteran Naval Reserve intelligence officer.  An active contributor to his alma maters, Ivan serves as a member of the board of directors for Oregon State University’s Alumni Association, and is active with the University of California Irvine as chairman of the Dean’s Arts Council of the Claire Trevor School of the Arts, serving as a member of the Graduate Division’s Dean’s Leadership Council, as an entertainment industry advisory board member for the Cybersecurity Policy & Research Institute, and a founding board member of the L.A./Orange County Anteaters in the Arts organization. Ivan joins us for a conversation on the his latest projects and the exiting future of digital film and arts at the Claire Trevor School of the Arts at the University of California, Irvine.

 

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scenario-la.com

Man on Fire, Director Joel Fendelman

Grand Saline, Texas, a town east of Dallas, has a history of racism, a history the community doesn’t talk about. This shroud of secrecy ended when Charles Moore, an elderly white preacher, self-immolated to protest the town’s racism in 2014, shining a spotlight on the town’s dark past. MAN ON FIRE untangles the pieces of this protest and questions the racism in Grand Saline today. Overall, MAN ON FIRE encapsulates the racial climate in Grand Saline and chronicles Moore’s life and death, presenting Grand Saline and Moore as two pillars of the film’s narrative: one a disjointed man seeking truth and communal repentance and the other a community whose present is inextricably tied to their past. MAN ON FIRE was Joel Fendelman’s thesis film for the completion of his MFA program at the University of Texas in Austin. The film went into production late May of 2016 and was completed late May of 2017. The crew took seven trips to the Van Zandt County area to film and compile interviews as well as a weekend of filming in Austin and one in Dallas. The recreations were filmed over three days in Austin, Texas. Director Joel Fendelman joins us to talk about what led Reverend Charles Moore to commit such a radical act, his approach to telling this timely story and MAN ON FIRE’s upcoming debut at the 2018 Slamdance Film Festival.

 

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Co-winner of the International Documentary Association (IDA) 2017 David L. Wolper Student Documentary Award

Man of Fire premieres at 2018 Slamdance Film Festival

For news and updates go to: manonfirefilm.com

facebook.com/joel.fendelman

twitter.com/ManOnFireFilm

Joel Fendelman’s site

Joan Didion: The Center Will Not Hold, Director Griffin Dunne

Across more than 50 years of essays, novels, screenplays, and criticism, Joan Didion has been our premier chronicler of the ebb and flow of America’s cultural and political tides with observations on her personal – and our own – upheavals, downturns, life changes, and states of mind. In the intimate, extraordinary documentary JOAN DIDION: THE CENTER WILL NOT HOLD, actor and director Griffin Dunne unearths a treasure trove of archival footage and talks at length to his “Aunt Joan” about the eras she covered and the eventful life she’s lived, including partying with Janis Joplin in a house full of L.A. rockers; hanging in a recording studio with Jim Morrison; and cooking dinner for one of Charles Manson’s women for a magazine story. Didion guides us through the sleek literati scene of New York in the 1950s and early ’60s, when she wrote for Vogue; her return to her home state of California for two turbulent decades; the writing of her seminal books, including Slouching Towards Bethlehem, Play It as It Lays, A Book of Common Prayer, and The White Album; her film scripts, including The Panic in Needle Park; her view of 1980s and ’90s political personalities; and the meeting of minds that was her long marriage to writer John Gregory Dunne. She reflects on writing about her reckoning with grief after Dunne’s death, in The Year of Magical Thinking (winner of the National Book Award for Nonfiction), and the death of their daughter Quintana Roo, in Blue Nights. With commentary from friends and collaborators including Vanessa Redgrave, Harrison Ford, Anna Wintour, David Hare, Calvin Trillin, Hilton Als, and Susanna Moore, the most crucial voice belongs to Didion, one of the most influential American writers alive today. Director Griffin Dunne (American Werewolf in London, After Hours) joins us for a conversation on “Aunt Joan” and her fiercely personal body of remarkable body of fiction and non-fiction.

To view Joan Didion: The Center Will Not Hold go to: netflix.com

 

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“Access is almost everything for a documentary filmmaker, and the entree Griffin Dunne had to his celebrated subject makes all the difference in “Joan Didion: The Center Will Not Hold.” – Kenneth Turan, Los Angeles Times

“A documentary that’s incisive and haunting, like Didion’s best writing.” – Owen Gleiberman, Variety

“This is an intensive appreciation of perhaps the greatest living American essayist, and one of the best ever. It plays like a finely tuned authorized biography.” – Chris Vognar, Dallas Morning News

Animation is Film, Founder Eric Beckman

GKIDS, the acclaimed producer and distributor of animation for adult and family audiences, Annecy International Animation Film Festival, the world’s leading animation Festival and Market, and Variety magazine, have announced the launch of ANIMATON IS FILM, an annual animation film festival in Los Angeles. The first edition will run October 20-22 at the TCL Chinese 6 Theater in Hollywood (Mann’s Chinese Theater) with a showcase of 20 programs including feature films in competition, special presentations, retrospectives and short film programs. ANIMATION IS FILM aims to fill a gap in the US market by establishing a world class animation festival on par with the major events in Europe and Asia – and locating it in the world capital of animated filmmaking. The Festival will be a vocal advocate  in the heart of Hollywood, for excellence in animation, and for filmmakers who push the boundaries of their art to the fullest range of expression that the medium is capable of. GKIDS and Animation is Film founder Eric Beckman stops by to talk about his love of animation and the endless possibilities for enriching and entertaining filmmaking contained in it.

For information and updates go to: animationisfilm.com

 

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Dates: The festival will be the weekend of Friday, October 20 through Sunday, October 22, 2017.

Location: Films will be screened at 6801 Hollywood Blvd, Hollywood, CA 90028 at the TCL Chinese 6 Theatre Multiplex on the Hollywood Walk of Fame.

Click here to meet the filmmakers of Animation is Film

Animation is Film Festival seeks to:

Present a highly selective, annual showcase of the best new works of animation from around the world, with programs for both adults and families.

• Champion and support filmmakers who use animation to pursue unique cinematic visions and who are unconstrained by conventional notions of what animation is capable of.

• Champion and support women filmmakers.

• Champion and support filmmakers from a wide range of cultural, economic, national and geographic backgrounds.

• Have a positive impact on Los Angeles’ diverse communities by making the Festival programs available to the widest range of audiences.

August 4, 2017 – Some Freaks, Director Ian MacAllister McDonald

When high school senior Matt (Thomas Mann) meets fellow outcast Jill (Lily Mae Harrington), he falls more in love than he thought possible. However, after graduation comes and Jill moves cross-country to go to college, she loses more than 50 pounds and changes her appearance entirely – much to Matt’s surprise when he arrives to visit her six months later. While Matt struggles to accept Jill’s new choices, Jill begins to question whether Matt is really the man she wants to date. As the distance widens between them, the characters are propelled onto a collision course with brutality and loss, forcing them to confront who they are, who they were, and who everyone thinks they’re supposed to be. Also starring Ely Henry, Lachlan Buchanan, and this feature by writer-director Ian MacAllister-McDonald. McDonald joins us to talk about his touching, heartfelt feature film debut.

For new and updates go to: somefreaksthemovie.com

Special added event: Please join us for a Q&A session after the 7:20PM show on Friday 8/4. Participants will be writer/director Ian MacAllister-McDonald along with cast members Thomas Mann, Lily Mae Harrington, Ely Henry, and Lachlan Buchanan.

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Twitter@SomeFreaksFilm

Instagram@SomeFreaksFilm2016

“All the actors are good, but Harrington is remarkable. It’s not just the physical changes in her character, but the genuineness with which she inhabits her”. – Billy Goodykoontz, Arizona Republic

“Playwright Ian MacAllister-McDonald’s debut feature is a refreshingly grounded, unsentimental yet empathetic slice of D-list teenage life that goes a bit overboard in its final act.” – Dennis Harvey, Variety

“The characters are authentic and deeply felt.” – Bradley Gibson, Film Threat

“Brittle and beautifully-acted and cleverly written “find your tribe” high school romance.” – Roger Moore, Movie Nation

Hare Krishna! The Mantra, The Movement and the Swami Who Started It All – Co-Director Lauren Ross (John Griesser, Jean Griesser)

 

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1965: America is in turmoil. Unprecedented introspection and questioning of societal norms roil the country. Prabhupada, an unassuming 70-year-old Swami from India, arrives in New York City alone and without support or money. He carries only the ancient scriptures he has translated, and the firm faith in his teacher’s request: “offer spiritual wisdom to the people of the world!” Suddenly thrust into the raging counterculture movement, Prabhupada speaks of the world’s real need, which is not necessarily satisfied by political or social revolutions, but by a revolution of consciousness. This divergence from the status quo successfully captures the attention of a generation of youth seeking answers to life’s existential questions. From a tiny storefront on 26th 2nd Avenue, Prabhupada shares with them the idea that the way to find real happiness, love and freedom is to search within and connect to your true self. All this, the Swami says, begins by simply chanting a rhythmic, meditative 16-word mantra – Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare, Hare Rama, Hare Rama, Rama Rama, Hare Hare. This universal message resonates with more and more people, including musician George Harrison whose hit song ‘My Sweet Lord’, features the Hare Krishna chant. From there, Prabhupada’s movement explodes, and his followers – now known as the Hare Krishnas – become infamous for chanting and dancing in the streets. Co-director Lauren Ross (John Griessen, Jean Griessen) joins us to talk about the remarkable life and time of Swami Prabhupada and his mission to teach happiness.

For news and updates: harekrishnathefilm.com

“A dynamic documentary about the visionary Vedic scholar who launched the Hare Krishna movement.” – Spirituality and Practice

HARE KRISHNA! director John Griesser and producer Lauren Ross will participate in Q&A’s at the Monica Film Center after the 7:30 PM screenings on Friday and Saturday, June 23 and 24. HARE KRISHNA! writer Jean Griesser will join them on Friday and HARE KRISHNA! composer Michael Mollura will join them on Saturday.

Harold and Lillian: A Hollywood Love Story, Director Daniel Raim

 

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In the new documentary Harold and Lillian: A Hollywood Love Story, Award-winning director Daniel Raim (The Man on Lincoln’s Nose, Something’s Gonna Live) brings to life a fascinating and moving account of the romantic and creative partnership of storyboard artist Harold Michelson and film researcher Lillian Michelson: two unsung heroes of Hollywood’s Golden Age. Harold and Lillian: A Hollywood Love Story spans the Golden Age of Hollywood through New Hollywood and beyond. It’s a portrait of a time, and an intimate chronicle of their epic journey of life, love, family, and making great movies. Harold and Lillian worked on hundreds of renowned films including The Ten Commandments, The Apartment, The Birds, Who’s Afraid Of Virginia Woolf?, The Graduate, Rosemary’s Baby, Fiddler On The Roof, Scarface, Full Metal Jacket and many more. Although the couple was responsible for some of Hollywood’s most iconic examples of visual storytelling, their contributions remain largely uncredited. Through an engaging mix of love letters, film clips and candid conversations with Harold and Lillian, Danny DeVito, Mel Brooks, Francis Ford Coppola and others, this deeply engaging documentary from Academy Award®-nominated director Daniel Raim (who first encountered Harold Michelson as a student at the AFI Conservatory in 1997), chronicles their remarkable marriage and extraordinary careers through six decades of movie-making history.  Harold and Lillian’s story humanizes Hollywood—an industry sustained by numerous hard-working cinema artisans; master craftsmen and craftswomen who give their lives, their genius and their hearts to the movies. Beyond Harold and Lillian’s contribution to cinema, their story can’t be told without weaving in their 60-year marriage—a creative, challenging, and profoundly loving partnership. Director Daniel Raim stops by for a conversation on his loving tribute to a beguiling pair of artists, partners and lovers.

For news and updates go to: Harold and Lilian: A Hollywood Love Story

**100% on RottenTomatoes

Truly charming…A terrifically moving human story!” – Glenn Kenny, Vanity Fair

“CRITICS’ PICK! Charming… Like flipping through misplaced leaves in a photo book, the documentary maintains a free-flowing tone as it uncovers the work that went into creating some of the indelible scenes in Hollywood history.” – Monica Castillo, The New York Times

“For an hour and a half, this charming little movie, with its chatty talking heads and its sweet-natured subjects, offers a glimpse into the lives of two fascinating people whom I had never heard of, and who shared an unlikely life filled with achievements and setbacks, wonder and pain.” – Bilge Ebiri, The Village Voice

“One of the very best documentaries ever made about movies…I have rarely seen any movie, fact or fiction, that was quite so suffused with love—movie love and human love—as this one.” – David Noh, Film Journal

“An awesome film… funny, heartbreaking, and packed with delicious film lore.” – Ken Kwapis, Director of The Office

The Green Fog – A San Francisco Fantasia, Composer Jacob Garchik


 

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Jacob Garchik, multi-instrumentalist and composer, was born in San Francisco and lived in New York since 1994. At home in a wide variety of styles and musical roles, he is a vital part of the Downtown and Brooklyn scene, playing trombone with the Lee Konitz Nonet, Ohad Talmor/Steve Swallow Sextet, Mary Halvorson Octet, and the John Hollenbeck Large Ensemble. He has released 4 albums as a leader including “The Heavens: the Atheist Gospel Trombone Album”. He co-leads Brooklyn’s premiere Mexican brass band, Banda de los Muertos. Since 2006 Jacob has contributed dozens of arrangements and transcriptions for Kronos Quartet of music from all over the world. He composed the score for Kronos for the documentary “The Campaign” (2013), and “The Green Fog” (2017) directed by Guy Maddin. He has created arrangements for vocalists Anne Sofie von Otter, Angelique Kidjo, Laurie Anderson, Rhiannon Giddens, kd lang, Natalie Merchant, Tanya Tagaq, and Alim Qasimov. Garchik returns to San Francisco Sunday, April 16 for a live performance during the 60th San Francisco International Film Festival’s closing night screening of The Green Fog – A San Francisco Fantasia. Commissioned by the San Francisco Film Society, that reimagines one of the most iconic San Francisco films of all time, Vertigo, as a visual collage by award-winning filmmaker and cultural iconoclast Guy Maddin. The Green Fog will screen at the historic Castro Theatre on Sunday, April 16 at 7:00 pm, followed by the Closing Night Party at Mezzanine. Jacob Garchik joins us for a conversation on collaborating with director Guy Maddin and his own musical journey.

 For news and updates go to: jacobgarchik.com

For news and updates on the 2017 San Francisco International Film Festival go to: sffilm.org/festival

Audience Awards Film Festival CEO & Founder Page Williams

 

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Audience Awards is a company started by filmmakers for filmmakers, we have a deep desire to do what we can to introduce you to real opportunity and connection. Submit quality content for our creative and brand contests and grab your chance to win cash, prizes and screenings at some of the most amazing film festivals on the circuit. It’s not the norm to play up a film festival as your first, but Audience Awards isn’t the norm and this isn’t your normal film festival. With an online community of over 150,000 filmmakers and film lovers, AudFest is our filmmaker family reunion! We’ve known many of you for years online and now we get to meet face-to-face. We’ve planned some amazing things for you in preparation.  With a focus on innovation and diversity in short-form filmmaking, this four-day fest hosts panels and workshops with the top tier in this industry on branded content, Super 8 film, festival strategy, social impact of filmmaking and more. A company started by filmmakers for filmmakers, we have a deep desire to do what we can to introduce you to real opportunity and connection. Attendees will have access to representatives from Women In Film, SAG-AFTRA, SAGIndie, Paramount, Filmmakers Alliance and VICE, to name a very few. Audience Awards CEO and Founder Paige Williams stops by for a conversation on the quality and diversity of short films being produced and the support that Audience Awards is providing to that filmmaking community.

For news and updates go to: theaudienceawards.com and theaudienceawards.com/audfest

HyperNormalisation, Director Adam Curtis

 

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In Adam Curtis’s acclaimed BBC documentary, HyperNormalisation, he employs masterfully edited found footage to investigate how, at a time of confusing and inexplicable world events, politicians and other power brokers construct new, slippery realities. Curtis tells a story that begins in 1975 in New York and Damascus, and ends with today’s world.          

Adam Curtis on his work and HyperNormalisation: ”Those in power in society – the politicians, the journalists, the experts – maintain their power by telling us stories about the world. Those stories tell us what is true and what is false, what is right and wrong, and what is real – and what is illusion. But there come times when these stories begin to break down. And people start to distrust those in power – and their definition of what is real and what is fake. At that point you enter the Zone. The film Hypernormalisation tells the story of how we got to this place. It is also about the new systems of power that we cannot see – because we are trapped inside the Zone.”

Adam Curtis is an award-winning widely influential documentary filmmaker and journalist. He works for BBC television in London. His acclaimed films include The Century of the Self (2002), The Power of Nightmares  (2004), All Watched Over by Machines of Loving Grace (2011), Bitter Lake (2015) – and most recently HyperNormalisation..  His films go back into the recent past to tell dramatic stories that lead the viewer to look again at the present day – and help them make sense of it. They try to show how power really flows in today’s complex society, not just through politics – but through science, public relations and advertising, psychology, computer networks and finance. Curtis has also done live shows with the immersive theatre group Punchdrunk and the band Massive Attack. His films have been shown at the Cannes film festival and have won awards – including 6 BAFTAs. Curtis joins us to talk about power, journalism, the world as is understood today and his work.

For news and updates go to: bbc.co.uk/blogs/adamcurtis

“I want to be Adam Curtis when I grow up.” – Oscar-winning filmmaker Errol Morris

“Hypernormalisation” feels like a greatest hits compilation of familiar Curtis themes — the decline of political power in a corporate age, the rise of global terrorism, America’s tortuous secret history in the Middle East, the hollow narcissism of cyberspace. But this also is a dazzling and thought-provoking film that blurs the line between op-ed journalism and mesmerizing audio-visual art.” – Hollywood Reporter

“‘HyperNormalisation’ is a searching and essential document of our times, a movie that leaves us, as in its opening shot, groping through a pitch-black forest with only a flashlight, wondering what lies in all that terrifying darkness that no one has found a way through.” – The New Yorker

Slamdance, Co-founder and President Peter Baxter

slamdance logo 2 

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It all began when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival. Unwilling to take “no” for an answer, they instead started their own event – Slamdance: Anarchy in Utah. 22 years later, Slamdance has become a year-round organization fostering the development of unique and innovative filmmakers. The organization now consists of the Film Festival, Screenplay Competition and Slamdance Studios. It has also created Slamdance On The Road, a traveling theatrical showcase that brings popular Slamdance films to audiences that otherwise would not have the opportunity to see them. Dan Mirvish, Jon Fitzgerald, Shane Kuhn and Peter Baxter are the founding forefathers who, along with co-conspirator Paul Rachman, fought for truly peter-baxter-slamdanceindependent filmmakers by giving them a voice in 1995 at the very first Slamdance Film Festival. Since then, the festival takes place every January in the breathtakingly stunning, snow-capped mountains of Park City, Utah at the exact same time as the
Sundance Film Festival, to provide a more authentic representation of independent filmmaking. Up-and-coming writers, directors and producers, alongside seasoned veterans and film lovers, converge for the weeklong celebration of independent cinema, realizing that Slamdance is a great place to find those next, great, visionary films. Slamdance lives and bleeds by its mantra By Filmmakers For Filmmakers. No other film festival in the world is entirely run and organized by the creative force that can only be found in filmmakers. Slamdance adamantly supports self-governance amongst independents, and exists to deliver what filmmakers go to festivals for – a chance to show their work and a platform to launch their careers. The festival has earned a solid reputation for premiering films by first-time writers and directors working within the creative confines of limited budgets. Co-founder and President Peter Baxter joins us to talk about this year’s Slamdance, the groundbreaking films and the innovative new distribution and digital initiatives being launched by Slamdance.

For news and updates on 2017 Slamdance Film Festival go to: slamdance.com/

Friday, November 25, 2016 – Blue Jay and Asperger’s Are Us, Director Alex Lehmann

blue-jay-film-poster 

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BLUE JAY is the story of former high school sweethearts Jim (Mark Duplass) and Amanda (Sarah Paulson) who have been out of touch for more than 20 years — but by sheer coincidence, they run into each other at a grocery store back in their alpine hometown of Crestline, California. Jim’s mother has died and he’s here to put her house on the market. Amanda is visiting her pregnant sister. They get to talking, first over coffee, then over beer and jellybeans. Before they know it they’re at Jim’s mother’s house, where everything sends them spiraling back into the past. Jim and Amanda’s lives have taken different directions, yet here they are, reconnecting like nothing has changed. This is one of 2016’s best films.

For news on Blue Jay go to: blue-jay

“Though the film largely trains on the simple, dialogue-fueled interaction of two people, it feels more spectacular than theatrical, showcasing the acting prowess of two master performers feeding on mutual chemistry and performative bravado.” – Joey Nolfi, Entertainment Weekly

“Even after twenty years apart, Amanda and Jim can ask each other the questions no one else would dare to, and understand the answers that go beyond words.” – Serena Donadoni, Village Voice

aspergers-are-us-film-posterASPERGER’S ARE US is the story of the members of the comedy troupe “Asperger’s Are Us,” whose “condition” make it easier to associate with a faceless audience than with their own families. No matter who the crowd, best friends Noah, New Michael, Jack and Ethan have one simple mantra: “We would much rather the audience appreciate us as comedians than people who have overcome adversity.”   In this coming-of-age heartfelt documentary, this band of brothers finds themselves at a crossroad. With real life pulling them apart, they decide to plan one ambitious farewell show before they all go their separate ways. People with Asperger’s don’t deal well with uncertainty, and this is the most uncertain time in their lives.

“Asperger’s Are Us” rarely stretches to be funny or poignant or touching, and that makes this documentary all the more of each.” Ken Jaworowski, New York Times

“The four young men at the heart of this documentary will easily find a home in all but the hardest of hearts.” – Kimber Myers, LA Times

“Warm, funny and enormously entertaining.” – Avi Offer, NYC Movie Guru

For news on Asperger’s Are Us go to: facebook.com/aspergersareus/

alex-lehmannDirector / cinematographer Alex Lehmann was born in France and studied film at Emerson College in Boston.  ASPERGER’S ARE US is his first documentary feature, it premiered this year at SXSW and was the first Netflix acquisition of the festival. Alex most recently released BLUE JAY starring Mark Duplass and Sarah Paulson which marked his second collaboration (ASPERGER’S ARE US) with the Duplass Brothers. Alex has mostly worked in the industry as a cinematographer, most recently having shot the upcoming Katherine Keener political drama Little Pink House. He and Mark Duplass met on the set of “The League”, where Alex served as a camera operator. Alex stops by for a lively conversation on is collaboration with Mark and Jay Duplass and the on-set challenges / rewards of shooting and directing and bonding with a troupe of four very funny performers.

For more on Alex Lehmann go to: facebook.com/mralexlehmann

Friday, October 7, 2016 – Kate Plays Christine, Director Robert Greene

kate-plays-christine-poster 

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What does it mean to tell somebody else’s story? In this ingenious blend of documentary and psychological thriller, Robert Greene (ACTRESS) follows Kate Lyn Sheil (House of Cards, LISTEN UP PHILIP) through her creative process as she prepares for her next, tragic role: Christine Chubbuck, the Florida newscaster who committed suicide live on-air in 1974. As Kate investigates (and ultimately becomes obsessed with) Chubbuck’s story, she discovers that little is actually known about the real woman (despite the urban myth that her story was the inspiration for the classic Hollywood film NETWORK). Through their collaboration, Robert, Kate and cinematographer Sean Price Williams (HEAVEN KNOWS WHAT) raise questions surrounding the sometimes unstable boundaries between performance, the authentic self and the storytelling impulse. Winner of a Special Jury Prize at the 2016 Sundance Film Festival, KATE PLAYS CHRISTINE is as much about unraveling a mystery as it is a document of the creative process. Director Robert Greene joins us for a conversation on blurring the line between documentaries and narrative films, just what did he learn about Christine Chubbuck’s life  and how has making KATE PLAYS CHRISTINE changed his approach to storytelling.

For news and updates go to: kateplayschristine.com

Also check out Kate Plays Christin edistributor grasshopperfilm.com

** Winner of a Special Jury Prize at the 2016 Sundance Film Festival

“Kate’s transformation shifts from merely documenting a process to questioning the motives behind it. The final result is deeply unsettling, and (likely unintentionally) a timely indictment of recent headline-making method-acting histrionics.” – Mallory Andrews, Movie Mezzanine

“ documentary Vertigo, Robert Greene’s re-creation of a woman who fell to her inner demons — something of a ghost story — feels dangerous. It pokes the bear, then slaps it.” – Joshua Rothopf, Time Out

“We are a society of gawkers,” asserts one newsperson as Sheil wrestles with the task at hand. By the end of Kate Plays Christine, Greene seems to argue that we’re all complicit in that indictment.” – Eric Kohn, Indiewire

“A tour de force in the blending and bending of genres.” – Richard Brody, New Yorker

Demon, Producer Olga Szymanska, widow of DEMON director Marcin Wrona

demon-film-posterNewly arrived from England to marry his fiancée Zaneta (Agnieszk Zulewska, Chemo), Peter (Israeli actor Itay Tiran, Lebanon) has been given a gift of her family’s ramshackle country house in rural Poland.  It’s a total fixer-upper, and while inspecting the premises on the eve of the wedding, he falls into a pile of human remains.  The ceremony proceeds, but strange things begin to happen…During the wild reception, Peter begins to come undone, and a dybbuk, the iconic ancient figure from Jewish folklore, takes a toehold in this present-day celebration-for a very particular reason, as it turns out.  Based on noted Polish writer Piotr Rowicki’s play Adherence, DEMON is the final work by Marcin Wrona, who died just as DEMON was set to premiere in Poland, is part absurdist comedy, part love story-that scares, amuses, and charms in equal measure.  Acclaimed at several festivals including New Directors/New Films, the Toronto Film Festival, and Austin Fantastic Fest where it won the Award for Best Horror Feature. Producer Olga Szymanska, widow of DEMON director Marcin Wrona joins us for a conversation on this hauntingly beautiful film.

For news and updates go to: demon.film

Winner: Austin Fantastic Fest, Best Horror Feature, 2015

Winner: Haifa Film Festival, Tobias Spencer Award, 2015

“Wrona keeps everything creepily ambiguous right up to the end, when the foggy dawn breaks and what we have witnessed becomes like a dream within a dream.” – Peter Rainer, Christian Science Monitor

“..a unique take on the Jewish legend of the Dybbuk that feels both deeply rooted in cultural nightmares and refreshingly new…“Demon” is stylish and clever from its concept..but it’s the execution that really matters.  There’s a great energy to the piece, from the framing of the visual compositions, to the eerie atmosphere created by the lights hanging from the ceiling of what looks like a barn.  There’s fantastic costume design as well as a lead performance that engages on every level.” — Brian Tallerico, Rogerebert.com

“Crackling, spookily atmospheric, intelligent, sometimes funny ghost story. It builds on family secrets to take on wider social and historical resonance for Poles and Jews.” – Nora Lee Mandel, Film Forward

“A darkly humorous reworking of “The Dybbuk,” with a deftly realized switch that turns that familiar tale of love from beyond the grave into a parable of Polish anti-Semitism in the post-war era….  a black comedy in the vein of “The Exterminating Angel.” — George Robinson, The Jewish Week