How did a group of humble factory workers become a phenomenal sports success story and the pride of an entire nation? Julian Faraut’s (John McEnroe: In The Realm of Perfection) ferociously innovative and visually stunning The Witches of the Orient tells the tale of the Japanese women’s volleyball team’s thrilling rise, unbelievable 258 games winning streak, and eventual Olympic gold at the 1964 Tokyo Olympics. United by their jobs in a textile factory, the Japanese women’s volleyball team chased absolute perfection under the guidance of their grueling coach Hirofumi Daimatsu. Known as “the Demon,” his intense, endless practice sessions, shaped the team into a powerful force striking fear in the hearts of their competitors and earning them the racist and dismissive moniker “oriental witches.” Faraut’s sparkling documentary uses fantastic manga and anime sequences, such as Attack no 1 (1968), with archival footage of blood-curdling matches, extreme training sessions (driven by rhythmic editing and great music from French musician K-Raw) with testimony from the now-octogenarian teammates. The result charts the Witches’ meteoric rise and overwhelmingly vital spirit. The ‘Witches’ success is infectious and offers a hopeful prelude to the 2021 Tokyo Olympic Games. Director Julien Faraut joins to talk about the players rigorous training regime, the complicated relationship they had with their coach, Hirofumi Daimatsu, and the enduring bond between the women / factory workers that has lasted for nearly 60 years.
About the director –Having worked with the French Sports Institute (INSEP) for 15 years, Julien has had access to a large and mostly unseen collection of 16mm archival footage, aiming to bridge the connections between sport, cinema and art. With a fascination for the incredible achievements of highly skilled athletes, Julien’s portfolio of work explores these unique and astonishing human beings through the medium of film.
“The world-beating Japanese women’s volleyball team of the 1960s roars colourfully back to life.”- Screen Daily
“If the team was derided by their prejudiced (and defeated) foes in the moment of their success, this documentary elegantly restores the glow of legend, saving the champions the trouble of having to explain their heroism in words.” – Teo Bugbee, New York Times
“One of the more engrossing sports documentaries in recent memory, and it is one that even those without much interest in athletics in general or volleyball in particular will find to be worth watching.” – Peter Sobczynski, eFilmCritic.com
“The film’s fanciful archival montages shrewdly demonstrate the ways in which memory and art seamlessly combine to document reality.” – Mark Hanson, Slant Magazine
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.
JUMBO is the coming-of-age story of Jeanne, a shy young woman, lives at home with her uninhibited bartender mother and works the graveyard shift as a cleaner at an amusement park. Her mother wants her to meet a man, but Jeanne prefers tinkering in her bedroom with wires, light bulbs, and spare parts, creating miniature versions of theme park rides. During her late-night shifts she begins spending intimate time with the alluring new Tilt-A-Whirl ride that she decides to call JUMBO. Finding herself seduced by “his” red lights, smooth chrome, and oily hydraulics, Jeanne concludes that the thrilling new relationship she wants to pursue is with JUMBO. Director and writer Zoé Wittock (A demi-mot, Le Silence de l’Aube) joins us for a conversation on the challenging logistics of filming at amusement park, crafting a nuanced look at sexuality and social norms and the personal journey of the filmmaker in selecting the amazing Noemie Merlant for the role of Jeanne.
About the filmmaker – Zoe Wittock is an award winning writer and director. Originally hailing from Belgium, Zoé grew up living around the world and trained at the prestigious directing program of the American Film Institute (AFI), in Los Angeles, where she graduated the youngest and top of her class, while being awarded the “Hal and Robyn Berson” scholarship for excellence in directing. In France, she directed her last short film “A demi-mot”, broadcasted on OCS and Netflix, before making her feature film debut with “Jumbo” which went on to many selections around the world, including Sundance and the Berlinale, where she was awarded a prize in the Generation section. She was also a nominee for the Discovery Prize at the European Film Awards and was named in Hollywood Reporter’s list of the 20 female filmmakers to watch in 2020. As an active member of the SRF (French association of Film Authors), Zoe campaigns for greater equality in films, while advocating for the protection of author’s right in the ever-changing industry. For more go to: zoewittock.com
Director’s Statement – When I was still living in the United States, I stumbled upon an article describing the incredible story of Erika Labrie, an Olympic gold winner in archery, who got married to the Eiffel tower in 2004 and became Erika Eiffel. She was said to suffer from the “Objectum sexual” condition. It struck me as the most improbable story, but it encouraged me to think further: How did she become like that? What draws her to objects? How does she experience her love? When did she know? So I contacted her… Only to realize she was one of the most grounded people I had ever met. The contrast was fascinating. Satisfying ourselves within the confines of what we know can be very limiting. Being Belgian, I grew up with the influences of famous surrealist artists such as Magritte or Nougé who excelled at twisting reality and objects through extreme visuals, thus allowing for the unconscious to express itself. They gave new meanings to daily commodities, while revolutionizing our perception of traditional art and everyday preconceptions of life. The concept of falling in love with a landmark object may of course be hard to grasp at first, but this unconventionality is the mere reason that I chose to seek interest in this extraordinary coming of age story. Whilst providing a seductive and poetic adventure based on strong colorful visuals, I wanted to question what one defines as normal versus monstrous, at a time where I was personally questioning my own identity and place in this world. However if I were to undertake such a romance, I knew that had to use all the power that fiction had to offer. I ought to find the perfect object, one that would allow for the richest communication through sound, movement, lights or any other means available to the cinematographic language. Being particularly sensitive to my environment, I felt that an amusement park and its surroundings would be pivotal in setting the fantastical tone needed to believe and be moved by our character’s journey. Lyrically transporting you from one scene to the next, using humor in very dramatic moments, this film seeks to make a statement about tolerance and the freedom of one’s own choices. It is a modern take on love and its infinite possibilities. – Zoe Wittock
“Merlant’s writhing, fainting spells and intense gaze do well to communicate the intensity of desire and, although the film can sometimes be a dizzying attraction to climb on, Jumbo is certainly worth the ride.” – Adesola Thomas, Paste Magazine
“So will Jumbo take Jeanne’s heart for a ride? And should we object to her sexuality if she’s not hurting anyone? These questions, and more, abound in the out-there, but not-like-anything-else-out-there, “Jumbo.” – Michael Ordoña, Los Angeles Times
“First time writer-director Zoé Wittock takes an absurd idea and imbues it with such heart, soul, and beauty that you’ll automatically look past the inherent ridiculousness. Instead, you’ll simply absorb its glowing sense of wonder.” – Richard Whittaker, Austin Chronicle
“Jumbo, a unique and beautiful addition to the coming-of-age genre, gives us a tender exploration of a young woman’s journey of a first romance and discovering her sexuality along the way.” – Alysha Prasad, One Room With A View
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
LITTLE FISH, the fourth feature film from director Chad Hartigan, is a romance set in a near-future Seattle teetering on the brink of calamity. The film imagines a world where a pandemic has broken out, that strikes with no rhyme or reason, and causes its victims to lose their memories. This is the world that newlyweds Emma and Jude find themselves in, not long after meeting and falling in love. When Jude contracts the disease, the young couple will do anything to hold onto the memory of their love. Starring Olivia Cooke (Sound of Metal, Thoroughbreds) as Emma, Jack O’Connell (’71, Starred Up) as Jude, Soko and Raul Castillo, LITTLE FISH, opens in the midst of a global epidemic: Neuroinflammatory Affliction, a severe and rapid Alzheimer’s-like condition in which people’s memories disappear. Couple Jude Williams and Emma Ryerson are grappling with the realities of NIA, interspersed with glimpses from the past as the two meet and their relationship blooms. But as NIA’s grip on society tightens, blurring the lines between the past and the present, it becomes more and more difficult to know what’s true and what’s false. Director Chad Hartigan (Morris From America, This is Martin Bonner) joins us for a conversation on the making of hissubversively sly sci-fi / love story and how the on-screen artistry of the two lead actors helped shape this prescient tale of love in an age of isolation and mistrust.
About the filmmaker – Writer/director Chad Hartigan is best known for his award-winning feature films THIS IS MARTIN BONNER and MORRIS FROM AMERICA. Hartigan won the John Cassavetes Award at the 2014 Independent Spirit Awards, as well as the “Best of NEXT” Audience Award at the 2013 Sundance Film Festival, for THIS IS MARTIN BONNER. Hartigan won the Waldo Scott Screenwriter Award at the 2016 Sundance Film Festival for his film MORRIS FROM AMERICA. LITTLE FISH marks the third collaboration between childhood friends Hartigan, composer Keegan Dewitt (HEARTS BEAT LOUD) and cinematographer Sean McElwee (THE INCREDIBLE JESSICA JAMES). Based on Aja Gabel’s short story, the film is written by up and coming screenwriter Mattson Tomlin who co-wrote the latest Batman film, THE BATMAN, and wrote the Netflix hit PROJECT POWER.
“In the midst of a flurry of pandemic-themed media coming out which tries to reflect the [present] situation, LITTLE FISH manages to distinguish itself from the crowd with its brilliant leads and emotional resonance.” – Oluwatayo Adewole, The Spool
“The result is better than smart, it’s stirring. With the NIA pandemic as a pretext, the essential subject becomes memory — its fragility, its wondrousness, its centrality to our existence as sentient beings.” – Joe Morgenstern, Wall Street Journal
“Hartigan’s moody evocation of Emma and Jack’s love – and the way in which it, like so much else, is predicated on knowledge of the past – casts a moving spell.” – Nick Schager, Variety
“Chad Hartigan’s Little Fish drips with equal doses of beauty and poignancy – an affecting dive into love and memory, and how it defines who we are.” – Natasha Alvar, Cultured Vultures
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
In the world of Anmaere, north of the city of Whithren, wild horses run through the moorlands and up the coast. These horses are the city’s most valuable export and, as a result, are hunted, trapped, sold, and shipped across the sea once a year. For those in Whithren, this trade passage creates lucrative and exciting possibilities: the chance to escape their constantly sweltering city and escape to the Western continent of Levithen, or simply to begin again. Nothing can prepare audiences for the secrets, seduction, and sights of THE WANTING MARE, an intimate, dramatic fantasy epic written and directed by renowned digital artist Nicholas Ashe Bateman (visual effects supervisor of David Lowery’s upcoming The Green Knight). A technical marvel of digital world-building and independent ambition, the sprawling vistas, fantastical sights, and otherworldly tableaus of THE WANTING MARE were lensed almost entirely inside a warehouse in Paterson, New Jersey. Director, writer, and editor Nicholas Ashe Bateman joins us to talk about the five year journey of making THE WANTING MARE, the defining connection humans and horses share, the support he received from a dedicated group of friends and filmmakers, and the importance of Carl Jung.
THE WANTING MARE was written and directed by Nicholas Ashe Bateman, Executive Produced by Lawrence Inglee, and stars Jordan Monaghan, Yasmin Keshtkar, Edmond Cofie, Nicholas Ashe Bateman, Josh Clark, and Christine Kellogg-Darrin.
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
CODED BIAS explores the fallout of MIT media lab researcher Joy Buolamwini’s startling discovery, technology based bias is real. Modern society sits at the intersection of two crucial questions: What does it mean when artificial intelligence increasingly governs our liberties? And what are the consequences for the people AI is biased against? When MIT Media Lab researcher Joy Buolamwini discovers that most facial-recognition software does not accurately identify darker-skinned faces and the faces of women, she delves into an investigation of widespread bias in algorithms. As it turns out, artificial intelligence is not neutral, and women are leading the charge to ensure our civil rights are protected. Director Shalini Kantayya (Catching the Sun) joins us for a conversation on computerized racial, political, sexual, social, financial, cultural bias and how it is here now and what, if any, way that people can do anything reform it or stop it from determining our collective future.
About the filmmaker: Director Shalini Kantayya’sfeature documentary, CODED BIAS, premiered at the 2020 Sundance Film Festival. She directed an episode of the National Geographic television series Breakthrough, Executive Produced by Ron Howard, broadcast globally in 2017. Her debut feature film Catching the Sun, premiered at the Los Angeles Film Festival and was named a New York Times Critics’ Pick. Catching the Sun released globally on Netflix on Earth Day 2016 with Executive Producer Leonardo DiCaprio, and was nominated for the Environmental Media Association Award for Best Documentary. She is an Associate of the UC Berkeley Graduate School of Journalism. shalinikantayya.net
“Racial bias, algorithms, facial recognition and badass women of color put our government on blast for using technology while rolling back privacy and Civil Rights in America. Joy Buolamwini and Shalini Kantayya should get a Nobel Peace Prize!” – Carla Renata, The Curvy Film Critic
“In a time where we as consumers instill unrelenting trust in the people behind the screen, there has never been a more vital documentary.” – Stephanie Archer, Film Inquiry
“Without shying away the issue’s enormity or its devastating consequences, Coded Bias gradually works toward almost inspirational vibe, as Buolamwini and others get to work solving the problem they’ve identified. – Angie Han, Mashable
“Kantayya makes a strong and compelling argument that everyone needs to pay attention to. Not only do we need to be talking about this, but we, the people, need to be doing more about this.” – Amyana Bartley, QBP Reviews
What started out as an inside joke amongst two self-proclaimed weirdos in Ft. Worth, Texas soon becomes much more than they bargained for when they decide to turn their conservative southern ideology on its head and invent a new religion all their own and all is chronicled in the rousing new documentary, J.R. “Bob” Dobbs and the Church of the SubGenius. The film features appearances from Church devotees Richard Linklater, Penn Jillette and Nick Offerman. The Church of the SubGenius has been called “the most aggressively preposterous theology the world has ever known!” But what is the Church? And who is J.R. “Bob” Dobbs? And why is his name always in quotes? Filmmaker Sandy K. Boone explores the underground movement that has galvanized the imaginative, the artistic, the nerdy, even the deranged – to examine the simmering dystopia in their culture, and do absolutely nothing about it… except, maybe, poke fun at it all. Director Sandy K. Boone and co-founder Dr. Philo Drummond (Reverend Ivan Stang) join us for a lively conversation on how the Church’s subversive and deliberately chaotic anti-dogma was unleashed on an unsuspecting world of pinks and normals.
Director Statement – My late husband, filmmaker David Boone, and I moved to Austin in the early 1980s to join the film department at the University of Texas, write scripts, make films and raise our family. The Austin Chronicle was a new venture back then and the original TEXAS CHAIN SAW MASSACRE was just being filmed. Austin was being called The Third Coast by longtime friends: directors Jonathan Demme and John Sayles, and singer-songwriter David Byrne of the Talking Heads.In fact it was David’s film INVASION OF THE ALUMINUM which first caught the attention of Jonathan Demme, who went on the present it and five other Austin films at the Collective for Living Cinema in 1981 in New York. Three decades later, INVASION had become a Texas cult classic and I proudly produced a restoration of the film as part of JONATHAN DEMME PRESENTS: MADE IN TEXAS – SIX FILMS FROM AUSTIN, which premiered at SXSW in 2015. At that screening, Richard Linklater shared that seeing the MIT films years earlier at an art gallery screening in Houston actually inspired his move to Austin. In recent years I have co-founded several Austin based film companies with a shared mission to encourage local indie filmmakers, foster creative talent, and perpetuate a sense of community through filmmaking. Diving deeper into the world of film, I served as an associate producer on RICHARD LINKLATER – DREAM IS DESTINY, which premiered at Sundance in 2016. I then went on to executive produce films such as Ethan Hawke’s BLAZE, Karen Skloss’ THE HONOR FARM, and Keith Maitland’s Emmy winning documentary, TOWER. Currently I’ve just wrapped directing and producing my first feature documentary, J.R. “BOB” DOBBS AND THE CHURCH OF THE SUBGENIUS, a look inside the Church of the SubGenius, of which my late husband was an early disciple.
WINNER – Grand Jury Award, Texas Feature (DIFF 2019)
WINNER – Best International Documentary (MDFF 2019)
WINNER – Best Documentary Feature (Blow-Up Filmfest Chicago 2019)
“Boone gives us both a nostalgic account on this underground movement and how their sci-fi inspired dystopia applies to each decade of history, up till today, where the documentary earns its whole-hearted earnestness.” – Alex Lines,Film Inquiry
“J.R. “Bob” Dobbs and the Church of the SubGenius captures a period in history when rebelling against the boundaries of reality could still be a positively charged, life-altering experience.” – Cheryl Eddy, io9.com
“This (mostly) playful, always thoughtful documentary is an unusual cautionary tale about what happens when society abandons absurdity as release and distraction.” – Andrea Chase, Killer Movie Reviews
“A wild, an engrossing look at a fascinating sliver of off-the-wall Americana, a minor religious movement that just sort of happened while two friends were messing around.” – Brent McKnight, The Last Thing I See
When it was released in 1987, The Monster Squad was deemed a failure by critics and was, according to the box office, a film no one cared about. But over the last three decades, word of mouth has turned this sleeping hit into a cultural phenomenon. WOLFMAN’S GOT NARDS explores the relationship a dedicated audience (including celebrities and filmmakers) has with The Monster Squad. The film takes an in-depth look into the film’s conception, response, cult status, and revival. Through interviews with the cast, crew, screenwriters, directors, academics and original reviewers as well as through never-before-seen footage, it turns the lens on an audience of self-proclaimed misfits who have kept The Monster Squad alive for more than 30 years. Director Andre Gower and Monster Squad member, Sean, joins us for a lively conversation on the unlikely saga of a box-office bomb that, like the squad, refuses to give up, and a community of fans that continues to grow.
About the filmmaker – Director André Gowerhas 40 years of experience in the entertainment industry, making him one of the most recognizable child stars of his generation. His body of work includes network series, movies of the week, and features. He is best known for playing the lead character in the cult classic The Monster Squad. Currently, André heads Fitterpiper Entertainment, a production company focusing on young independent filmmakers, new concepts from industry veterans, experimental digital concepts and short films with a roster of production professionals. He also co-hosts the short film series ‘Short Ends’ (Nerdist/ALPHA) and a podcast, ‘Squadcast with Ryan and André.
“There’s so much to cover, and Gower and his crew do an astounding job of being as thorough as possible.” – Kyle Anderson, Nerdist
“Watching these films – and this documentary – generates the type of joy we only felt as kids, as well as evoking the warm fuzzy feeling that nostalgia brings.” – Katie Driscoll, Starburst
“As a whole, I cannot recommend Wolfman’s Got Nards enough for those who love The Monster Squad, for fans of the horror genre, or even for anyone who has ever felt misunderstood by the world at large.” – Heather Wixson, Daily Dead
InterReflections explores deep social issues. In three timelines our main story takes us into the future when ecological crisis and inequality has destabilized society. John Taylor, a defected government intelligence agent turned revolutionary leader, is captured by his former colleague and nemesis, Simon Devoe. Simon leads a government spy agency, encouraging John to join him to avoid punishment. Simon humors John as they debate ideas about humanity, seeing no possibility of John’s escape. But John has a secret. Our second timeline follows a woman in modern day, experiencing life as a horror show, reflecting issues such as racism and environmental destruction. Fired from her job, she sets about finding another. Her journey transforms her. Timeline three takes place 100 years forward as four academics of this future talk about the way things used to be in the early 21st century. They speak of “The Great Transition,” a dramatic global revolution that changed everything for the better. Director Peter Joseph (The New Human Rights Movement,The Zeitgeist Movement) joins us for a conversation about his genre-shattering approach to filmmaking and what his film’s vision says about the world we live in.
From the Smith Brothers and Director Tony Dean Smith comes VOLITION, a mind-bending science-fiction thriller, where the line between fate and free-will blurs. When you know your world is pre-determined, it’s hard to care about your choices. This is true for James Odin (Adrian Glynn McMorran). On a rain-soaked night in 1991, two cars collide, leaving all drivers dead on the scene, including the mother of the lone survivor, a child , James Odin. It’s a tragedy. But what’s more tragic is that seven-year-old James foresaw the accident happening two daysprior. He tried to prevent it, but who’s going to believe a kid who claims to see the future? Twenty-plus years later, James is a product of the failed foster care system. Knowing that the events of his future are predestined, he’s getting by, using his ability for petty crime and cheap thrills. But when a pre-sentient vision reveals to him his own imminent murder, James must go on the run and change the fate he knows is fixed. Director /co-screenwriter Tony Dean Smith and Producer / co-screenwriter Ryan Smith join us to talk about their consistently creative, high-wire tale of time travel, heartbreak and determining your own fate.
About the filmmakers: Tony Dean Smith (director/co-writer) & Ryan W. Smith (producer/co-writer) Born in Johannesburg, South Africa, Tony Dean Smith & Ryan W. Smith are the Smith Brothers, a creative partnership forged in the fires of sibling revery.
Tony Dean Smith is the recent recipient of the Director’s Guild off Canada “Best BC Director” award, granted at the Whistler Film Festival for his feature film debut, VOLITION. An award-winning director, writer and editor, Tony has gone on to write and direct various long-form projects for film & television – as well as constantly developing new material that’s close to his heart. Tony is also an acclaimed editor, having cut for Neill Blomkamp, Netflix, 20th Century Fox, Universal Studios, NBC, Syfy and others.
Ryan W. Smithis an award-winning writer/producer, having won the ScreenCraft Fellowship for his feature script, Jacaranda. Along with his film work, Ryan has written on over 135 episodes of television, which has earned him two Leo Awards. Ryan has written for such companies as Netflix, Anonymous Content, Andrew Lauren Productions, SyFy, Disney and Original Film. The Smith Brothers live in Vancouver, B.C., where they continue to be not only creative partners, but brothers.
A long-awaited follow up to Munch’s acclaimed 2011 Sundance film Letters From the Big Man, THE 11TH GREEN stars Campbell Scott (House of Cards, Roger Dodger) as a journalist who uncovers the truth behind the mythology of President Eisenhower’s long-alleged involvement in extraterrestrial events. Rife with hidden government secrets and Matrix-like mind-benders, THE 11TH GREEN is grounded in what is widely believed to be the nuts-and-bolts core story of post-war U.S. military and government involvement with UFOs. In this way, the film sketches a possible backdrop to recent revelations in the mainstream media (eg, the New York Times and Washington Post) and subsequent declassification of certain U.S. military interactions with UFOs. Thought-provoking but understated, filled with sharply drawn characters, stark desert landscapes, and leaps across the space-time continuum, THE 11TH GREEN is challenging cinema that generates questions, discussion, and debate long after the credits roll. The film’s distinguished cast also includes Agnes Bruckner (Blood and Chocolate, Blue Car), Ian Hart (Harry Potter and the Sorcerer’s Stone, Backbeat), April Grace (Magnolia, Joker), Tom Stokes (The Railway Man, Wasted On the Young), David Clennon (Being There, The Thing), Monte Markham (Mr. Deed Goes to Town, Dallas), and Currie Graham (NYPD Blue, Project Blue Book). Groundbreaking American auteur Christopher Munch (director of The Sleepy Time Gal and the recently restored indie classic The Hours and Times) joins us to talk about his many-layered drama and the talented cast he assembled to breathe life into it.
About the filmmaker: Christopher Munch’s feature, the wilderness drama Letters from the Big Man (2011), was a New York Times Critics’ Pick and featured a lauded central performance by Lily Rabe. Five of his features have played at Sundance, and his first, The Hours and Times (1992), a speculative biopic about Beatles’ manager Brian Epstein, won a special jury prize there. An impossible dream was the overarching theme of Munch’s second feature, the period landscape drama Color of a Brisk and Leaping Day (1996), based on the true story of a young trolley mechanic who tries to save a doomed short-line railroad to Yosemite National Park. Munch then undertook the sprawling, unconventional mother-daughter story The Sleepy Time Gal (2002), which Kevin Thomas in the Los Angeles Times wrote “has a depth, range and subtlety far greater than most American films” and which David Ansen of Newsweek upon its release stated was Jacqueline Bisset’s “finest performance.” Munch followed this with another unconventional family dissection, Harry and Max (2004), about two pop star brothers. He is a past Guggenheim fellow, recipient of the Wolfgang Staudte Prize at Berlin, winner of two Independent Spirit Awards, including the “Someone To Watch” Award, and has been featured in two Whitney Biennial exhibitions. He has received competitive awards from the Alfred P. Sloan Foundation (for science in film), Creative Capital Foundation, The American Film Institute, The Merchant and Ivory Foundation, and others. christophermunch.com
“The bottom line: a thoughtful and compelling what-if starring a never-better Campbell Scott. . . . A bracing example of Munch’s fearless knack for casting a new light on official stories. . . . that information unwinds with a provocative and illuminating slant, and in combination with the film’s eccentric mix of genres, time periods and SoCal desert atmosphere, it makes for a heady revisionist saga. . . . For all the story’s machinations and dark doings, The 11th Green is concerned not with narrowly defined party politics but the power of cabals, and the relative powerlessness of figureheads. . . . [I]n its precision and poetry, the language is alive, and Munch gives each character a distinctive voice.” – Sheri Linden, The Hollywood Reporter
“Wildly inventive . . . a work of meticulous historical reimagination. . . . With tight-lipped restraint, Munch giddily tweaks the past seventy-five years of political assumptions and the very concept of life on Earth.” – Richard Brody, The New Yorker
Inspired by the massive use of new technologies which intersect with psychopharmacology for therapeutic purposes. Algorithm: Bliss takes a look into how humanity and technology intersect and examines the unintended consequences of applications and innovations that come out of good intentions. Algorithm: Bliss explores where and how lines of morality get blurry once people are dealing with the reality of the noble aspirations for a product versus the potentially dangerous reality of implementation.It’s Edgar Allen Poe’s “The Tell-Tale Heart” for a digital age. Vic Beckett (Sean Faris) is a brilliant researcher, creates the ultimate App that taps into the pleasure center of the brain and transmits a feeling of nirvana to the user. Instant celebrity and unlimited commercial applications corrupt his altruistic intention and when problems arise with his creation, he justifies doing whatever is necessary to keep the app online. Algorithm: Bliss starsSean Faris (Never Back Down), Sarah Roemer (Disturbia), Frank Deal (The Bourne Legacy), James Saito (Life Of Pi), Frank Deal (The Outsider), and Kimberley Locke (American Idol). Algorithm: Bliss is co-directed by Dena Hysell-Cornejo and Isak Borg, from a screenplay by Borg and Golan Ramraz (Iron Man).
It all began when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival. Unwilling to take “no” for an answer, they instead started their own event – Slamdance: Anarchy in Utah. 26 years later, Slamdance has become a year-round organization fostering the development of unique and innovative filmmakers. The organization now consists of the Film Festival, Screenplay Competition and Slamdance Studios. It has also created Slamdance On The Road, a traveling theatrical showcase that brings popular Slamdance films to audiences that otherwise would not have the opportunity to see them. Dan Mirvish, Jon Fitzgerald, Shane Kuhn and Peter Baxter are the founding forefathers who, along with co-conspirator Paul Rachman, fought for truly independent filmmakers by giving them a voice in 1995 at the very first Slamdance Film Festival. Since then, the festival takes place every January in the breathtakingly stunning, snow-capped mountains of Park City, Utah at the exact same time as the Sundance Film Festival, to provide a more authentic representation of independent filmmaking. Up-and-coming writers, directors and producers, alongside seasoned veterans and film lovers, converge for the weeklong celebration of independent cinema, realizing that Slamdance is a great place to find those next, great, visionary films. Slamdance lives and bleeds by its mantra By Filmmakers For Filmmakers. No other film festival in the world is entirely run and organized by the creative force that can only be found in filmmakers. Slamdance adamantly supports self-governance amongst independents, and exists to deliver what filmmakers go to festivals for – a chance to show their work and a platform to launch their careers. The festival has earned a solid reputation for premiering films by first-time writers and directors working within the creative confines of limited budgets. Co-founder and President Peter Baxter joins us to talk about this year’s Slamdance, the groundbreaking films and the innovative new distribution and digital initiatives being launched by Slamdance.
In AUGGIE, Felix Greystone (Richard Kind) is forced into early retirement and falls in love with an augmented reality companion, to the detriment of his relationship with his wife and daughter. At his “early retirement” party, Felix Greystone is given a pre-release version of an AUGGIE, a pair of augmented reality smart glasses that project a perfectly human companion onto his world. When Felix’s wife Anne gets a promotion and his daughter Grace gets serious with her boyfriend, Felix suddenly feels very alone. He opens up to his new companion, AUGGIE, and is recognized and appreciated by her. He feels the ache of loneliness dissipate. AUGGIE reawakens a passion in Felix, and to his own surprise, he begins to fall for her. In a world that feels too good to be true, it’s difficult for Felix to recognize his increasing addiction to the technology, losing sight of what truly matters. Director Matt Kane stops by to talk about his fascinating film about relationships, relevance in the lives of others, a near future “reality” and working with an excellent cast of actors.
For the last 20 years the Newport Beach Film Festival has brought the best of classic and contemporary filmmaking from around the world to Orange County. Under the direction of CEO and Co-founder Gregg Schwenk and the festival’s staff have been committed to entertaining and enlightening the public with a first-class international film program as well as providing a forum for cultural understanding and enriching educational opportunities, the Festival focuses on showcasing a diverse collection of both studio and independent films. The Festival supports the creation and advancement of innovative and artistic cinematic works from both emerging and seasoned filmmakers and proudly embraces the passion, vision and independent spirit of these talented artists. With the integration of the local community and educational institutions, the Festival stimulates an interest in the study and appreciation of film and encourages people of all ages and backgrounds to participate. The Community Outreach Program was created with the idea that film offers new perspectives and possibilities for a changing world. Each year, the Festival partners with over 40 non-profit organizations and pairs each philanthropic organization with a film that aligns with their mission. The Festival gives non-profit organizations a forum to voice their message to large audiences and spread awareness of their organization and mission through the medium of film. Areas of focus include the arts, health and human services, the environment, education, children’s causes, seniors’ and veterans’ programs, and alumni clubs. CEO and Co-founder Gregg Schwenk joins us to talk about a remarkable festival line-up of comedies, dramas, short films, action sports, classics, documentaries, musicals and foreign film excellence.
In a media environment dominated by increasingly concentrated corporate interests, eight distribution companies who have long championed the best in independent features, documentaries, and social issue films, have joined forces to help launch a new subscription streaming service, OVID.tv. Starting today, OVID.tv offers more than 350 quality documentaries and art-house films from the collections of its founding content partners: Bullfrog Films, The dGenerate Films Collection, Distrib Films US, First Run Features, Grasshopper Film, Icarus Films, KimStim, and Women Make Movies. Most of the films on OVID.tv are not available on any other streaming platform, and OVID.tvwill be adding even more films every two weeks–14 fiction feature films and one 10-part documentary series are already scheduled for release. Despite the odds and with little capital, Icarus Films, Docuseek, and our partners have decided that the time has come to step forward and build a new, independent space, dedicated to the films that we believe in and care about, and that we believe you care about, and value as well. OVID.tv co-founder Jonathan Miller joins us to talk about an affordable option for film lovers looking for the highest quality cinema experience presented by people who share your passion.
“A cornucopia of international movies and documentaries… recent ones as well as classics. It’s far better for recent movies than FilmStruck ever was, and its spectrum of new movies is far more substantial than that of Netflix, wider-ranging than that of Amazon.” – Richard Brody, The New Yorker, March 22, 2019
From director Todd Douglas Miller (Dinosaur 13) comesAPOLLO 11a cinematic event fifty years in the making. Crafted from a newly discovered trove of 65mm footage, and more than 11,000 hours of uncatalogued audio recordings, APOLLO 11 takes us straight to the heart of NASA’s most celebrated mission—the one that first put men on the moon, and forever madeNeil Armstrong, Buzz Aldrin and Michael Collins into household names. Immersed in the perspectives of the astronauts, the team in Mission Control, and the millions of spectators on the ground, we vividly experience those momentous days and hours in 1969 when humankind took a giant leap into the future. APOLLO 11 director Todd Douglas Miller joins us to talk about taking on the challenge of sifting through a mountain of audio and video, developing new technologies for processing and enhancing 16mm film stock and capturing the tension and triumph of an incomparable achievement in human history.
“The result is a stirring companion piece to Damien Chazelle’s recent “First Man,” and one no less worth seeing on the big screen when Neon releases it in theaters worldwide.” – Justin Chang, Los Angeles Times
“‘Apollo 11″ is a cool, meticulous, at times enthralling documentary that captures the Apollo 11 flight in its entirety through raw footage drawn from the NASA vaults.” – Owen Gleiberman, Variety
“The images astound, the audio soundtrack is a master class in montage, and the events captured are herculean in scope.” – Jason Gorber, High Def Digest
“A masterful work of archival research.” – Nate Jones, New York Magazine / Vulture
THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT follows the epic adventures of an American legend that no one has ever heard of. Since WWII, Calvin Barr (Sam Elliott) has lived with the secret that he was responsible for the assassination of Adolf Hitler. Now, decades later, the US government has called on him again for a new top-secret mission. Bigfoot has been living deep in the Canadian wilderness and is carrying a deadly plague that is now threatening to spread to the general population. Relying on the same skills that he honed during the war, Calvin must set out to save the free world yet again. Director Robert D. Kryzkowski joins us to talk about working with two-time Academy Award nominated director John Sayles and visual effects wizard and two time Academy Award winner, Douglas Trumbull (Blade Runner and 2001: A Space Odyssey) and how he was able to fashion an endearing, bittersweet saga of a heavy hearted man driven by a profound sense of duty.
“From its world-weary hero to its no-nonsense, casual swapping of fiction for fact, The Man Who Killed Hitler and Then The Bigfoot uses action and something like science fiction to deliver an wholly entertaining, yet poignant message.” – Slashfilm